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Matthias Steffel has published the book "Pedagogy and Utopia: Historical-Systematic Reconstructions on an Inherently Unresolved Relationship". The book has already been accepted as a dissertation and has received several awards. Steffel uses a dialectical perspective to examine the relationship between pedagogy and utopia. He argues that utopia is not sufficiently discussed in general educational science and offers a historical-systematic perspective on the topic. The book is divided into three chapters and contains a variety of references and citations. Steffel emphasizes the ambiguity of the utopian concept and the necessity of immanent criticism. He also examines the relationship between thinking, utopia, and pedagogy and notes that the utopian is embedded in existing structures of thought. Steffel argues that dialectics is a productive method for examining the antinomy problem of pedagogy and freedom. The text discusses the use of the term "utopia" as a mediating figure and the tensions associated with it. The author argues that utopia is defined as a modus operandi in various dialectical tensions. He emphasizes the anthropological ability of humans to think and further develop their thinking. The text also discusses the costs of rational thinking and the possible developments of utopia and ideology. The author notes that pedagogy plays a mediating role between theory and practice and that dialectical thinking can recognize and endure contradictions. The work concludes by emphasizing the importance of utopia and pedagogy for the freedom and autonomy of the individual. [Extracted from the article]

Why did Hendrick Goltzius use three Roman Catholic engravings for the design of his Reformed Moses with the Tables of the Law (1583)? This article seeks to answer that question by analyzing the adaptation of the engravings. It shows the artist's endeavor of creating a Reformed Protestant engraving and legitimizing his art and method through the Scriptures. Furthermore, explanations for Goltzius's use of his models will be presented, while one of them identifies the reference to a specific engraving as a strategy of artistic subversion. [ABSTRACT FROM AUTHOR]