Humanities and Philosophy

This article outlines how the historical human sciences see 'culture' and its dynamic developments over time and over generations. The operations of human culture are systemically self-reflexive and, as a result, exhibit a complexity that sets them apart, as a semiotic system, from mere communicative information transfer. Peculiar to this complexity is the two-way interaction between the 'etic' substance of the cultural exchanges and their 'emic' function. Cultural signals require parallel etic/emic processing at stacked levels of complexity. As a result of this complexity, the homeostasis and autopoiesis of human culture, including its dynamics and development over time, cannot be explained fully in terms of responses to the physical environment. How, this article ponders by way of conclusion, can an evolutionary approach be reconciled with these characteristics of human culture, or the notion of culture be applied to evolutionary modelling? This article is part of the theme issue 'Foundations of cultural evolution'. Being aware of being aware of being. In other words, if I not only know that I am, but also know that I know it, then I belong to the human species. All the rest follows.

This paper begins by drawing on accounts of enchantment as
wonder by three authors (Alain-Fournier, Aldous Huxley and J.R.R.
Tolkien) to explore its basic characteristics and dynamics. It then
draws a contrast with the disenchantment attending will and the
will-to-power, noting the internal affinity of the latter with the
project of modernity and its contrast with enchantment as a nonmodern
experience. It then proceeds to a critique of three influential
philosophers’ portrayals of enchantment (Philip Fisher, Jane
Bennett and Akeel Bilgrami, as well as Charles Taylor), which it
faults for not paying closer attention to the implications of the
experience of enchantment. It closes with a plea for philosophy
aligned with the humanities rather than sciences.

In response to the claim that our sense of will is illusory, some philosophers have called for a better understanding of the phenomenology of agency. Although I am broadly sympathetic with the tenor of this response, I question whether the positive-theoretic blueprint it promotes truly heralds a tenable undertaking. Marshaling a Schopenhauerian insight, I examine the possibility that agency might not be amenable to phenomenological description. Framing this thesis in terms of Charles S. Peirce’s semiotic framework, I suggest a way to integrate the idea of streaming experiences with that of bodily strivings, which, owing to their primitive structure, can never be represented.

This essay is meant to investigate the relationship between an author’s individuality and his works as conceived by Italian historian of philosophy Eugenio Garin (1909-2004). Properly emphasizing  both the theoretical and the historiographical aspects, the essay clarifies Garin's stand by identifying his main intellectual references. First, it deals with Garin's examination of Giuseppe De Robertis' literary criticism, highlighting Garin's appreciative mentions of Renato Serra. Second, it discusses Garin's positive evaluation of Wilhelm Dilthey's studies on Hegel and draws attention to Garin's refutation of Alexandre Koyré's stance. Third, it delves into Garin's objections to Benedetto Croce's ideas of empirical individual and biography, suggesting a possible influence of Giovanni Boine and Giovanni Amendola on Garin's reaction to Croce. Finally, it analyzes Garin's preference for ‘portrait’ as the form of philosophical historiography that can better illuminate the ineluctable connection between an author’s individual, human and biographical traits and the philosophy enunciated in his works.

This article deals with the possibility of applying personalistic thinking to so-called post-human persons. They are subjects of the ongoing debates within the so-called human enhancement project. First the paper sketches a contemporary understanding of personalism where the human or divine persons are points of reference. Second, it examines a proposal of enlarging the world of persons by including novel entities traditionally not considered as such, for instance improved human-like entities created artificially. Finally, the article un- dertakes an attempt at assessing a possible personalistic project aimed at a new family of persons. The conclusions are rather sceptical because of a lack of clarity as to who or what those post-human persons are. Thus, personalism as we know it today cannot encompass and place under investigation all groups of possible post-human creatures. As it seems at present, attempts at formulating a project of post-human personalism lack adequate re- sources and are far from viability.

The humanities are not considered "important enough" in general, let alone in the context of gifted education. Shaughnessy (2014) has summarized this conclusion in short, focusing on what he calls: "The crisis of humanities". According to him, the crisis includes both the definition of humanities and their scope, which have substantially changed, as well as their becoming marginal to other disciplines rather than respected, important, high-  prestige subjects.
According to Fisher, Walters & LoGuidice (1987), teaching the humanities should be used to develop a curriculum guide for the gifted. This is indeed a noble cause, but it is a little questionable whether 35 years after that article was written, it is still realistic. For too many years the humanities have been striving for more recognition, as students have been directed towards computer-related subjects. In many countries even pure mathematics and natural sciences find it hard to compete with the "screen-world" (e.g. Kaleva et al., 2019; Wilson & Mack, 2014). However, if a teacher is well educated both in the humanities and social sciences, and is also highly computer-literate, it might help access "humanistic worlds" to their students.
Let us look at the issue of teaching the humanities from two different points of view: the contribution – past, present and possible future of the humanities, to culture, politics, morals, ethics, etc., and the well-being of gifted students.

The family quote that fits to me is "Home is where our STORY begins". I belong to Eugene Gordon Saratorio's Family Tree. He is our grandfather. I am composed by my father, BENONI and my mother, GENEDITHA. Because of the two of them, I'm named as GEEBEI MAE, a girl, female or woman in their eyes. My thirteen siblings are also composed by the two of them, we're like clones. My siblings names are Bengene Joy, Eugene Rijn, Benzene Jay, Benjamin Jasper and Rogne Keith-my brothers, to be specific. And my sisters, their names are Genebei Faith, Beighty Aivee, Yvonne Xyzelle, Zizah Neiel, Meizona Charin, Zereth Tirzah, Temeni Rezin and Doxagennes Keilah. We are many, that is why we're called big family. Some of us are bad, good, happy, sad, kind, selfish but they are just roles, to emphasize, as DETERMINED GROUP. >TEACHER

In the online era, the role of the media in facilitating learning history is very important. Learning in the online era is considered to return to conventional models that lack the use of innovative media. This study aims to analyze the development of historical knowledge of students in learning history using national hero infographic. This study uses qualitative methods with descriptive designs. The data source of this research came from teachers and students. Data were collected using in-depth interview and observation techniques. Data analysis uses an interactive model. The results study are: 1) students' knowledge about national heroes develops after learning using the national hero infographic; 2) the unit of knowledge development lies in the way students identify heroes, understand the role of heroes, and the reflective attitude of students after learning with national hero infographics; and 3) factors that play a role in developing students' historical knowledge about heroism are ideology and social context. The conclusion of this research is that relevant national hero infographics are used in the effort to develop students 'heroes' knowledge in the history class.