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- 7. CONTEMPORARY PHILOSOPHIES AND THEORIES IN EDUCATION Volume 3 Series Editors Jan Masschelein, University of Leuven, Belgium Lynda Stone, University of North Carolina, USA Editorial Board Gert Biesta, Stirling University, UK David Hansen, Columbia University, USA Jorge Larossa, Barcelona University, Spain Nel Noddings, Stanford University, USA Roland Reichenbach, Basel University, Switzerland Naoko Saito, Kyoto University, Japan Paul Smeyers, Ghent University & University of Leuven, Belgium Paul Standish, University of London, UK Sharon Todd, Stockholm University, Sweden Michael Wimmer, Hamburg University, Germany Scope of the Series Contemporary Philosophies and Theories in Education signifies new directions and possi- bilities out of a traditional field of philosophy and education. Around the globe, exciting scholarship that breaks down and reformulates traditions in the humanities and social sciences is being created in the field of education scholarship. This series provides a venue for publication by education scholars whose work reflect the dynamic and experimental qualities that characterize today’s academy. The series associates philosophy and theory not exclusively with a cognitive interest (to know, to define, to order) or an evaluative interest (to judge, to impose criteria of validity) but also with an experimental and attentive attitude which is characteristic for exercises in thought that try to find out how to move in the present and how to deal with the actual spaces and times, the different languages and practices of education and its transformations around the globe. It addresses the need to draw on thought across all sorts of borders and counts amongst its elements the following: the valuing of diverse processes of inquiry; an openness to various forms of communication, knowledge, and understanding; a willingness to always continue experimentation that incorporates debate and critique; and an application of this spirit, as implied above, to the institutions and issues of education. Authors for the series come not only from philosophy of education but also from curriculum studies and critical theory, social sciences theory, and humanities theory in education. The series incorporates volumes that are trans- and inner-disciplinary. The audience for the series includes academics, professionals and students in the fields of educational thought and theory, philosophy and social theory, and critical scholarship. For further volumes: http://www.springer.com/series/8638
- 8. Duck-Joo Kwak Education for Self-transformation Essay Form as an Educational Practice
- 9. Duck-Joo Kwak Department of Education College of Education Seoul National University 599 Gwanak-ro, Gwanak-gu Seoul 151-742 Korea, Republic of South Korea [email protected] ISBN 978-94-007-2400-6 e-ISBN 978-94-007-2401-3 DOI 10.1007/978-94-007-2401-3 Springer Dordrecht Heidelberg London New York Library of Congress Control Number: 2011940029 © Springer Science+Business Media B.V. 2012 No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed on acid-free paper Springer is part of Springer Science+Business Media (www.springer.com)
- 10. v In A Secular Age, Charles Taylor describes something of the massive religious and social change that swept through Europe from the thirteenth century, encompassing the Reformation. The motor for this change was in part a response to the stagnation of the medieval church and in part a hemorrhaging of the social settlement it had established, but one of its major effects was a new emphasis on individuation and self-judgment. Not surprisingly, this change met with some resistance from the established orders, and there was suspicion of what were seen as new forms of inwardness. But they laid the way, nevertheless, for so much that characterizes the modern era, especially for the massive inward turn that, in his earlier Sources of the Self, Taylor had described as arising in the eighteenth century, with Rousseau and with Kant’s Copernican revolution. Inwardness today, it might be thought, has become a growth industry, with the rise of psychoanalysis in the twentieth century, with the burgeoning of therapy in its multiple forms, and with new genres of confession. It is in this context that individuation has been prey to various forms of commercialization, and too often the privacy of inward self-examination has turned into the public consumption exemplified by confessional TV. By the same lights, therapy has not uncommonly become formulaic and superficial, based on false conceptions of the inner and the outer, and in a range of human practices, meaningful content has been displaced by the imperatives of performativity. Suspicions of inwardness arise today in newly insidious ways, with an erosion of trust across the range of our culture that is peculiarly prominent in education itself. Take, for example, the now obsessive concern with exhaustive procedures of assess- ment. No learning is taking place, it is assumed, unless it is manifested in a behavioral outcome; and nothing is to count as teaching unless it is dedicated to this end. Ideas of intelligence and educational development are then cashed in quick-fire critical thinking, such that anything approaching rumination, any meditative relation to things in the world, is dismissed as sentimental self-indulgence. It is in these cir- cumstances, moreover, that the development of creativity, the fostering of the imagi- nation, and the gaining of autonomy have degenerated into parodies of themselves – cosmetically conditioned sets of skills whose purchase on the inner self, or on the personal engagement these terms might otherwise connote, is little more than vestigial. Preface
- 11. vi Preface Token references to “spiritual education” sit unsteadily alongside or within conceptions of religious education, hamstrung, on the one hand, by sensitivities to cultural difference and, on the other, by confusion about what, in any case, religious belief actually amounts to. Such degeneration has reverberated through educational research itself. Shored up in a new empiricism, it pretends to embody a hard-headed response to the imperatives of “what works,” obstructing in the process any more thoughtful, more responsible, pondering of the complex challenges that education truly provides. With its new earnestness about winning the funding necessary to sustain itself, it too often combines its behaviorist confusion with an intellectual philistinism that erects new barriers to responsible thought. To draw attention to these limitations in educational practice and research is, in a sense, nothing new. What makes this book by Duck-Joo Kwak remarkable is the freshness of its manner of taking up these problems – not by addressing them globally, in broad-brushed and perhaps excusably scathing terms, but through the precise, more modest concentration on a specific form of writing and expression, named somewhat undramatically “essay-form.” This approach may seem oblique, and in a sense it is. But this does nothing to diminish – indeed, I would say, it illustrates – what is at stake here. One of the most striking and most creative realizations of inwardness in human expressiveness was the development in writing of essay-form, most notably in the work of Montaigne. Montaigne took a topic and used this as a jetty for embarking on an exploration in thought, an exploration whose course could never be fully charted in advance and for which there could be no blue-print. Moving from philosophy conceived as theoretical science to philosophy conceived as the practice of free judgment, his thinking was to be an assay, an attempt, a trying-out of ideas, testing the words as he worked with them and surprising himself some- times with what those words gave back, to him no less than to his readers. And his topics were indeed various, often surprising and sometimes strange. On sadness. On idleness. On liars. On sleep. On names. On the cannibals. On books. On experi- ence. On educating children. On thumbs. It seems that almost any topic might strike the author and become the occasion for thought – if, that is, thought was given rein and not subjugated to some preconceived purpose. The essay, celebrated in the work of many great writers, from Johnson to Hazlitt to Emerson, from Virginia Woolf to George Orwell, came to be the form in which the author would speak in his or her own words, would speak to others in an appeal to them to see the world as he or she saw it – saying, in effect: “This is how it is, isn’t it? See it like this.” And, more prosaically perhaps, but still sustaining something of this characteristic flexibility, scope, and challenge, the essay became part of the familiar experience of schooling and university, where a topic or choice of topics was prescribed but where there were no strict rules as to how to proceed. That this undoubtedly caused some students to feel a degree of insecurity there is no doubt, but it was one means by which they were required to call upon their own resources, in the process discovering something of themselves. Contrast this, for a moment, with modes of writing in contemporary schooling, from elementary school to university. For, while the essay-form is far from extinct,
- 12. vii Preface its open-endedness and invitation to unfettered thought are viewed increasingly with a degree of suspicion. First, there will be outcomes to be hit, there will be criteria to meet. Hence, teachers will teach to the test, and learners will quickly learn that they must learn to the test too. Now, there is no doubt that learning will have outcomes, and no doubt that these should be desirable ones, and a practice in which criteria are not operative is no less than a contradiction in terms. But what has happened is that these terms – “outcomes” and “criteria” – have acquired a technical sense, which, for teacher and student alike, imposes a bogus behaviorism, restricting the very understanding of what education can be. This usage blocks the development of a more sensitive, nuanced, and accurate conception of the way that criteria run through anything we might aspire to do well, in short through most of what we do. And second, the pressures of this assessment regime will generate new approaches to writing and expression, the better to hold off the risk of failure and to help students to make the grade. Thus, there is now no end of advice as to how to construct and develop a piece of work, even what constructions and phrases to use. Model writing- frames can be readily found on the Internet, and they have become part of the stock-in- trade of teachers of study skills and of learning-how-to-learn. Moreover, in fields of study that have aspirations to some kind of scientific status – most obviously in social science – there will be a preference, at least as far as the research methods textbooks are concerned, for the adoption of an impersonal style (“The researcher found that. . .,” etc., etc.). The drabness of the prose that is then generated will be a further barrier to the excitement of thought that the study of the social world might properly engender, and it will be a frustration of precisely those forms of creative thin- king and imagination, that engagement of humanity, that the essay rightly opens up. Kwak’s exploration in the pages that follow is an attempt to retrieve the essay from its degenerate forms in academic writing, and her own text, in contradistinction to so much writing in educational research, exemplifies what she preaches. In the process, she aims to save a pedagogical possibility in which the first-person voice of the inner struggle of “lived experience” can be articulated and expressed. Hence, this is not just a book about writing methods but one with a sharp existentialist edge. Addressed to the condition of the modern self in its (post-)secular condition, she seeks a philosophical practice that can reduce the experiential rift between knowledge and wisdom. What is at stake here is no less than the expression of self-formation and transformation. Her journey takes her through writers whose pertinence to her cause cannot be doubted, but whose work is less familiar in this regard than it should be. Hence, we find fascinating discussions of Hans Blumenberg, Søren Kiekegaard, and Georg Lukács, with a major part of the later development of the book influenced by the writings of Stanley Cavell. Cavell’s sense of the importance of voice in philosophy chimes well with Kwak’s characterization and celebration of essay-form, but let it be clear, once again, that what is at issue here is easily misunderstood. To speak of the importance of voice in this sense has little to do with the somewhat fashionable cause of “student voice” or with the now regrettably well-worn politics of recognition; nor is it to be understood in terms of some kind of narcissism, as gratuitous intro- spection. It is altogether much closer to the bone of that human expressiveness that
- 13. viii Preface is a condition for our life with others, our culture and our politics; and in this, it will connect with the very idea of democracy, with the possibilities of formation and transformation that this rightly occasions for our lives as individuals in relation to the communities we find or found. There can be no doubt then that Education for Self-transformation: Essay-Form as an Educational Practice is a bold endeavor, and it is, in the best Nietzschean sense, an untimely one. This is not the register one encounters most commonly in the philosophy of education, let alone in educational research more generally. And the sentiments and commitments expressed here are, in a sense, more personal and more engaged than scholarly writing usually allows. But there is nothing self- indulgent here, for Kwak’s text resolutely follows the argument where it leads. And for the reader ready to be challenged, it will lead in surprising, refreshing ways – living up to the promise and relevance that she claims for the inwardness, judgment and expression that are richly realized in the form of the essay. Professor of Philosophy of Education, Paul Standish Institute of Education, London University
- 14. ix Contents 1 Introduction: Education as Self-transformation and the Essay Form of Writing: Education for a Post-secular Age............................................................................... 1 References................................................................................................... 20 Part I George Lukács: Practice of Philosophy for Existential Fulfillment 2 A Reflection on the Relation Between Philosophy and Life; Through Hans Blumenberg’s Work.................... 23 Introduction: Knowledge and Existential Anxiety, What Is Their Connection?......................................................................... 23 A Way to the Loss of Existential Fulfillment: From Plato to Bacon ................................................................................... 25 Conclusion: Learning from Nominalists’ Wisdom..................................... 30 References................................................................................................... 31 3 A Response to Modernity Between Reason and Faith: Kierkegaard’s Ideas of the Ethical Self and Subjectivity...................... 33 Introduction: “Being Educated” and “Being Ethical” ................................ 33 Relation Between Subjectivity and Being Ethical...................................... 35 Conclusion: Educational Implications of Kierkegaard’s Indirect Communication........................................................................................... 40 References................................................................................................... 41 4 Practicing Philosophy, the Practice of Education: Exploring the Essay-Form Through Lukács’ Soul and Form............... 43 Introduction: In Pursuit of a Pedagogical Form of Writing........................ 43 Philosophy and Life-Form .......................................................................... 45 Life-Form and the Essay Form of Writing.................................................. 53 Conclusion: The Essay Form of Writing as an Educational Practice .......................................................................... 56 References................................................................................................... 57
- 15. x Contents Part II Stanley Cavell: Practice of Education in the Essay-Form 5 Stanley Cavell’s Ordinary Language Philosophy as an Example of Practicing Philosophy in the Essay-Form: In Search of a Humanistic Approach to Teacher Education ................ 61 Introduction: A Humanistic Approach to Teacher Education..................... 61 The Methodological Characteristics of Cavell’s Ordinary Language Philosophy .................................................................. 64 The Educational Aspiration of Cavell’s Ordinary Language Philosophy.................................................................................. 70 Conclusion: A Role for Philosophy in Teacher Education ......................... 74 References................................................................................................... 77 6 Philosophy as the Essay Form of Writing: Cavell’s Concepts of Voice, Method, and Text........................................ 79 Introduction: The Essay as a Form of Writing for Self-knowledge............ 79 Montaigne and the Essay: Its Educational Nature and Purpose ................. 80 Cavell’s Philosophical Writing: Voice, Method, and Text.......................... 86 Conclusion: The Philosophical Voice and the Essay .................................. 102 References................................................................................................... 104 7 Cavell’s Essayist as the Political Self: Implication for Citizenship Education.................................................... 107 Introduction: The Private, the Philosophical, and the Political................... 107 The Political Dimension of Cavell’s Moral Perfectionism......................... 110 Conversation of Justice for Equality from Within and Active Equality................................................................ 121 Conclusion: A Picture of the Cavellian Citizen: “Bourgeoisie with a Desire to Go Beyond Bourgeois Morality”................ 130 References................................................................................................... 132 8 Conclusion: The Essay Form of Writing for a Tragic Form of Subjectivity ............................................................ 135 References................................................................................................... 141 Index................................................................................................................. 143
- 16. 1 D.-J. Kwak, Education for Self-transformation: Essay Form as an Educational Practice, Contemporary Philosophies and Theories in Education 3, DOI 10.1007/978-94-007-2401-3_1, © Springer Science+Business Media B.V. 2012 We are living in a nihilistic age. The culture that shapes us and the criteria which we live by are simultaneously pre-modern, modern, and post-modern in their nature. We often feel lost, or alienated from ourselves, finding our lives not connected to any meaningful order larger than life, such as Nature or God. However, we are pro- grammed to feel proud of ourselves as empowered agents with a disengaged ratio- nal power over “who I am.” Yet, we begin to be highly suspicious of whether this pride can live up to the supposed Enlightenment humanism, longing for something larger than life which can again define “who I am.” The degree to which each of these experiences dominates us may vary depending upon which region of the world or which fate of life we happen to be thrown into. But we cannot deny that we are all more or less subject to this nihilistic and conflicting experience of life, whether aware or not, in today’s ever-globalizing and modernized world. The nihilistic age brings with it a crisis of fragmentation, and it is not uncommon for people to talk about “the end of education” (Sloterdijk 1987). According to Sloterdijk, schooling in a post-modern era can no longer involve the activity of “education” as traditionally conceived, i.e., induction to knowledge and formation of character, since the terms of these conceptions are now bankrupt. The main char- acteristic of the post-modern age in which we live can be described in its broadest sense as self-consciously modern, meaning suspicious of the past and abandoning the metaphysical, religious, and political certainties of the preceding age. Yet the political revitalization of religion in the most advanced modern societies of the West against this background signals our entry into a so-called post-secular age in Habermas’ words, where religion is again high on the public agenda (Habermas 2008). Until recently dominant, the secular humanist culture of public education is for many unsatisfying, leaving them with a need that is now being fulfilled by a turn back to religion. This seems to point to a crisis with the role of (scientific) knowl- edge as well as that of (secular humanistic) values, in education in general and in schooling in particular. This book is my intellectual journey as a Western-educated Asian to make sense of the fragmentation of our contemporary life, which has enabled me to develop an Chapter 1 Introduction: Education as Self-transformation and the Essay Form of Writing: Education for a Post-secular Age
- 17. 2 1 Introduction: Education as Self-transformation and the Essay Form of Writing... educationally alternative way of responding to the crisis. I would call it a “post-secular” approach to education, in the sense that it stays within the secular humanist model, while bringing students into contact with something akin to the religious, but without religious inflection. There are two key concepts that charac- terize the post-secular approach: “self-transformation” and “the essay form of writ- ing.” As may be true of most of the educated in the non-Western modernized region of the world, the non-Western part of my identity has always been under the threat of being transformed through the system of modern education. One of the most important educational events in this process of transformation is the creation of modern subjectivity; subjectivity as a reflexive power from within, which is usu- ally considered to be the source of modern agency over one’s own actions and character. The moral status of this reflexive power seems to be ambivalent. Donald R. Hall says that subjectivity always implies “a degree of thought and self-consciousness about one’s own identity” unique to the modern self, on the one hand, and “at the same time allows a myriad of limitations and often unknowable, unavoidable constraints on our ability to fully comprehend identity,” on the other (2004, p. 3). However, in Asian or non-Western culture, modern subjectivity is often perceived as a sheer evil, representing a manipulative, artful, and dehuman- izing Machiavellian tendency of the colonial West in the fashioning of human identity. What is considered to be violated by it is our (non-Western) innocence in relation to the world and ourselves. I think this politically rooted dismissal of modern subjectivity, just like the sweeping post-modern critique of the Enlightenment selfhood as sovereign and self-determining, is educationally unfortunate and even harmful, especially to polit- ically disadvantaged members of society, since in the long run it tends to weaken or misdirect the formation of their political voice. Educators under the modern school system should take seriously the fact that schools are, whether we like it or not, political arenas in the sense that different social forces, whether economical, political, religious, or cultural in its nature, compete with each other to affect the minds of future members of society, yet in such a way that no one force is in a posi- tion to take responsibility in shaping their identity and destiny. And the cultivation of modern subjectivity is an integral part of this whole political process in the schooling, since we are living in an era in which we are commonly asked to rethink, express and explain our identities; old norms and traditions, which trapped the indi- vidual in a cage of ascription, seem to be breaking down. Thus, the pondering of “I” or “who I am” still should be perceived as having a role in, or responsibility for, creating one’s own selfhood, despite its denaturalizing violation of our supposedly innocent relation to the world and ourselves, in order to bring us back in touch with the world and ourselves. Raising a doubt about one’s full control over one’s own identity like a post- modern critic, I am interested in the dangers and limitations of subjectivity as well as in its power and virtue for educational self-(trans)formation. This means that I am concerned with the extent to which “subjectivity” as the source of one’s agency can bring about change in the way the individual subject conducts herself and orients her life. By addressing this question, i.e., how we should, and to what
- 18. 3 1 Introduction: Education as Self-transformation and the Essay Form of Writing... extent we even have an ability to, change society through our individual actions and the ways that cultural representation can and cannot abet those changes, I will attempt in this book to reformulate a notion of subjectivity which allows us to make an educationally proper response to the crisis of fragmentation in a post- secular age. And “the essay form of writing” will be proposed and explored as a form of pedagogical practice through which this particular notion of subjectivity is to be cultivated and practiced. Now let me bring out in detail some theoretical back- grounds behind this thesis. This will make clear such key terms as “post-secular age,” “self-transformation,” and “the essay form of writing” in the way I will employ them in this book. When Richard Rorty makes a critique of epistemology-oriented modern philoso- phy and announces “the end of Philosophy” in his ground-breaking work Philosophy and the Mirror of Nature (1979), both the notion of knowledge as the representation of reality and the notion of Truth as corresponding to reality are called into question. But this crisis with “representational knowledge” also means a crisis with “modern subjectivity” defined by “the disengaged rational self,” which originates in the Cartesian conception of selfhood and culminates in the Kantian conception of self- hood. For the idea of modern subjectivity as an agency that organizes knowledge as its systematic representations is presupposed by the notion of knowledge as the “representation” of the world. Thus, we may say that “the end of Philosophy” timely declared by Rorty anticipates “the end of subjectivity,” both of which tend to lead into the phenomenon of “the end of Education.” The traditional sense of education as knowledge transmission is now bankrupt, since there is no absolute knowledge for the future generation to be inducted into as well as no substance-based character for them to be formed into. With the explosion of the modern myth of knowledge, young people can no longer seek emancipation in schools and universities, as these institutions are increasingly constrained by a new criterion of knowledge as “perfor- mativity” in Lyotard’s terms. This is why today we often witness schools and universities losing ground as official educational institutes, ground that comes from the integrity of their own practice and purpose as social institutions. In fact, they tend to be engaged more and more in qualifying, rather than educating, future gen- erations, exclusively with exams and degrees as measures for their performativity. This tendency has seriously undermined the educational authority of today’s schools and universities. However, just as “the end of Philosophy” does not mean, nor needs to bring about, the end of philosophy per se, “the end of Education” does not mean the end of education as a social practice per se, nor need it bring about the death of our belief in schooling as an educational institution. The term “the end of Education” may demand us to conceive a new paradigm of education or a new culture of school- ing that can properly respond to the situation consequent on “the end of Philosophy,” i.e., education and schooling that can be defined by what is more than, or other than, “knowledge transmission.” This book proposes the idea of “self-transformation” in the place of “knowledge transmission” in pursuit of a new paradigm of education. This proposal can be aligned with what David Cooper (2003, p. 211) calls “a moderate” post-modernist
- 19. 4 1 Introduction: Education as Self-transformation and the Essay Form of Writing... position. He describes the moderate postmodernist position as that which does not reject the possibility of objective agreement on truth, knowledge and moral norms, but shares the post-modernists’ hostility toward “depth” of the true nature of the world and their rejection of the foundationalist account of the truth. Cooper also claims that such a moderate position would be plausible only when there is “a com- fortable place to occupy between an absolute or foundationalist conception of truth” or value and a whole-hearted “embrace of a playful, anarchic and nihilistic attitude to our beliefs and commitments” (Copper 2003, p. 215). Similarly, I think an alter- native concept of education for self-transformation would be plausible only when there is a place for the radical reformulation of modern subjectivity between its deconstructionist critique and its modernist defense, which can avoid polar and polemical contemporary discourses on the questions of knowledge and truth. Thus, my overarching concern throughout this book can be described as an attempt to reformulate modern subjectivity in this middle path. While the post-modern critique of knowledge as representational tends to put into question the textuality of the self as a system of representations, “subjectivity as a critical concept invites us to consider the question of how and from where one’s identity arises, to what extent it is understandable, and to what degree it is something over which we have any measure of influence or control” (Hall 2004, pp. 3–4). This philosophical inquiry about subjectivity, which has been one of the central questions that for the last two centuries continental philosophers from Nietzsche and Heidegger to Foucault are interested in, is usually considered to be an intersection of two lines of philosophical inquiry: epistemology as the study of how we know what we know and ontology as the study of the nature of being or existence (Hall 2004, p. 4). This means that the inquiry into subjectivity is associated with a bigger and more general question, such as how our understanding of knowledge relates to and constrains our understanding of our existence, and whether our social and individual existences are determined by the ways that we collectively organize knowledge. The concern that underlies this inquiry is akin to that with which ancient philosophers were concerned when they attempted to integrate “knowledge” and “wisdom,” with the expectation that the knowledge of “how things are the way they are” would inform us of the wis- dom about “how to conduct one’s life.” The assumption that knowledge is supposed to be conceptually connected to the question of how we should live derives from the ancient idea that the cosmos as such expresses a human purpose and therefore that the knowledge of cosmos or nature would be part of what it means to be human. This is exactly what Hans Blumenberg, the contemporary German philosopher, means when he says that “since the ancient theory, what theory was supposed to do was not to make life possible but to make it happy” (1983, p. 232). In this sense, the inquiry about subjectivity can be described as an attempt to recover this ancient connection between “knowledge” and “wisdom” or “theory” and “happiness of life,” the con- nection that has long been lost in the modern mind. Then how has the connection been lost in the modern mind? This disconnection is created when, unlike the naïve ancient mind, the self-conscious scientific-minded moderns regard the cosmos as indifferent to humans; this experience is expressed as the “disenchantment of the nature” in Max Weber’s terms. The knowledge of the
- 20. 5 1 Introduction: Education as Self-transformation and the Essay Form of Writing... cosmos is no longer considered to be the expression of human purpose in the universe, and there is no internal connection between the cosmos and human beings. Thus, according to Simon Critchley (2001), what is distinctive about the modern mind is that there is always a gap between (scientific) knowledge and wisdom or truth and meaning, between causal explanation and existential understanding. But this is not an explanatory gap that can be closed by producing a better and more comprehensive theory about the world, but an experiential or felt gap within the modern self. This means that, even if all epistemic worries about what we know and how we know are to be resolved empirically by scientific inquiry, this would be somehow irrelevant to the question of wisdom, i.e., the question of knowing of what exactly a good human life or the meaning of our existence might consist.1 The paradox of our experiences in this scientific age is that the scientific concept of the world does not close the gap between knowledge and wisdom, but makes us feel the gap all the more acutely. In fact, it is when the force of this paradox begins to be felt existentially that the neglected question of the meaning of life or the pur- pose of our existence comes back with a sense of emptiness and loss, making us feel fragmented, restless, imprisoned, and disintegrated in our everyday lives. Thus, the gap is not something we can reduce through empirical inquiry but something we moderns are forced to live with; for our existential anxiety that is the source of this gap seems to be something that cannot simply disappear from our lives, without resorting to drugs or bizarre lifestyles. Thus, our attempt to think about the gap and to bridge or reduce it creates a space for critical reflection in such a way as to bring us more than just a personal peace of mind. This is why I think we educators need to pay attention to this gap for educational purposes. But what exactly is this critical reflection on the experiential gap between “knowledge” and “wisdom” supposed to lead us to achieve from the educational perspective? One answer would be that we are expected to shift our concern from the relation between “what we know” and “how we are” into the relation between “how we know what we know” and “how we are.” What should be noted here is that the idea of (objective) knowledge of the world as our immediate relation to the world is replaced by the idea of our understanding of knowledge of the world as a mediated relation to the world. The latter is exactly the concern to which the philo- sophical inquiry about subjectivity demands us to pay attention in pursuit of how our understanding of knowledge relates to and constrains our understanding of our existence or whether our social and individual existences are determined by the ways that we collectively organize knowledge. 1 An extreme view like “evolutionary epistemology” argues that all the questions can in principle be answered through empirical inquiry or be rejected as spurious (Critchley 2001, p. 5). For example, a philosopher like Daniel C. Dennett thinks that the question of the meaning of life can be answered causally or empirically through Darwinian evolutionary theory, reducing all philosophical ques- tions to epistemological questions, and claiming that all such questions have to be answered with reference to evolutionary dispositions. Refer to his book Darwin’s Dangerous Idea: Evolution and the Meaning of Life (1996, New York: Touchstone). As the reader will discover, I do not accept this extreme view.
- 21. Other documents randomly have different content
- 22. Films, a division of Esquire, Inc.; 16Sep69; MP19847. YOUR COMMUNICATION SKILLS: THE EXCHANGE OF IDEAS. Coronet Instructional Films. 11 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 4Sep69; MP19846. YOUR COMMUNICATION SKILLS: WRITING. Coronet Instructional Films. 12 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 3Sep69; MP19858. YOUR DAILY HOROSCOPE, JANUARY 1. Reid Ray Television Productions & Show Biz. 4 min., sd., b&w, 16 mm. Based on the works of Gustave C. Ekstrom. Appl. states prev. pub. 16Feb63. NM: rev. © CorRay Television Productions; 7Dec64; MP14767. YOUR DATE WITH LIGHT. Better Light Better Sight Bureau. Made by VPI-Industrial Productions. 15 min., sd., color, 16 mm. © Better Light Better Sight Bureau; 30Mar65; MP15842. YOUR DECISION! OR? Joseph W. Farr. 17 min., sd., color, 16 mm. © Joseph W. Farr; 28Sep59; MP9853. YOUR EARS. Encyclopaedia Britannica Films. 6 min., sd., color, 16 mm. (Basic life science, unit: Your
- 23. health) Eastman color. © Encyclopaedia Britannica Films, Inc.; 15Sep64; MP14601. YOUR EYES. Encyclopaedia Britannica Films. 7 min., sd., color, 16 mm. (Basic life science, unit: Your health) Eastman color. © Encyclopaedia Britannica Films, Inc.; 15Sep64; MP14600. YOUR FOOD. Encyclopaedia Britannica Films. 7 min., sd., color, 16 mm. (Basic life science, unit: Your health) Eastman color. © Encyclopaedia Britannica Films, Inc.; 15Sep64; MP14597. YOUR FORTUNE FOR A PENNY. See 77 SUNSET STRIP. YOUR GOLDEN FUTURE IN THE LAND OF ENCHANTMENT. Rio Rancho Estates. 28 min., sd., color, 16 mm. © Rio Rancho Estates, Inc.; 30May66; MP16636. YOUR HEALTH. See YOUR BODY AND ITS PARTS. YOUR EARS. YOUR EYES. YOUR FOOD. YOUR PROTECTION AGAINST DISEASE.
- 24. YOUR SLEEP AND REST. YOUR TEETH. YOUR HIDDEN STRENGTH. Holiday Advertising Agency. 20 min., Ektachrome, 16 mm. Appl. author: William R. Witherell, Jr. © Holiday Advertising Agency; 12Sep60; MU6913. YOUR HOME SWEET HOME IS MY HOME. See THE DICK VAN DYKE SHOW. YOUR IN LORDDS LAND!! Austin F. Lamont. 14 min., sd., b&w, 16 mm. © Austin F. Lamont; 26Sep65; MP15476. YOUR JOB, APPLYING FOR IT. Coronet Instructional Films. 14 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 10Jan69; MP18903. YOUR JOB, FINDING THE RIGHT ONE. Coronet Instructional Films. 13 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 2Jan69; MP18898. YOUR JOB, FITTING IN. Coronet Instructional Films. 16 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 3Jan69; MP18902.
- 25. YOUR JOB, GETTING AHEAD. Coronet Instructional Films. 16 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 2Jan69; MP18899. YOUR JOB, GOOD WORK HABITS. Coronet Instructional Films. 14 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 2Jan69; MP18901. YOUR JOB, YOU AND YOUR BOSS. Coronet Instructional Films. 16 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 2Jan69; MP18900. YOUR JUNIOR HIGH DAYS. McGraw-Hill Book Co. 12 min., sd., color, 16 mm. (Junior High guidance series) Eastman color. © McGraw-Hill Book Co., Inc.; 27Dec63; MP14214. YOUR LIFE, YOUR FUTURE. Church of Jesus Christ of Latter-Day Saints. Made by Brigham Young University. 24 min., sd., color, 16 mm. © Brigham Young University; 3Mar69 (in notice: 1968); MP19128. YOUR LINK WITH THE ROAD. Video films. 25 min., sd., color, 16 mm. Appl. author: William R. Witherell, Jr. © Video Films, Inc.; 21Aug64; MU7482.
- 26. YOUR MARRIAGE AND FAMILY LIVING. See ENGAGEMENT: ROMANCE AND REALITY. HANDLING MARITAL CONFLICTS. PSYCHOLOGICAL DIFFERENCES BETWEEN THE SEXES. YOUR NERVOUS SYSTEM. Coronet Instructional Films. 11 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 1Sep66; MP16345. YOUR NUMBER'S UP. See GRAND JURY. YOUR OPPORTUNITY. Winter, Kahn, Nielsen, Ross & Buckwalter, Inc. 1 reel, sd., color, 8 mm. © Winter, Kahn, Nielsen, Ross & Buckwalter, Inc. & Electronic Computer Programming Institute of Fort Wayne, Inc.; 15Dec65 (in notice: 1966); MP16213. YOUR PROTECTION AGAINST DISEASE. Encyclopaedia Britannica Films. 8 min., sd., color, 16 mm. (Basic life science, unit: Your health) Eastman color. © Encyclopaedia Britannica Films, Inc.; 15Sep64; MP14602.
- 27. YOUR ROYAL HIGHNESS, PRINCESS MARGARET. Twentieth Century-Fox Film Corp. 1 reel, sd., b&w, 35 mm. A Movietone presentation. © Twentieth Century-Fox Film Corp.; 19Apr60; LP16432. YOUR SLEEP AND REST. Encyclopaedia Britannica Films. 6 min., sd., color, 16 mm. (Basic life science, unit: Your health) Eastman color. © Encyclopaedia Britannica Films, Inc.; 15Sep64; MP14598. YOUR SPINE IS YOUR LIFELINE. District 5, Pennsylvania Chiropractic Society. 60 sec., sd., b&w, 16 mm. Appl. author: Edward C. Michener Associates. © District 5, Pennsylvania Chiropractic Society; 1Mar60; MP10053. YOUR STAY IN THE HOSPITAL. Professional Research. 8 min., sd., color, Super 8 mm. © Professional Research, Inc.; 15Jan69 (in notice: 1968); MP19877. YOUR STUDY METHODS. Coronet Instructional Films. 11 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 15Oct64; MP14617. YOUR TEETH. Encyclopaedia Britannica Films. 6 min., sd., color, 16 mm. (Basic life science, unit: Your health) Eastman color. © Encyclopaedia
- 28. Britannica Films, Inc.; 15Sep64; MP14599. YOUR THRIFT HABITS. Coronet Instructional Films. 11 min., sd., b&w, 16 mm. 2d ed. © Coronet Instructional Films, a division of Esquire, Inc.; 10Jul64; MP14542. YOUR WITNESS. See ALFRED HITCHCOCK PRESENTS. YOUR WORLD NEIGHBORS SERIES. See THE BROTHERS: LIFE ON A GREEK ISLAND. KIM VISITS THE NETHERLANDS. YOU'RE ALL RIGHT, IVY. See THE GREATEST SHOW ON EARTH. YOU'RE AS YOUNG AS YOU FEEL. See THE REAL MCCOYS. YOU'RE DRIVING ME CRAZY. See MY THREE SONS. YOU'RE IN MY POWER. See MY THREE SONS. YOU'RE NEVER TOO OLD. See THE REAL MCCOYS. 11.
- 29. YOU'RE ONLY OLD ONCE. See THE SMOTHERS BROTHERS SHOW. YOU'RE UNDER ARREST. See COMEDY CAPERS. THE DICK VAN DYKE SHOW. YOU'RE WHAT? AGAIN? See THE JOEY BISHOP SHOW. YOURS, MINE AND OURS. Desilu-Walden Productions. Released by United Artists Corp. 111 min., sd., color, 35 mm. © Desilu-Walden Productions; 24Apr68; LP35532. YOURS TRULY, JACK THE RIPPER. See THRILLER. YOUTH DANCES. Trustees of the Dance in Education Fund. Made by Contemporary Films. 15 min., sd., b&w, 16 mm. © Trustees of the Dance in Education Fund; 28Dec59; MP9878. YOUTH FOR THE ASKING. See HOW TO MARRY A MILLIONAIRE. YOUTH PHYSICAL FITNESS. Robert Saudek
- 30. Associates. 28 min., sd., color, 16 mm. © Equitable Life Assurance Society of the United States; 24Apr62; MP12699. YOUTH SPEAK OUT. Christian Science Board of Directors. 15 min., sd., color, 16 mm. © Christian Science Board of Directors; 15Oct68; MP19166. YOUTHFUL BAD MAN. See SHERIFF OF COCHISE. YOUTHS AND MAIDENS ON AN EVENING WALK. See THE DEFENDERS. YOU'VE BEEN DISCONNECTED. See GILLIGAN'S ISLAND. YOU'VE GOT TO BE MISERABLE TO BE HAPPY. See THE DANNY THOMAS SHOW. No. 26-D (146). YOU'VE SOLD ME, MRS. MARLOWE. Anne Saum & Associates. Made by Calvin Productions. Distributed by Modern Talking Pictures Service. 9 min., sd., color, 16 mm. (People sell people) © Calvin Productions, Inc.; 14Jan66; MP15903.
- 31. YUGOSLAV BOY: STORY OF FRANE. Encyclopaedia Britannica Educational Corp. Made by Niksa Fulgosi & Octavian Miletic. 18 min., sd., color, 16 mm. Produced in collaboration with Yugoslav Tourist Information Bureau. © Encyclopaedia Britannica Educational Corp.; 24Jan68 (in notice: 1967); MP18421. YUGOSLAVIA: BRIDGE OR TIGHTROPE? See THE TWENTIETH CENTURY. THE YUKON AFFAIR. See THE MAN FROM U.N.C.L.E. YULE LAFF. Paramount Pictures Corp. 6 min., sd., color, 35 mm. (Noveltoon cartoon) © Paramount Pictures Corp.; 1Sep62; LP23131. YVON DURELLE VS. ... See TURN OF THE CENTURY FIGHTS.
- 32. Z THE ZANTI MISFITS. See THE OUTER LIMITS. THE ZAP SAP. Hal Seeger. 5 min., color, 16 mm. (Batfink, no. 78) © Hal Seeger; 12Sep67; LU3543. ZE PEL FABRIC FLUORIDIZER. E. I. du Pont de Nemours & Co. Made by Jam Handy Organization. 11 min., sd., color, 16 mm. Ektachrome. © Jam Handy Organization, Inc.; 8May64; MU7433. THE ZEBEDEE TITUS STORY. See WAGON TRAIN. ZEBRA IN THE KITCHEN. Ivan Tors Enterprises. Released by Metro-Goldwyn-Mayer. 92 min., sd., color, 35 mm. Metrocolor. From a story by Elgin Ciampi. © Metro-Goldwyn-Mayer, Inc. & Ivan Tors Enterprises, Inc.; 2Mar65; LP29825. ZEETH IN JUNGLE REV. 2. Alberto-Culver Co. 60 sec., sd., b&w. © Alberto-Culver Co.; 2Mar64; MU7396.
- 33. ZEETH JINGLE. Alberto-Culver Co. 60 sec., sd., b&w. © Alberto-Culver Co.; 2Mar64; MU7397. ZELDA, GET OFF MY BACK. See THE MANY LOVES OF DOBIE GILLIS. ZELDA THE ZOMBIE. Hal Seeger Productions. 6 min., sd., color, 35 mm. (Milton, no. 9) Eastman color. © Hal Seeger Productions, Inc.; 10Sep65; LU3377. ZERO HOUR IN GREECE. See THE TWENTIETH CENTURY. ZIG ZAG. See RIVERBOAT. THE ZIP CODE ZIPPER. See WINKY DINK AND YOU. No. P-38. ZIP 'N SNORT. Warner Bros. Pictures. 7 min., sd., Technicolor, 35 mm. (Merrie melodies; Road Runner) © Warner Bros. Pictures, Inc.; 21Jan60; LP21766. ZIPPY, THE JACK RABBIT. Peter Tafarella. 3 min. © Peter Tafarella; 30Aug60; MU6906.
- 34. ZOE ANNE OLSON TOPS AAU. See SPORTFOLIO. ZOMBO. See THE MUNSTERS. THE ZONE. See GUNSLINGER. ZOO ANIMALS IN RHYME. Coronet Instructional Films. 11 min., sd., b&w, 16 mm. © Coronet Instructional Films, a division of Esquire, Inc.; 27Apr65; MP15231. ZOO BABY ANIMALS. Encyclopaedia Britannica Films. 11 min., sd., color, 16 mm. © Encyclopaedia Britannica Films, Inc.; 17Jan61 (in notice: 1960); MP11423. ZOO FAMILIES. Film Associates of California. 10 min., sd., color, 16 mm. Eastman color. © Film Associates of California; 3Feb55; MP14009. ZOO IS COMPANY. Hanna-Barbera Productions. Released by Columbia Pictures Corp. 7 min., sd., Eastman color by Pathé, 35 mm. (Loopy de Loop, no. 15) © Hanna-Barbera Productions;
- 35. 1Jul61; LP20463. ZOOM AT THE TOP. Warner Bros. Pictures. 7 min., sd., color, 35 mm. (Merrie melodies; Road Runner) Technicolor. © Warner Bros. Pictures, Inc.; 30Jun62; LP24815. ZORBA THE GREEK. Twentieth Century-Fox Film Corp. 142 min., sd., b&w, 35 mm. From the novel by Nikos Kazantzakis. © Twentieth Century-Fox Film Corp.; 17Dec64; LP30833. ZORRO. Walt Disney Productions. 30 min., each, sd., b&w, 35 mm © Walt Disney Productions. 1958-1959. 7201. Oct. 9, 1958. Welcome to Monterey. © 18Sep58; LP15725. 7202. Oct. 16, 1958. Zorro rides alone. © 25Sep58; LP15726. 7203. Oct. 23, 1958. Horse of another color. © 2Oct58; LP15727. 7204. Oct. 30, 1958. The senorita makes a choice. © 9Oct58; LP15728. 7205. Nov. 6, 1958. Rendezvous at sundown. © 16Oct58; LP15729. 7206. Nov. 13, 1958. The new order. © 23Oct58; LP15730.
- 36. 7207. Nov. 20, 1958. An eye for an eye. © 30Oct58; LP15731. 7208. Nov. 27, 1958. Zorro and the flag of truce. © 6Nov58; LP15732. 7209. Dec. 4, 1958. Ambush. © 13Nov58; LP15733. 7210. Dec. 11, 1958. The practical joker. © 20Nov58; LP15734. 7211. Dec. 18, 1958. The flaming arrow. © 27Nov58; LP15735. 7212. Dec. 25, 1958. Zorro fights a duel. © 4Dec58; LP15736. 7213. Jan. 1, 1959. Amnesty for Zorro. © 11Dec58; LP15737. 7214. Feb. 19, 1959. Spark of revenge. © 29Jan59; LP15744. 7215. Jan. 8, 1959. The runaways. © 18Dec58; LP15738. 7216. Jan 15, 1959. The iron box. © 25Dec58; LP15739. 7217. June 25, 1959. Senor China Boy. © 4Jun59; LP15762. 7218. Jan. 22, 1959. The gay caballero. © 1Jan59 (in notice:
- 37. 1958); LP15740. 7219. Jan. 29, 1959. Tornado is missing. © 8Jan59; LP15741. 7220. Feb. 5, 1959. Zorro versus Cupid. © 15Jan59; LP15742. 7221. Feb. 12, 1959. The legend of Zorro. © 22Jan59; LP15743. 7222. May 14, 1959. The sergeant sees red. © 23Apr59; LP15756. 7223. Mar. 19, 1959. Zorro and the mountain man. © 26Feb59; LP15748. 7224. Mar. 26, 1959. The hound of the sierras. © 5Mar59; LP15749. 7225. Apr. 2, 1959. Manhunt. © 12Mar59; LP15750. 7226. Feb. 26, 1959. The missing father. © 5Feb59; LP15745. 7227. Mar. 5, 1959. Please believe me. © 12Feb59; LP15746. 7228. Mar. 12, 1959. The brooch. © 19Feb59; LP15747. 7229. Apr. 9, 1959. The man from Spain. © 19Mar59; LP15751. 7230. Apr. 16, 1959. Treasure for
- 38. the King. © 26Mar59; LP15752. 7231. Apr. 23, 1959. Exposing the tyrant. © 2Apr59; LP15753. 7232. Apr. 30, 1959. Zorro takes a dare. © 9Apr59; LP15754. 7233. June 18, 1959. The fortune teller. © 28May59; LP15761. 7234. May 7, 1959. Affair of honor. © 16Apr59; LP15755. 7235. July 2, 1959. Finders keepers. © 11Jun59; LP15763. 7236. May 21, 1959. Invitation to death. © 30Apr59; LP15757. 7237. May 28, 1959. The capitan regrets. © 7May59; LP15758. 7238. June 4, 1959. Masquerade for murder. © 14May59; LP15759. 7239. June 11, 1959. Long live the Governor. © 21May59; LP15760. ZORRO. Walt Disney Productions. Approx. 60 min. each, sd., b&w, 16 mm. © Walt Disney Productions. 1960-61. Adios El Cuhillo. Telecast: Nov. 6, 1960. © 14Oct60; LP25691.
- 39. Auld acquaintance. Telecast: Apr. 2, 1961. © 10Mar61; LP25693. El Bandido. Telecast: Oct. 30, 1960. © 7Oct60; LP25690. The postponed wedding. Telecast: Jan. 1, 1961. © 9Dec60; LP25692. ZOTZ! William Castle Pictures. Released by Columbia Pictures Corp. 87 min., sd., b&w, 35 mm. Based on the novel by Walter Karig. © William Castle Pictures; 27Jun62; LP22244. ZSA ZSA. See MISTER ED. ZSA ZSA REDECORATES THE NURSERY. See THE JOEY BISHOP SHOW. ZWEI SÄRGE AUF BESTELLUNG (We still kill the old way) Cemo-Film-Rom. Germany. Released in the U.S. by Lopert Pictures Corp. 92 min., sd., color, 35 mm. Adapted from the novel by Leonardo Sciascia. © Cemo-Film Rom, S.P.A.; 6Oct67; LF38. ZYGOTE FORMATION IN PANDORINA. See ALGAL SYNGAMY: ZYGOTE FORMATION IN PANDORINA.
- 40. ZZZZZ. See THE OUTER LIMITS.
- 41. Name Index An alphabetical list of the names of persons and organizations associated with the motion pictures listed in the main section as claimant, producing, releasing, or distributing agents, etc., or as author of the work upon which the motion picture is based. Under each name are listed the titles of the pertinent motion pictures. A AAA Foundation for Traffic Safety, Washington, D.C. THE DAY THE BICYCLES DISAPPEARED. THE FINAL FACTOR. A. A. Productions, Ltd. LOLITA THE ROMAN SPRING OF MRS. STONE. ABC. THE BING CROSBY SHOW. THE TYCOON. ABC Division. SEE American Motors Corp. ABC Division.
- 42. ABC Films, Inc. COME SPY WITH ME. ABC News. KITTY HAWK TO PARIS: THE HEROIC YEARS. THE MAKING OF THE PRESIDENT, 1960. WHO IN '68? ABC Sports, Inc. THE AMERICAN SPORTSMAN. ABC Television Network. COMBAT! GARRISON'S GORILLAS. MICKEY. MY THREE SONS. A. C. E. Films, Inc. THE THIN RED LINE. A.C.I. Productions. THE CONTINENT OF AFRICA. EAST AFRICA: TROPICAL HIGHLANDS.
- 43. THE ECONOMY OF AFRICA. NORTHERN AFRICA: WATER AND MAN. THE PEOPLES OF AFRICA. SOUTHERN AFRICA: INDUSTRY AND AGRICULTURE. WEST AFRICA: TROPICAL LOWLANDS. A.C.I. Productions, Ltd. THE SOUTHEAST, CHALLENGE AND CHANGE. A-C Productions. MARRIAGE ON THE ROCKS. ACWA. SEE Amalgamated Clothing Workers of America. AIBS. SEE American Institute of Biological Sciences, Washington, D.C. A.M. Productions, Inc. SWING AROUND BRAZIL. WHAT'S UP DOWN UNDER? AOPA Foundation, Inc. COME FLY WITH ME, DARLENE. A.P.I. Productions.
- 44. DESIRE IN THE DUST. API Productions, Inc. SEVEN WOMEN FROM HELL. ATA Foundation, Inc. CHAMPIONS OF THE HIGHWAY. ATV-ITC Production. SPOTLIGHT. A-V Corp. THE GAME PLAYED AROUND THE WORLD. MOVING WITH MATHEMATICS. THE POWER OF MOTION PICTURES. THE STRAW HAT AND THE CROWN. TRAIL TO THE STARS. A-V Corp., Teaching Films Division. SEE Teaching Films, Inc. Abbey, Edward. LONELY ARE THE BRAVE. Abbott, George.
- 45. DAMN YANKEES. Abbott Laboratories. THE GRADUMET STORY. Abel, Robert. THE SEVEN SECOND LOVE AFFAIR. Abraham, Edward. THE TRUNK. Abraham, Valerie. THE TRUNK. Abrams, Albert J. THE COMMON GOOD, NEW YORK STATE'S LEGISLATURE IN ACTION. Academic Communications Facility, University of California. SEE California. University. Academic Communications Facility. Academy Films. MAP OF CALIFORNIA, AGRICULTURAL USES OF LOWLANDS IN COASTAL VALLEYS. MAP OF CALIFORNIA: THE DESERT AND HOW MAN USES DESERT VALLEYS FOR AGRICULTURE.
- 46. Academy Films, Inc. MAPS AND THEIR MEANING. MAPS, LAND SYMBOLS AND TERMS. URBAN USES OF LAND FOR EDUCATION, CULTURE AND RECREATION. URBAN USES OF LAND FOR INDUSTRY. Accord Productions, Ltd. OH! WHAT A LOVELY WAR. Accredited Beauty School Service, Inc. ANATOMY OF HAIR STYLING. Accredited Schools of Beauty Culture. ANATOMY OF HAIR STYLING. Achard, Marcel. FRIEND OF THE FAMILY. A SHOT IN THE DARK. Ackerman, Nathan W. IN AND OUT OF PSYCHOSIS. Acre-Sajo Co.
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