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Although John Dewey continues to be a source to which scholars look in order to address contemporary social and educational issues, others have suggested that Dewey may be too implicated in the project of modernity to be acceptable in educational theory and practice today. To what extent Dewey was modern, and what we make of the question of his modernity, depends on our reading of Dewey and on our understanding of modernity more generally. I will argue that a broad reading of both Dewey and modernity helps us avoid treating Dewey either as education's saviour or as inimical to our present purposes. First, I examine Dewey's own conception of modernity and then broaden its scope by bringing into view four aspects of Western modernity: economic modernization, the struggle for justice, individualism, and naturalism. Second, I show how Dewey can and has been read as representing one or more of these aspects, but also from the perspective of one or more of these aspects. This generates what I will call Dewey's four "faces": Dewey as engineer, Dewey as activist, Dewey as Romantic, and Dewey as naturalist. This mapping offers a way of making more sense of the diverse readings of Dewey that exist in the secondary literature. Finally, I make a case for Dewey's ongoing relevance because of his capacious view of the goods of modernity and his distinctively educational philosophy.

National socialist education policies put into practice between 1933-1945 in Germany, has been under the influence of romanticism, which is one of the important currents in the history of German thought that began in the middle of the 19th century. Such "being under the influence" does not refer to a passive situation, but it rather means intentional "exposure" by Nazi ideologues. The meeting of Romanticism with National Socialism led to the most dramatic scenes of the history. Educational institutions, where the victims of war were trained, bipartitely fulfilled the task assigned to them regarding to ideological instrumentalism: to destroy and to be destroyed. Putting an end to both their lives own and the lives of others due to this romantic exposure, primary, secondary and higher education students have been the objects of the great catastrophe in the first half of the twentieth century. It will be possible to see the effects of German romanticism, through getting to the bottom of the intellectual foundations of the period's tragic actions, such as burning books, redesigning the curriculum on the line of National Socialism, and preventing the dissemination of dissenting opinions by monopolizing the press. This historical research, which is conducted by examining sources like Arendt (1973), Fest (1973), Giles (1985), Bartoletti (2005), Herf (1998), Heidegger (2002), Hitler (1938), Huch (2005), Hühnerfeld (1961), Schirach (1967), Pöggeler (2002), Thomese (1923), Zimmerman (1990) aims to reveal in a scientific way that it is necessary to be careful against the extreme romantic elements in the practices of education.

Sufism is the mode of religious life in Islam in which emphasis is placed on the activities of the inner self than external rituals and performances. The essence of Sufism lies in its internal transcendental experience. The aim of Sufis is to delve into the human soul and see through its darkness in order to reach the ultimate truth. Sufi poetry is abundant with images that present the human soul as a mystery that could be decrypted via contemplation, meditation, and inner vision. The target of Sufis is to reunite with the Universal Self that is the 'truer' self of every human (i.e. God). Likewise, Romanticism is founded on the doctrine that all creation began in harmonious unity. Romantic poets share Sufis' quest for truth and an illuminating path towards reaching the essence of the Divine. A renowned Romantic poet, John Keats, contrary to his fellow Romantics, never alluded to sharing any interest with the orient or the spirituality it incarnates. However, by attempting a Sufi reading of his poem 'Ode to a Nightingale', this research paper will attempt to highlight the underlying philosophy and uncover the spiritual implications hidden within Keats' ode and propound a solid connection between Sufi and Romantic ideologies.

Thomas Stearns Eliot, who is believed to be one of the most important poets of his time in the English and American Poetry, as well as today, left many poems in most of which he criticized and even rejected the Western Puritanist society and the principles of Romanticism. In this brief study, one of T.S. Eliot's major poems, 'Gerontion' will be presented with other critics' and this researcher's interpretations. The speaker of the poem is an old man in an old house whose thoughts drift while being read to by a boy, and these thoughts form the poem. He misses fighting in the war and laments his presence in the mundane and common-place house (Basu, 2017). Since it will be useful to know T.S. Eliot's philosophy of life and his background in order to understand and interpret his works better, his life story and background are also provided briefly in the first part of this study. In the final part, conclusions in connection with the society in which we live in were drawn from T.S. Eliot's 'Gerontion'.

Wordsworth stands as a supreme poet in nature. He is a devotee and worshiper of nature. His affection for nature is more evident than any other poet who writes about nature. Wordsworth has an original and full-fledged philosophy about nature. In his poetics works, there are three notable aspects of nature that are identifiable. One of the facts is that Wordsworth believes that nature is a living person. He believes that nature has a divine spirit and it is available in all objects of nature. This divine spirit is known as mystical pantheism and illustrated in The Prelude. Wordsworth also believes that there is joy in the company of nature. Nature has healing attributes and heals hearts struck by sorrow. Wordsworth also emphasizes the influence of nature on morality. He depicts nature as a great teacher because of the great morals taught to man. He believed that there is consciousness between man and nature. In his writings, there is an inclination towards nature. There is no writing that does not have significance to nature. His writings warns the readers about the neglect of nature, but the people do not take her writings seriously. The writings foresee a harsh environment that makes the life of man difficult. Many years after his writing, people face numerous environmental challenges that make life very difficult.

Romanticism is one of the important contemporary literal schools and has absorbed many poets and authors all across the world. Persian literature specifically the adolescents and children poem in Iran has been affected. Many Iranian poets have been among the pioneers of romanticism in the adolescents and children poem. The poems of these poets include delicate interpretations and concepts in the principles of romantic poem. They have used the specifications and principles of romanticism due to the conditions and outlook of the addressees (children and adolescents). The current essay scrutinizes the characteristics of romanticism in the adolescents and children poem. Romanticism considers identifications such as naturalism, rustic are tendencies, liberalism, nostalgic issues, individualism and tendency to traveling. It also tries to explore new interpretations.

Romanticism extended to different countries around the Europe in eighteenth and nineteenth century. This school not only includes European countries but also countries outside the continent like Iran. Similarly, Romanticism developed some of its features out of Iranian contemporary literature. Sohrab Sepehri, the contemporary Iranian poet, has always been at the center of Romanticism investigation in Iran. Regarding Morse Peckham's view of Romanticism, this could be inferred that Sepehri has made a voyage from the "static mechanism" to "dynamic organicims." Sepehri's change of view causing this journey was his acquaintance with the Far Eastern mysticism. Therefore, the present study aims to investigate this phase shifting by focusing on its effect on his poems.

Currently, the place of play in schooling and education is controversial. Even in pre-school, where play is most likely to be found, its status is often precarious. This article notes that in many ancient religious traditions, play is sometimes viewed as sinful, whereas work, its antithesis, is seen as virtuous. The German educationist, Friedrich Froebel, departed radically from these evaluations and devised a system of educative play based on toys and games to be used in his institution for the education of young children, the kindergarten. Nevertheless, while at the same time as being a prominent advocate of the notion that play was a worthwhile and necessary part of an early childhood curriculum, Froebel thought it subordinate in value to what it was intended to lead to, work of a manual nature. The reading of Froebel and the Froebel Movement presented here situates his conceptions of play and work within the intellectual context of German Romanticism and Idealist philosophy. The main contours of thought on play and work are traced in the writings of Kant, Schiller, Hegel and Marx, through a consideration of work as both emancipatory and alienating. This theme is pursued in the thought of leading English Romantics and various figures within the Marxist tradition, including some attached to Soviet ideology. It is argued that the Froebel revisionists, like Schrader Breymann and many Froebelians inspired by G. Stanley Hall and John Dewey, tended to abandon the view of work embraced by Froebel and focused more on play, aided by the interests and findings of the developing field of psychology and the lengthening of compulsory schooling.

German Romantic Art Songs or German "Lieder" constitute a consistent part of every aspiring classical singer's repertoire around the world. This study investigates a contemporary Australian audiences' appreciation of the genre; it asks further what role the various Romantic characteristics play in German "Lieder" genre, gauges respondents' awareness of stylistic characteristics of "Lieder" and explores the importance of the "German-ness" of "Lieder". A survey conducted at the prestigious annual competition National Liederfest elicited surprisingly passionate responses which suggest new ways of teaching "Lieder" in Australia.

Metaphor is a critical tool for thought. Lying at the heart of every systematic body of knowledge are three root metaphors--mechanism, organism, and mind. Historically, schools of philosophy--realism, naturalism, and idealism--have grown up around these metaphors. The root metaphors and their corresponding philosophies provide the paradigms underlying different exemplars of education. To illustrate how metaphors, paradigms, and exemplars all shape educational thought, the works of three educators--Hunter, Piaget, and Bruner--have been selected.

In different ways and in different contexts it has been and still is argued that music education should be prioritized because of its positive impact on pupils in terms of general development as good citizens and in terms of skills in other disciplines. In this article, the authors discuss whether this tendency is best interpreted as an example of technical or ritual rationality. Rather than presenting a univocal argument for one of the interpretations, they explore what arises when the two interpretations meet each other in a dialogue. The ways in which music education is legitimized is closely related to the values that are assigned to music and musical experiences. An important focus of this article is the different valuations of music that different ways of interpreting the legitimization of music education imply.

"When I have fears that I may cease to be", by John Keats, portrays the poet's fear of dying young and being unable to fulfill his ideal as a writer and loses his beloved. Based on the use of sensuous imagery, it is clear that visual image dominates the use of imagery and there are two major thought groups: 1) Keats expresses his fear of dying young (lines 1-12); he fears that he will not fulfill himself as a writer (lines 1-8) and that he will lose his beloved (lines 9-12); 2) Keats resolves his fears by asserting the unimportance of love and fame in the concluding two and a half lines.

While traveling along the Platte River on May 18, 1834, William Marshall Anderson stopped to pick up a human skull bleaching in the prairie sunlight. Anderson was from Louisville, Kentucky, and had been sent west by his physician to accompany a fur-trade caravan to the Rocky Mountains in hopes of regaining lost physical strength. He came west not as a typical trader or trapper, but as an attentive observer. What Anderson lacked in physical strength and fortitude, he made up for with a commanding vernacular and lively imagination. Though seemingly separated from the outside world, men like Anderson, and the hundreds of men who went west for the fur trade from the 1820s through the 1840s, traveled during an era that prompted them to rejoice in their natural surroundings. Their writings were more than mere travel accounts outlining directions traveled, trapping or trading activities, and encounters with grizzly bears and Blackfeet Indians. They were astute observers operating amidst a rising romantic consciousness within eastern society. This essay explores how the writings of the western fur trade created a distinct image of the western landscape during the mountain man era.

Far too much curriculum time in primary schools is overly regulated and assessment driven, with the result that many children attending them are either bored or made to feel anxious. The antidote to this tendency is for teachers to rediscover the value of deregulated ("wasted") curriculum time via a renewed commitment to the value of play, fostered by an initial acquaintance with "Romantic" conceptions of childhood.

Romanticism's valuing of love and the life of the imagination, combined with its belief in human potential taken heroically to and beyond its limits, provides a way of addressing differently and fruitfully certain issues to do with pedagogy in schools, making in particular better sense of what it means to be an effective teacher and a productive learner in such contexts. (Contains 5 notes.)

The sublime is a theory of aesthetics that reached its highest popularity in British literature during the Romantic period (c. 1785-1832). This article (1) explicates philosophers' different meanings of the sublime; (2) show how the sublime is relevant to education; and (3) show how the sublime "works" in literature by analyzing William Blake's "Jerusalem," and Samuel Taylor Coleridge's "The Rime of the Ancient Mariner." In this article, the author discusses three foci of aesthetics: (1) practice, activity, or object that directly or indirectly conveys or produces a property that is or is perceived as aesthetic; (2) specific property, feature, or aspect of a thing that is considered aesthetic; and (3) ontology or existence of the property. He discusses theories of sublime written by: (1) Longinus; (2) Edmund Burke; and (3) Immanuel Kant. (Contains 24 notes.)

The main intent of this article is to describe some opportunities for an education in aesthetics by referring to similarities between intensive experiences of music in the individual life and in the history of aesthetics. Here, the author discusses Romanticism through the writings of Wilhelm Heinrich Wackenroder. Among other things, she discusses some applications to music education. (Contains 59 footnotes.)

A high school teacher tries to eliminate the obstacles to subversive teaching in public schools by asking them to design schools that embodied the principles of learning suggested by the romantic and transcendental writers like Emily Dickinson, Ralph Waldo Emerson, Edgar Allan Poe, Henry David Thoreau, and Walt Whitman. It helps the students understand the ideas of the writers and also the contradictory conditions of their own schooling.

We are presently witnessing a renewed interest in the aesthetics of philosopher and educator John Dewey. And it would seem that this interest marks a significant intellectual reorientation and not simply a passing fad. The publications Educational Theory, Studies in Philosophy and Education, The Journal of Aesthetic Education, The Journal of Aesthetics and Art Criticism, and the Transactions of the Charles S. Peirce Society, among others, have for some time now been seeing articles which look to accentuate Dewey's aesthetics while tempering his oft-cited and criticized scientism.1 Many of them take their lead from Thomas M. Alexander's acclaimed John Dewey's Theory of Art, Experience and Nature or Richard Shusterman's Pragmatist Aesthetics.2 Two recent books by noted educators, Jim Garrison's Dewey and Eros and Philip W. Jackson's John Dewey and the Lessons of Art, offer ideas on how the fruits of Dewey's more poetic side might be used to enhance his relatively prosaic writings on education.3 I have come to find my own work of late pursuing a similar path. (Contains 24 notes.)

Focuses on the way sexual excesses inscribed in eighteenth- and nineteenth-century Oriental discourses served to open up "queer" spaces in Romantic literature, while analyzing the degree to which the master narrative of British colonial domination was in part dependent on narratives of the sexual degeneracy of the Other. Focuses on Byron's "The Giaour" to illustrate the workings of "homotextuality." (SG)

Discussion of tearjerker romances and adolescent responses, particularly female responses, focuses on the recent movie "Titanic." Places the tearjerker romance in context with other works representing a wave of new romanticism and includes an annotated bibliography of tearjerkers in several genres appealing to adolescents. (LRW)

The five articles in this journal are related to the use of traditional materials in elementary and secondary schools in Illinois. Specific topics discussed include folk literature in secondary schools, traditional songs in elementary schools, the most frequently taught literary works (a survey of Illinois secondary schools), an approach to the study of romantic literature, and the characteristics of award-winning student writing. (AA)

Noting that despite the homogenizing influence of the mass media, the United States remains a land of regions, this focused journal issue celebrates regionalism (especially Kentucky regionalism) by exploring its implications for the teaching of English and language arts. The articles and their authors are as follows: (1) "Literacy and Locality: The Foxfire Model" (C. Stumbo); (2) "Jesse Stuart and the Teacher's Craft" (H. Koring); (3) "Discovering a Literacy Period in Your Own Home Town: Romantic Louisville" (P. P. Buckler); (4) "Transcendental 'Sayers': Louisville's Black Poets" (D. Broaddus); (5) "Guidelines for Teaching Composition Skills to Dialect Speakers" (W. L. Roach); and (6) "Dialect Differences and the Teaching of Writing" (A. Wilson). (NKA)

Discusses four Romantic themes that are crucial to writing workshop practice (self-expression, liberation from convention, celebration of emotion, and a valuing of folk cultures), explaining how the writing workshop approach embodies these themes; summarizing criticisms of these approaches; sketching a conception of student voice that looks holistically at Romanticism; and reflecting on freedom, the writer, and art. (SM)