Education without Moral Worth? Kantian Moral Theory and the Obligation to Educate Others

This article examines the possibility of a Kantian justification of the intrinsic moral worth of education. The author critiques a recent attempt to secure such justification via Kant's notion of the Kingdom of Ends. He gives four reasons why such an account would deny any intrinsic moral worth to education. He concludes with a tentative justification of his own and a call for a more comprehensive engagement between Kant's moral theory and the philosophy of education for purposes of understanding what constitutes the moral core of education.     

Processes of Policy Borrowing in Education: some explanatory and analytical devices

This paper addresses questions of policy ‘borrowing’ in education. Building on the authors' previous work, it proposes some explanatory and analytical devices to assist in the exploration of the processes involved in ‘cross-national attraction’ in educational policy and its consequences in terms of decision making, implementation, and ‘internalisation’.     

Gender,affect, and landscape: wartime films from Northern and Southern Vietnam

Abstract

Examining two Vietnamese films, one made in the North in 1959, and another produced in the South during the American War in 1971, this article contends that Vietnam's landscape serves as an affective site for a gendered construction of nationalism within key moments in Vietnamese history. In analyzing the attachments that the Vietnamese and Vietnamese diaspora feel towards their country, I explore a topic rarely discussed in US film scholarship and historicize these filmmaking efforts to demarcate a different way of viewing Vietnam in film. This study demonstrates the importance of understanding how gender and affect are projected onto landscapes in a national cinema like Vietnam's. More exactingly, it emphasizes that affects underlying Vietnamese nationhood and war are undergirded by the political economy of film and filmmaking. My arguments point to the modes of production and circulation of film, which shape the making of affect in Vietnam War discourse. My analyses are framed by the questions: how is affect inscribed in Vietnamese film, and what are its effects on notions of belonging and nationhood? In what ways has affect traveled about Vietnam in the past and present moment? Who is able to access such representations, and why does this matter?