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Table of Contents
Intro; Preface; Contents; List of Figures; Chapter 1: Dewey, Wittgenstein, and the Primacy of Practice; 1.1 Quine, Rorty, and Toulmin on Wittgenstein and Dewey; 1.1.1 Toulmin: Wittgenstein's Pragmatism; 1.1.2 Quine: Naturalism, Antirepresentationalism, and the Private Language Argument; 1.1.3 Rorty: Rejecting Modern Epistemology and the Traditional Theory of the Mind; 1.2 Behaviorism, the Primacy of Action, Contextualism, and Radical Indetermination; 1.3 Rules, Customs, and Habits; 1.4 Toward a First-Person Perspective on Learning; Bibliography
Chapter 2: Distributed Minds and Meanings in a Transactional World Without a Within: Embodiment and Creative Expression2.1 The Primacy of the Embodied Aesthetic Encounter1; 2.2 From Prelinguistic "Knowing How," to the Linguistic "Knowing That," to Embodied, Post-linguistic "Knowing How": Tracing the Emergence of Significant and Immanent Meaning; 2.2.1 From Prelinguistic "Knowing How," to the Linguistic "Knowing That": Abrichtung and Unterricht6; 2.2.2 Significant (i.e., Linguistic) Meaning and Immanent Meaning; 2.3 Consummatory Aesthetic Meanings and Artistic Self-expression
2.4 Representation as Distributed Mental Functioning: Situated Learning Throughout a World Without Withins2.5 Toward a Transactional First-Person Perspective on Learning; Bibliography; Chapter 3: A Method and Model for Studying the Learning of Body Techniques: Analyzing Bodily Transposition in Dinghy Sailing; 3.1 SER, PEA, and Some Paradigmatic Questions; 3.2 The Analytical Model of SER; 3.3 The Analytical Method of PEA; 3.4 Analyzing Embodied Learning Through the Example of Dinghy Sailing; 3.4.1 The Teaching Practice of Dinghy Sailing; 3.4.2 Situated Epistemic Relation; 3.4.3 SER Indicator
3.4.4 What Influences the Learning3.5 Discussion; 3.5.1 What Is Learned?; 3.5.2 What Influences the Learning?; 3.5.3 Continuity and Change; 3.5.4 Connection to Embodiment and Philosophy; Bibliography; Chapter 4: A Method and Model for Studying the Learning of Artistic Techniques: Analyzing Sculptural Expression in School Sloyd; 4.1 The Analytical Model of SAR; 4.2 Learning to Express Oneself: The Learning Content and the Elements Influencing the Learning; 4.3 The Use of PEA in an SAR Analysis; 4.4 An Analysis of Sculptural Expression Through the Example of School Sloyd
4.4.1 The First Part of the Analysis4.4.2 The Second Part of the Analysis; 4.5 Discussion; 4.5.1 What Is Learned; 4.5.2 Variables and Indicators in the SAR Model; 4.5.3 What Influences the Learning; 4.6 Conclusion; Bibliography; Bibliography; Index
Chapter 2: Distributed Minds and Meanings in a Transactional World Without a Within: Embodiment and Creative Expression2.1 The Primacy of the Embodied Aesthetic Encounter1; 2.2 From Prelinguistic "Knowing How," to the Linguistic "Knowing That," to Embodied, Post-linguistic "Knowing How": Tracing the Emergence of Significant and Immanent Meaning; 2.2.1 From Prelinguistic "Knowing How," to the Linguistic "Knowing That": Abrichtung and Unterricht6; 2.2.2 Significant (i.e., Linguistic) Meaning and Immanent Meaning; 2.3 Consummatory Aesthetic Meanings and Artistic Self-expression
2.4 Representation as Distributed Mental Functioning: Situated Learning Throughout a World Without Withins2.5 Toward a Transactional First-Person Perspective on Learning; Bibliography; Chapter 3: A Method and Model for Studying the Learning of Body Techniques: Analyzing Bodily Transposition in Dinghy Sailing; 3.1 SER, PEA, and Some Paradigmatic Questions; 3.2 The Analytical Model of SER; 3.3 The Analytical Method of PEA; 3.4 Analyzing Embodied Learning Through the Example of Dinghy Sailing; 3.4.1 The Teaching Practice of Dinghy Sailing; 3.4.2 Situated Epistemic Relation; 3.4.3 SER Indicator
3.4.4 What Influences the Learning3.5 Discussion; 3.5.1 What Is Learned?; 3.5.2 What Influences the Learning?; 3.5.3 Continuity and Change; 3.5.4 Connection to Embodiment and Philosophy; Bibliography; Chapter 4: A Method and Model for Studying the Learning of Artistic Techniques: Analyzing Sculptural Expression in School Sloyd; 4.1 The Analytical Model of SAR; 4.2 Learning to Express Oneself: The Learning Content and the Elements Influencing the Learning; 4.3 The Use of PEA in an SAR Analysis; 4.4 An Analysis of Sculptural Expression Through the Example of School Sloyd
4.4.1 The First Part of the Analysis4.4.2 The Second Part of the Analysis; 4.5 Discussion; 4.5.1 What Is Learned; 4.5.2 Variables and Indicators in the SAR Model; 4.5.3 What Influences the Learning; 4.6 Conclusion; Bibliography; Bibliography; Index