Reggio Emilia

Documentation and Inquiry in the Early Childhood Classroom: Research Stories from Urban Centers and Schools is a celebration of teacher intelligence and professional acumen. In bringing together the narratives of a plethora of early childhood educators from a broad range of settings, Kroll and Meier showcase what is possible when early childhood educators research and write about their own classrooms. In a climate where teachers are increasingly told what to do and how to do it, the book makes a strong and much needed statement about the capability of teachers. And in a society that gives little respect to teachers who work with the youngest children, Kroll and Meier demonstrate how deserving these educators are of the highest regard. Finally, as more policy is focused on early childhood education, Kroll and Meier's advocacy on behalf of holistic and humanistic approaches to children and their teachers is valuable. The editors and practitioners draw their inspiration from a tradition of teacher inquiry largely associated with primary and secondary teachers and early childhood teaching in Reggio Emilia, Italy. In their writing on teacher inquiry, Kroll and Meier achieve three significant feats. The first is to add new life to a marginalized conversation about teacher inquiry. While there are certainly teachers still engaged in inquiry, the movement, as documented by Kroll and Meier, has largely been pushed aside and silenced as teachers are pressured to follow directives and assess children through standardized metrics. The second is that Kroll and Meier make an important addition to the conversation: the work and voices of U.S. early childhood educators. The third is the centrality of school‑based inquiry in the book. Much previous writing on teacher inquiry focuses on groups housed outside of the school. This is important work, but can mean that a teacher may find herself returning to an unsupportive daily environment. In contrast, nearly all of Kroll and Meier's case studies were school‑wide initiatives. The book is divided into four sections: school wide‑wide inquiry, children and teachers conducting inquiry together, teaching teachers about documentation and inquiry assessments, and developing leadership through inquiry. Within these themes, each chapter zooms into a particular setting featuring the narratives of teachers from 12 different settings in the Bay Area. These include more commonly discussed programs such as public schools and head start programs, but also a parent cooperative, a migrant and seasonal head start program, and a preschool in a museum. This captures the range of settings in which early childhood educators and children find themselves. A commonality among the settings is a focus on those that served low‑income minority children and, in many cases, those learning English. In keeping a narrow regional focus, the book can both transport the reader while remaining widely resonate. As readers practicing in rural Maine, we were able to learn about a different context while also reflecting on our own. Each narrative took an asset‑oriented view of children and a dominant refrain was that children can teach us much about the world. For example, in Las Americas Early Education School, a multi‑age preschool with mainstreamed special education students, educators had to learn how to listen to children. This careful listening allowed the teachers to break down their own preconceived notion that they were the primary source of information as they came to see the children as holders of knowledge. Another theme was the power of planning curriculum with and alongside children. In many cases, the curriculum was culturally responsive, several months long, and intellectually rich and challenging. For example, in the bilingual Mission Head Start Valencia Garden, the teachers developed an investigation of fish based initially on one child who was struggling with transitions and his positive response to the song " Slippery Fish. " Around this topic, the teachers carefully assembled a wealth of materials and manipulatives. In doing so, they drew in the rest of the children. The teachers kept the inquiry moving and rich by asking questions and documenting children's knowledge. This specific journey allowed for parents and the public to join as well: " Not only were families deeply engaged in the inquiry process, they had developed effective skills and strategies for facilitating their children's inquiry outside of school " (p. 69). Reflecting the power of diversity, the differently voiced narratives draw the reader in and connect smoothly with one another, allowing the book to flow effortlessly. The visuals and the use of specific examples give the reader a window into how the children conversed, inquired, and learned from the inquiries.

"L’archivio dell’architetto Prospero Sorgato, donato generosamente dalla famiglia al Comune di Reggio Emilia
e conservato presso la Biblioteca Panizzi, custodisce le importanti testimonianze di un protagonista delle trasformazioni urbane della nostra città a partire dagli anni venti fino all’immediato dopoguerra.
A partire dal secondo decennio del secolo scorso Sorgato compie una serie di rilevanti interventi come lo Chalet dei Fratelli Bottazzi ai Giardini Pubblici (non più esistente), l’ingresso e il padiglione centrale della celebrata Mostra Agricola Industriale del Lavoro tenuta nel 1922. Successivamente realizza il Mercato Coperto, recentemente restaurato e portato a nuova vita, la Casa del Mutilato in zona Porta Castello e l’ingresso e l’ampliamento del Cimitero di S. Pellegrino. E’ stato per lungo tempo ingegnere capo del Comune di Reggio Emilia, quando ha progettato e realizzato numerose opere pubbliche quali scuole, edifici per la residenza e altri servizi di pubblico interesse. Appassionato sportivo di tiro a volo, mostra anche un grande interesse verso la fotografia e per questo motivo l’archivio include pure un’importante documentazione fotografica delle sue realizzazioni.
L’archivio di Prospero Sorgato è stato riordinato, catalogato e reso disponibile per la consultazione."

The purpose of this analysis is to examine enduring creative approaches of educational philosophers alongside key emerging digital resources that inform inclusive art education.  Froebelian education theory, like that of Montessori, Malaguzzi, and Steiner is very arts-rich in that Froebel defined learning itself as a learner-centered, exploratory creative process (Mullineaux, 1996). Teaching with a foundational knowledge of the influence of each of these philosophers on learning in visual art often empowers us to reclaim the diverse roles of the educator and artist in contemporary art rooms.  This chapter introduces selected mobile learning applications and digital resources related to these philosophies, with an analysis of their potential for students with disabilities and exceptionalities. The selected examples of Froebel’s Gifts and artifacts of pedagogy from Montessori, Waldorf, and Reggio Emilia practices is followed by discussion of practical uses of materials and approaches from these enduring philosophies in learning explorations emphasizing craft, nature, and play. Suggestions will be offered for future practice that mindfully utilizes such digital resources and communities alongside physical and haptic resources. Concerns about screen time and media saturation will also be addressed.

Introduction The younger we are the faster we learn new vocabulary and it is a known fact that our brain keeps expanding at a great speed until it reaches its almost fully formed shape at about 8 years old. Learning a second language as early as preschool age is a plus, should it be taught properly with the right amount of fun, interest and knowledge.

This report summarises my DigiLitEY-funded research visit to the University of Stockholm and Swedish preschools. It considers potentials and challenges within the concept of 'digital languages' through discussions with leading academics working in the field of digital technologies, multimodality and Reggio Emilia. Meetings and workshops with the Stockholm Reggio Emilia Institute highlighted the strong conceptual foundation for digital technologies within a 'hundred languages' approach and the ongoing support and training being offered to educators. These knowledge exchange activities were enhanced by visits to three Reggio-inspired Swedish preschool settings to observe and discuss their use of digital technologies in practice. The preschool visits revealed a multitude of ways in which educators are embedding digital technologies in their everyday practice and using the digital in combination with traditional forms. The teachers I encountered were enthusiastic about new possibilities of digital technologies, saw them as additional forms for exploration and meaning-making, used them in combination with non-digital materials and were thoughtful and articulate about their potentials and constraints. The Reggio Emilia concept of children's 'hundred languages' seemed to provide a rich foundation for using digital technologies to support young children's multimodal meaning-making. In Stockholm this was underpinned by a broad, Reggio-inspired, play-centred curriculum to the age of 6, teacher training which introduces the concept of 'multimodality', ongoing professional development opportunities, school networks and research collaborations focusing specifically on the digital.

Young children's everyday lives are increasingly permeated by an array of digital tools that are rapidly changing the forms in which they make meaning. Yet the use of digital media in early childhood education is much disputed, with debates often polarised between strongly negative rejections and unquestioning positive endorsements. Alternative perspectives are necessary in order to recognise the significance of digital media in young children's lives and to develop respectful pedagogies which support meaning making in multiple forms. This article highlights practice with digital tools in three Stockholm preschools influenced by the Reggio Emilia approach to early childhood education. The settings used the Reggio Emilia concept of 'the hundred languages of children' as a foundation for their use of digital media, resulting in an approach which embraced and embedded digital tools in everyday practice alongside other materials. The insights from the preschools demonstrate ways in which Sweden is fostering an early childhood pedagogy that critically evaluates the affordances of digital tools whilst considering their limitations and relationships with other materials. In this way, a multimodal approach to young children's digital meaning making is being developed, prompting consideration of the possibilities for similar approaches to digital literacy beyond Sweden and beyond early childhood education.

The purpose of the research is to scrutinize learning opportunities, that is, preschool children’s opportunities of participation and possibilities of impacting the preschool activities within one Icelandic preschool whose
practice is inspired by the methodologies named after the Italian city of Reggio Emilia. According to the ideas of Reggio Emilia, an emphasis is placed on bolstering children’s abilities to influence preschool activities (Malaguzzi, 1998). The research is grounded on two theoretical perspectives; attributionism and critical theory. Moreover, the research draws on definitions
of the key-terms ‘self-efficacy’ and ‘empowerment’, as well as Judith Butler’s (2004) theories concerning gender. The PhD project is based on four articles:
1) Attitudes of two preschool teachers and methods of empowerment of preschool children. 2) Perceived self-efficacy amongst preschoolers: Some methodological variations on themes from Bandura’s theory. 3) Children and Democracy in Preschool: Children’s Participation in Preschool Decision-
Making Processes. 4) Gendering in one Icelandic preschool.
The findings of the research provide holistic ideas regarding interconnected determinants in relation to children’s educational environments;
children’s opportunities of learning depend largely on the teachers’ views, i.e. the teachers’ views govern their behaviour which in turn impact the children’s self-image and their ability to actively participate in their own learning and develop stronger beliefs concerning their own capabilities, which is an integral aspect of success and which generally facilitates the children’s capabilities. The research draws on several sources: psychology (Heider), political philosophy (Habermas), sociolog
(Ziehe), early childhood education (Malaguzzi), gender studies (Butler) and social psychology (Bandura).
The central findings of the research bring to light that the views of the
teachers who participated in the research were consistent with work methods and the children were frequently invited to participate in the decision-making processes. Ultimately, the teachers facilitated the children’s empowerment; however, the children’s gender limited the extent of their empowerment. One could claim that this aspect manifests most clearly the way in which teachers’ views impact the children. The research furthermore reveals that preschool children’s language
development does not undermine analyses of their beliefs in regard to their own abilities but it is nevertheless necessary to create alternative evaluation tools that focus on children, in contrast to commonly used evaluation tools used to analyse adult individuals’ beliefs in their own abilities. The research suggests pedagogical documentation as a possibly fruitful means of assessment.

La produzione superstite di Dallamano negli Stati estensi si mostra di cospicuo interesse non solo perché documenta un vertice qualitativo, se non addirittura il vertice stesso, della quadraturistica modenese tra Sei e Settecento, ma anche perché esprime con evidenza un particolare frangente della decorazione prospettica nel ducato estense e nell'area piemontese; è quell’assoluta ridondanza di elementi ornamentali, come cartelle, mensole, festoni, volute arboree, rosoni…, che mortifica e ottunde il dettato architettonico della quadratura stessa, che va perdendo la “sodezza” peculiare e la chiarezza sintattica propria della scuola bolognese. E’ un differente orientamento del gusto estetico ben testimoniato, ad esempio, dai soffitti di Palazzo Galliani Coccapani a Modena, che si allontanano dalla verosimiglianza architettonica quanto più concedono alle divagazioni degli elementi ornativi, dettati da un capriccioso decorativismo. Nel mentre, le forme architettoniche si vanno sempre più ibridando rispetto al canone cinquecentesco codificato dalla trattatistica, sino ai più recenti Paradossi di Giulio Troili, le cui pagine danno conto del percorso quadraturistico attuato dai maestri bolognesi, da Girolamo Curti, Colonna e Mitelli, agli stessi Bibiena. E’ quel “progressivo abbandono di un coerente discorso architettonico” che fu, secondo Anna Maria Matteucci, una delle probabili cause dell’allontanamento dalla quadratura di uno dei suoi maggiori protagonisti, Gian Giacomo Monti, che nell’ultima fase della sua operosità si sarebbe riservato il prevalente ruolo di architetto. E’ in questa evoluzione che si collocano le trame architettoniche di Giuseppe Dallamano di improbabile “materializzazione”, inverosimili, stranianti: ai sorprendenti effetti di sfondamento prospettico, corrispondono complicati congegni dalla morfologia bizzarra, che si apparentano, piuttosto, all’universo visionario delle effimere “macchine” barocche. Proprio in tale estro, dai tratti “saturnini”, risiede la peculiarità e il fascino delle creazioni dell’artista, anche rispetto alla scuola bolognese, alla cui matrice pure appartengono.

Developing one’s creative potential is a basic
human right, and thus the relationship between
democracy and creativity is ineffable. Reggio
Emilia pedagogies recognise this intrinsically;
teaching through this modality embeds deep
learning and an aesthetic awareness not often
evident in formal schooling, despite the overwhelming
evidence regarding the value of
a sustained art education. Our children are
all born creative and brave, yet something
happens to them as they grow – the opportunities
to express themselves artistically at school
become minimised, the art curriculum becomes
marginalised, and our children’s creative genius
falls away. What would Reggio Emilia look like in
the High School classroom? Imagine a curriculum
where all students’ creative potential was
nurtured, every day. This article explores this
proposition, and argues that by utilising
the highly successful pedagogies of Reggio
Emilia, we can attend to the fundamental right of
every child to an education that nurtures their
inherent creativity.

Özet Proje, tasarı veya tasarı geliştirme, hayal etme ve planlama anlamlarına gelmekle birlikte, sonucu gösteren bir kelimenin aksine, bir kurguyu ifade eden bir kelimedir. Yani proje kelimesinin anlattığı şey süreçtir. Proje ile öğrenme ise öğrenme olayının bir süreçte, bir kurguyla ve tasarıyla olan şeklidir. 'Proje tabanlı öğrenme' tümcesindeki 'tabanlı' kelimesi ise kurguyla öğrenme sürecinin bir hedef olmak yerine, alt yapı unsuru olduğunu, sürecin önemli olduğu bir yapılanmayı anlam bakımından katmaktadır. Proje tabanlı eğitim veren bir eğitim kurumu da Reggio Emilia Yaklaşımı ile eğitim veren okullardır. II. Dünya Savaşının yıkımının ardından, İtalya'nın Reggio Emilia kentine 50 km uzaklıkta, ailelerin çocukları için okul kurma girişimi çok yankı uyandırmış ve bu girişimci ailelere katılan Malaguzzi bu okulun eğitim felsefesinin temellerini atmıştır. Malaguzzi ve öğretmen arkadaşları, çocuklarda kendi kendine, birbiriyle ve diğer yaş gruplarıyla ilişkiyle ve çevreyle ilişkileri sonucu öğrenmenin gerçekleştiğini tespit etmişlerdir. Reggio Emilia okullarında çevre üçüncü öğretmen olarak kabul edilmektedir. Çünkü öğrenmeyi aktif hale getiren çevredir. Bu nedenle, çevre zengin nesnelerle donatılmıştır. Reggio Emilia yaklaşımında çocukların öğrenmesi proje tabanlı olarak gerçekleşmektedir ve bu projelerde çocuklar, bilim adamı, ressam, yazar vb. birer karakteri canlandırarak bilgiyi edinmektedir. Bu yaratıcılığı ve sorgulamayı destekleyen bir yöntem olarak kabul edilmektedir. Proje tabanlı eğitim, öğrencilerin çevrelerini anlamaları, sorunları çözmeleri ve iletişim becerilerini geliştirmelerini sağlamaktadır. Reggio Emilia okullarında, projeler için çeşitlilik gösterecek fikirlerin paylaşılması ve çocukların denemeler yapabilmesi için olanak sağlanmaktadır. Öğretmen ise proje süreciyle alakalı olarak çocukların konuşmalarının, çalışmalarının ve etkinliklerinin verilerini incelemekte ve analiz etmektedir. Reggio Emilia eğitimcileri, sanat projelerinde doğal bilimlerini sanatın içine ekleyerek öğrenciye vermektedir. Reggio Emilia yaklaşımı doğal hayatla ilişkili projelerin nasıl üretileceği konusunda eğitimcilere örnek niteliği taşımaktadır. Bu yaklaşımda çocuk hem sanat öğrenimini gerçekleştirmekte, hem de doğal bilimlerde kazanımlarını elde etmektedir. Ayrıca tam tersi şekilde bilimsel projelerde de sanat etkinlikleri yer alabilmektedir. Reggio Emilia yaklaşımı olan okullarda yapılacak etkinliklerde sanat kelimesinin yerine proje kelimesi kullanılmaktadır. Sanat bu okullarda çocuğun kendisini ifade etmesini sağlayan bir araçtır. Çünkü, plastik sanat çalışmaları, hayatın, duyuların ve anlamlandırmanın en iyi yoludur. Anahtar Kelimeler: Reggio Emilia, Proje Tabanlı Eğitim, Sanatsal Öğrenme, Sanat Projesi. Abstract Project means desing or desing development, imagine and planning and a word that expresses fictions. Learning with the project is the form of the learning event in a process, with a fiction and a design. The word 'based' in the 'project-based learning' sentence adds that the process of editing with fiction is meaningful, rather than being a target, and a structuring in which the process is important. Another

The Reggio Emilia preschools of northern Italy have become known across Europe and America for their progressive, child-led, creativity-based approach to young children’s education. Their philosophy has inspired educationalists and teachers, has been adapted for schools in other communities, and has led to the development of successful methods for researching children’s experiences. However, the potential of the Reggio approach in learning contexts outside of schools remains relatively underdeveloped. This paper proposes that significant overlaps exist between the Reggio philosophy and that of today’s museum learning practice, and that museum professionals can benefit from further exploration of this approach. Both the Reggio approach and current museum learning theory are built upon pragmatic and social constructivist philosophies of learning, and focus on the active processes of knowledge construction on the part of the learner. Both are also relatively able and willing to respond quickly to the needs of learners when developing educational practices. Creativity and self-motivated learning are already known to be aspects of the museum experience that are particularly valued by museum visitors, be they schools or the public. Drawing on examples, I will suggest that focusing on the educational philosophy of Reggio Emilia will allow museums to extend their understanding of the potential for visitor-led (and particularly child-led) creativity. This approach can raise our awareness of the child as a creative protagonist in their own learning, suggest new approaches to presenting museum collections to children, and help us to develop methods for investigating the child’s museum experience which can then feed back into more effective museum learning practice.

Сажетак: Холистички приступи у васпитању и образовању деце представљају савремене и алтернативне приступе традиционалном васпитању и образовању. Један од таквих приступа јесте и Пројектни приступ који је у овом раду представљен као интегрисани и конститутивни део курикулума у Ређо концепцији. Пројектни приступ у васпитању и образовању предшколске деце подразумева широк спектар поучавања и учења и не везује се за одређене технике поучавања или непромењиве активности, рутине и стратегије. Као начин учења, Пројектни приступ наглашава активну партиципацију деце у планирању, развијању и процењивању њиховог сопственог рада. Знање не подразумева трансмисију, већ се оно конструише међусобном интеракцијом деце и одраслих. Када се говори о знању као конструкцији, у раду се истиче и то да Пројектни приступ у Ређу инсистира на целини, односно, на холистичком приступу, јер се и на дете и на сам курикулум гледа холистички. Пројектни приступ у Ређо концепцији представља средство обликовања искуства деце и васпитача, као и окосницу њиховог заједничког учења. Своје највеће упориште пројекат проналази управо у учењу кроз делање, као и у заједничким дискусијама и расправама између саме деце и васпитача о њиховим личним искуствима у учењу, при чему се користе различите технике, поткрепљене документацијом и рефлексијом.
Кључне речи: Пројектни приступ, Ређо концепција, холистички приступ, интегрисани курикулум, заједничко учење

Abstract: Holistic approaches to education of children represent contemporary and alternative approaches to education. One of such approaches is the Project approach itself, which is represented in this paper as an integrated and constitutive part of the Reggio concept curriculum. The Project approach to education of pre-school children implies a wide range of teaching and learning. It is not related to particular teaching techniques, or unchangable activities, routines and strategies. As a way of learning, the Project approach emphasises active participation of children in planning, developing and evaluating their own work. Knowledge does not mean transmission. Contrary to that, it is constructed through the interraction of both children and adults. When speaking about knowledge as a construction, and bearing in mind that both children and curriculum are looked upon holistically, this paper also stresses the fact that the Project approach in Reggio insists on the whole, i.e. on a holistic approach. The Project approach in the Reggio concept represents not only the means of forming experiences of children and pre-school teachers, but also the framework of their learning together. The project is primarily based on learning not only through doing, but also through discussions and discourses among children themselves and among children and pre-school teachers about their personal experiences in learning. All of this is done through the use of different techniques supported by documentation and reflexion.
Key words: Project approach, Reggio concept, holistic approach, integrated curriculum, learning together

Las prácticas de renovación pedagógica como las escuelas Montessori, Reggio Emilia
y Waldorf, han supuesto una verdadera innovación en el ámbito de la educación. Estas
pedagogías responden a las necesidades de los niños y niñas en todas sus dimensiones,
mostrando un especial interés sobre su desarrollo a nivel afectivo y emocional. En esta
investigación se ha realizado un estudio empírico de corte cualitativo analizando el
discurso de los participantes mediante entrevistas semiestructuradas que nos han permitido
establecer una comparación sobre el desarrollo de la educación emocional en
las distintas pedagogías alternativas. Para ello, se ha estructurado la información en seis
variables o categorías (concepto de educación emocional, relevancia de la educación
emocional, concepto de emoción, puesta en práctica, formación y, beneficios y eficacia)
comprobando a través de la técnica de triangulación que las tres pedagogías alternativas
analizadas integran el concepto de emoción y educación emocional como base
de su enseñanza, proporcionando a los alumnos las herramientas emocionales necesarias
para su desarrollo personal. Los beneficios de la educación emocional son palpables
y evidentes, promoviendo resultados positivos y demostrando la eficacia en la implementación
de la educación emocional en las tres pedagogías estudiadas.

"Table of Contents / Pagination is incorrect:
THE WAYS OF ARISTOTLE – ARISTOTELIAN PHRÓNÊSIS, ARISTOTELIAN PHILOSOPHY OF DIALOGUE, AND ACTION RESEARCH
Olav Eikeland
Preface 1
PART 1 – ARISTOTLE, SOCIAL RESEARCH, AND ACTION RESEARCH 3
1. Introduction – The Challenge of Phrónêsis 3
1.1 Three Kinds of General Theory 10
1.2 Aristotle and Critical Action Research 17
2. Action Research Approaching Phrónêsis 20
2.1 A Philosopher Defending Action Research 21
2.2 Making Social Science Matter 23
2.3 Abandoning Techniques 25
PART 2 – READING ARISTOTLE – LIMITS AND POSSIBILITIES FOR PHRÓNÊSIS 27
3. Virtues – Intellectual and Ethical 29
3.1 Particulars of Ethical Virtues 34
4. Phrónêsis and the Other Intellectual Virtues 38
4.1 Theoretical Knowledge, and Knowledge about Things We Influence 40
4.1.1 Overlaps and Intermeshes 45
4.2 Phrónêsis as an Intellectual Virtue 48
4.2.1 Excursus: Knowledge Forms and Ways of Knowing in Aristotle 49
4.2.1.1 Praxis, Poíêsis, Khrêsis, Páthos – And the Various Forms of the Epistêmai 50
4.2.1.2 Theoretical and Practical Truth 61
4.2 (Continued) Phrónêsis as an Intellectual Virtue 64
4.3 Phrónêsis and Rhetoric, Phrónêsis and Practical Syllogisms 70
4.3.1 The relationship to rhetoric 70
4.3.2 The relationship to practical syllogisms 75
5. Phrónêsis on Means and Ends, Phrónêsis and General Knowledge 76
5.1 Means and Ends, and Kinds of Causes 76
5.1.1 Poíêsis Makes Things, Praxis Makes Perfect 81
5.1.2 “Professional” Deliberations and Deductions 89
5.2 Knowledge, General and Particular 94
5.2.1 General Knowledge, Appropriate Knowledge, Knowledge in Action 94
5.2.2 Héxis (Habitus), and Empeiría (Experience) 103
5.2.3 Knowing Particulars 109
5.2.3.1 By What? 110
5.2.3.2 How? 111
5.2.3.3 Preconditions for a Universally Flexible Consideration 115
6. Developing and Defining Virtue 126
6.1 Developing Virtue 127
6.1.1 Epistêmê and Virtue through the Formation of Habit, Once More 130
6.1.2 What “Means” Means 136
6.1.3 Practical Development with a Hinge to It, the Question of Standards Again 138
6.2 Defining Virtue 145
6.2.1 Nóêsis as Dialogue, or, the Reason Why Aristotle Insists on Letting Phrónêsis Deliberate about Means Only 150
6.2.1.1 The Unfolded Know-How of Nous 152
6.2.1.2 The Topica and the Enfolded Habitus of Dialectics 154
6.2.1.3 The Philosopher, the Dialectician, and Experience 160
6.2.1.3.1 Dialogical Peculiarities 165
6.2.1.3.2 Dialogue and Experience 170
6.2.1.3.3 Basic Principle, Beginning, Medium, and End 182
6.2.1.4 Ways of Learning 185
6.2.1.5 Self-Evident First Principles? 191
6.2.1.6 Praxis1, and Praxis2 194
6.2.2 The Ethical Works do not Deliberate about Means, They Develop and Define Ends 198
6.2.3 Epistêmê, Virtue, and Phrónêsis Defined 205
6.3 Who Develops and Defines? The Art and Practice of Architectonics 214
7. Eudaimonía and Wisdom as “The Highest Practical Good”; Aristotelian Phron-Ethics, Theor-Ethics, and the Way of the Intellectual Commons 219
7.1 Kinds of Theory, Kinds of Practice 220
7.2 Ethics and Politics as Methodological Guidelines for Autonomous Practitioners 230
7.2.1 The Laws of Virtue 233
7.2.2 Tékhnê and Phrónêsis – At the Parting of the Ways 239
7.3 The Wisdom of the Commons – Common Wisdom 242
7.3.1 Tà Koiná – The Commons 247
7.3.2 The Common Skholê 252
7.4 Theor-Ethics and Primary Friendship 254
7.4.1 The Noetic “I” and the Psychological “Me” 259
7.4.2 Theorethical Interventions? 268
7.5 The Way of Theor-Ethics 269
7.5.1 Ethical Excellence – Settling with the Best “for Us”, i.e. for the Second Best “Absolutely” 277
7.6 The Ways of Politics – Continuous Learning in Common 288
7.6.1 Community: What Are the Things Common? 289
7.6.2 Oikos, Pólis, and Constitutions 294
7.6.3 Developing Concord – The Ethico-Political Role of Dialogical Gatherings 299
7.6.4 Different Concepts of Politics 310
7.6.5 Unity and Diversity in the Pólis 318
7.6.6 The Koinópolis as Panarchy – Aristocracy Suspended and Transcended 328
7.6.7 Religious Politics? 338
PART 3 – ARISTOTELIAN ACTION RESEARCH – WISDOM AND EUDAIMONÍA TRANSPOSED, SOCIAL RESEARCH TRANSFORMED 344
8. Neo-Epistemic, Dialogical Action Research 344
9. From Oikos to Pólis, and Beyond 349
10. Aristotle, Marx, and Modern Work Life 359
11. Aristotle Suspended 370
12. Epilogue 376
REFERENCES 381
Appendix 394"

This article was drawn from a presentation at the 3rd International Congress of Children’s Rights and 8th International Korczak Conference. It aims to move beyond the historical details of Janusz Korczak’s life and the often-empirical examination of his pedagogical ideas. It seeks to resolve the disconnect between philosophy, theory and practice which permeates contemporary education in general. The participatory workshop upon which this article was based explored contemporary ideas about play, risk, nature and child rights. Korczak’s ideas related to early childhood are rarely featured in accounts of his pedagogy highlighting the ongoing low societal status of very young children. This article introduces lesser-known texts related to young children to readers familiar with Korczak's work. However, it also aims to engage with an international early childhood audience. By drawing upon current doctoral research, it includes brief comparatives between Korczak's work and contemporary education models such as Montessori, developmental psychology,, nature play and the Reggio-Emilia approach. Korczak’s innovative philosophy of 'respect and rights' and groundbreaking practical examples could turn social justice and rights into an everyday reality for schools, kindergartens and the lives of young children.

Suggested reference:
Vucic, B. (2018) Bobo in Today’s Kindergarten: Korczak’s Practice in Early Childhood Education, in (ed) Michalek, M. The Rights of the Child Yesterday, Today and Tomorrow – the Korczak Perspective (Part 1), Office of the Ombudsman for Children – Poland; Warsaw, pp 508-533

Adriana Ferrarese del Bene, the soprano for whom Mozart wrote the role of Fiordiligi in "CosÍ fan tutte", started her career as a celebrated prima donna seria in London, Florence, Milan, Trieste and Piacenza (1784-1788) before being hired as prima buffa at the Imperial opera in Vienna. Her undisputed success in the serious genre was counterbalanced by mixed reactions towards her comic talent. Nevertheless, she was one of Italy's most renowned prime Donne, especially when performing two-tempo Rondòs. The present paper tells the story of her Italian career in Rondòs, revealing surprising facts about her early as well as late years: While her early career was restricted by the machinations of her unforgiving father-in-law Consul del Bene, her late years were overshadowed by the conflict between the Italian republicans and the pro-Austrian forces in northern Italy. She imported Mozart's "Come scoglio" to Venice and "Così fan tutte" to Trieste, she was the first prima donna to wear the Italian tricolore in Reggio in January 1797, but finished her career singing pro-Austrian propaganda pieces in Bologna.

Testimonianze  documentali e meno del passaggio di Dante Alighieri da Reggio Emilia , Pietra di Bismantova, Passo del Cerreto, Verrucola di Fivizzano per raggiungere  i marchesi Malaspina in Lunigiana e precisamente Franceschino di Mulazzo e Moroello di Giovagallo .  Il divino poeta  proveniva da Verona dove era stato ospite degli Scaligeri  e  venne in Lunigiana ove stipulò la pace fra i Malaspina e il vescovo di Luni. Testimonianze  del suo viaggio.

Adeodato Malatesta e il mito di Matilde di Canossa nella Restaurazione. 

Nella cultura della Restaurazione che ebbe in Modena, capitale del ducato austro-estense, una delle sue roccaforti, il recupero del Medioevo riveste, com’è noto, un ruolo di straordinaria importanza nell’elaborazione intellettuale di un preciso schieramento ideologico. E’ un Medioevo mitizzato nei suoi aspetti religiosi e confessionali, entro cui il personaggio di Matilde di Canossa viene collocato in un ruolo centrale, oggetto di un’interpretazione talora del tutto strumentale a correnti politiche: come “amazzone” della Chiesa e paladina del papato, infatti, la si poteva vagheggiare come artefice e strumento di un progetto teso a sostenere il Vicario di Cristo in terra. In altri termini, questa concezione ierocratica, propria di una corrente cattolica controrivoluzionaria e conservatrice, vedeva, in quell’età di mezzo rievocata come epoca di assoluta armonia fra potere temporale e potere spirituale, la figura della Contessa di Canossa trasfigurata appunto come l’artefice di una perfetta alleanza fra trono e altare.
In questo particolare clima, il personaggio di Matilde si prestava anche a un’opposta chiave di lettura: un’interpretazione liberale e antiimperiale, pur se in toni moderati, infatti, considerava la figura della Contessa emblematica dell’ideale di Vincenzo Gioberti di un’unione di Stati italiani sotto il primato della Chiesa, nel riscatto dalla dominazione straniera.

This is a theoretical and interpretative study, in which I analyze and evaluate the pedagogical application of the philosophical ideas advocated by the holistic education movement in four approaches to schooling: Waldorf, Montessori, Reggio Emilia, and NeoHumanistic.

Albano Lugli, artista nativo di Carpi, non fu soltanto un fiancheggiatore del movimento dei Macchiaioli, ma soprattutto, nella schiera degli autori modenesi, il primo ad aver aderito al loro stile e alla loro poetica, con momenti di qualità stilistica alta e aggiornata.  La ritrattistica in particolare possiede pagine che palesano l'influenza della lezione di Lega e di Borrani. I testi costituiscono una selezione dal catalogo che il Comune di Carpi volle dedicare al suo illustre cittadino, comprendendo il saggio e alcune schede delle opere più significative.

Kurikulum reggio emilia diciptakan oleh Loris Malaguzzi dan para orang tua di daerah sekitar Reggio Emilia di Italia setelah Perang Dunia II. Saat itu, karena jumlah angkatan kerja pria berkurang akibat perang, para wanita terpaksa menjadi tenaga kerja di pabrik-pabrik dan industri. Ditambah dengan kondisi penuh kehancuran, para orang tua merasa perlu ada pendekatan baru terhadap cara mengajar anak-anaknya. Para orang tua ini merasa bahwa pada tahun-tahun awal perkembangan anaknya lah mereka membentuk diri mereka sebagai seorang individu. Pada kurikulum reggio emilia ini menggunakan filosofi teori john dewey, teori piaget dan vygotsky. Model pembelajaran Reggio Emilia membantu anak-anak untuk belajar dengan membangun konstruksi pembelajarn mereka sendiri, dimana anak-anak dapat belajar sesuai dengan tingkatan usianya yang semuanya dilakukan dengan cara berpikir yang rkspresif, komunikatif dan ilmiah. Model pembelajaran Reggio Emilia merupakan sebuah model pembelajaran yang mengarah kepada kepentingan dari anak itu sendiri secara seutuhnya. Model pembelajaran Reggio Emilia menerapkan pembelajaran proyek yang merupakan pengkajian yang lebih mendalam mengenai topik atau konsep yang sangat berarti bagi anak. Proyek dapat dilakukan oleh anak-anak selama beberapa hari atau beberapa minggu. Proyek yang diambil oleh anak-anak berdasarkan pada pengalaman dan konsep nyata kehidupan. Perencanaan berdasarkan model pembelajaran proyek berusaha meningkatkan proses berpikir anak, meningkatkan kemampuan memecahkan masalah dan kemampuan negosiasi-sosial. Prinsip model pembelajaran Reggio Emilia adalah sebagai berikut: 1. Kurikulum emergent Kurikulum dibangun berdasarkan minat anak-anak. Topik untuk pembelajaran diperoleh melalui pembicaraan dengan anak-anak, sampai kepada masyarakat atau peristiwa

IT: A partire dalla splendida pala dipinta attorno al 1652 dal pittore della corte estense Jean Boulanger (1608-1660) a Pergola, in provincia di Pesaro-Urbino, per la famiglia di Girolamo Graziani (1604-1675), segretario del duca Francesco I d'Este a Modena,  il saggio delinea la diffusione del culto e dell'iconografia della venerata immagine della "Madonna della Ghiara", o "di Reggio", nel territorio marchigiano, grazie a prelati estensi come il vescovo Girolamo Codebò (1594-1661), particolarmente attivo in questo senso ad Ascoli Piceno e a Montalto, toccando anche altre testimonianze sparse tra Marche e Abruzzo.

Ho ritrovato pochi giorni fa, fra i miei sparpagliati fogli, la fotocopia di un articolo rinvenuto fra le carte dello scomparso Prof. Ezio Pandiani (giornalista e latinista di Fivizzano) il quale annotava di proprio pugno: " Il Telegrafo 18 agosto 1936". L'articolo del quotidiano "Il Telegrafo" ha il titolo: "TESORI SOTTERRANEI DELLA LUNIGIANA-L'oro e il ferro di Sassalbo-Fivizzano" è a firma de' IL VIANDANTE che, come ogni studioso di Lunigiana sa, è lo pseudonimo del giornalista e scrittore spezzino Carlo Caselli, famoso per il suo libro LUNIGIANA IGNOTA stampato nell'anno 1933.