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The article gives an overview of foreign research on the key topics in contemporary philosophy of education. The first two sections are devoted to discussing epistemic, moral and political objectives of education. The last section discusses one of the most controversial topics of contemporary philosophy of education—the professional status of teachers. Ability to comprehend critically social and political conditions of formation and spread of knowledge appears to be one of the essential epistemic objectives of education. Attention towards implicit fundamentals of expert knowledge and ability to find relevant information to verify beliefs are epistemic virtues contributing to formation of an autonomous cognizing individual. Among ethical objectives of education, we have traditionally singled out personal autonomy, ability to live a full social and economic life, comprehensive personal development, civic (democratic) competencies, and cooperation skills. The last twenty years, largely due to feminist and communitarian criticism, have witnessed development of an attitude that consists in finding the paramount goal of education in inculcating the ideals of love, care and community spirit, instead of autonomy of a rational individual. Implicitly ethical objectives of education are closely related to "distributive" objectives that define the final provider of teaching efforts. Having analyzed discussions on professionalization of teachers' activities, we conclude that, although teaching is characterized by some prominent features of professional activity, its specific nature makes it difficult to establish distinct criteria of professionalization.

"Festschrift honoring Ellis Sandoz, director of the Eric Voegelin Institute for American Renaissance Studies and editor of Collected Works of Eric Voegelin. Essays explore philosophy, literature, and politics, and focus on Xenophon, Natsume, Freud, Robert Penn Warren, and George Santayana"--Provided by publisher

The convergence of electronic media and literary forms during the digital revolution has produced a variety of new hybrid genres which we call today 'electronic literature'. In Italy, electronic literature has a rich history. It was born in the cultural milieu of the Neoavanguardia in the early 1960s and, since then, it has produced a significant number of experimental works and practices. In this article, I take into consideration the cultural milieu in which it originated and I examine some of the works of the first Italian "electronic" writer, Nanni Balestrini. I will first contextualise Umberto Eco's Opera aperta in its cultural context, with a special focus on some of the foundational concepts of the "open work" (crisis, interactivity, entropy). In section 3, I argue that Opera aperta does not only coincide with the birth of the first Italian electronic literary work, namely Nanni Balestrini's Tape Mark I, but it also provides a theoretical and methodological framework to analyse Italian electronic literature across decades from both an aesthetic and critical perspective. In my analysis of some of Balestrini's key works and collaborations in electronic literature in the following section, I emphasise how formal experimentation and political intention are strictly intertwined and critically address some important questions about our relationship with technologies, such as automation and alienation. Finally, in the conclusion, I highlight the points that make the modern concept of 'opera aperta' an effective methodological tool for exploring the 'open textuality' of electronic literature and how artists have come to terms with the new forms of expression offered by new media.

Offering a new approach to the intersection of literature and philosophy, Modernist Idealism contends that certain models of idealist thought require artistic form for their full development and that modernism realizes philosophical idealism in aesthetic form. This comparative view of modernism employs tools from intellectual history, literary analysis, and philosophical critique, focusing on the Italian reception of German idealist thought from the mid-1800s to the Second World War. Modernist Idealismintervenes in ongoing debates about the nineteenth- and twentieth-century resurgence of materialism and spiritualism, as well as the relation of decadent, avant-garde, and modernist production. Michael J. Subialka aims to open new discursive space for the philosophical study of modernist literary and visual culture, considering not only philosophical and literary texts but also early cinema. The author's main contention is that, in various media and with sometimes radically different political and cultural aims, a host of modernist artists and thinkers can be seen as sharing in a project to realize idealist philosophical worldviews in aesthetic form.