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Ancient Greek, Verb, pronounced Ekh-o. The Transliterated word is Echo. New Testament Greek Lexicon
“[To] have (hold) in the hand, in the sense of wearing, to have (hold) possession of the mind (refers to alarm, agitating emotions, etc.), to hold fast keep, to have or comprise or involve, to regard or consider or hold as.”
Source: http://www.crosswalk.com |
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Text Menu for Blind Readers: Home, Publications: -Philosophy, -Experiences, -Psychology, -Arts education, -History, sociology and culture
Who’s who: -Philosophy, -Experiences, -Psychology, -Arts education, -History, sociology and culture, Institution guide, Gallery, Calendar, Editor, Archive |
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Who’s
Who: Educationalists Relatively
speaking, this is a new subject that is being increasingly recognised for
its importance. Although educationalists have been designing arts curricula
in schools for the blind since the beginning of the 19th century, a serious
study of this topic was not really observable until the second half of the
20th century. Furthermore, it was not properly understood that blind people
could appreciate all forms of aesthetics until the end of the 20th century. “demodocus”
The first
writer to propose a formal, institutionalised
system of education for the blind. In a paper in The Edinburgh Review in
the 18th Century, this anonymous writer, whilst referring to the
philosophy of Locke and Diderot amongst others,
proposed a system of what would later become handwork or “industrial arts”
mixed with “enlightened” literature. Valentin hauy
The French
educationalist Hauy was the first to create a
formal, educational institution for the blind, in Wilhelm Klein
The German
educationalist Klein appears to be the first person to write about, or
indeed promote, haptic (non-visual) aesthetic
and “moral” art for the blind, his motives for this being linked to his
Catholic faith. Having moved to JA
Charlton-Deas
Charlton-Deas was the British curator of the Sunderland Gallery
and Museum at the beginning of the 20th century. He conceived of the first
gallery exhibition course for blind and visually students, which he later
described in a paper published in the Museums and Galleries Journal in
1913. Unfortunately, this was not replicated until decades later. Viktor
lowenfeld
Not only
one of the most influential writers on arts and blindness, the Austrian Lowenfeld was perhaps one of the most influential
writers on arts education as a whole, in his role as co-author of Creative
and Mental Growth. Although trained as a sculptor, he first worked in a
school for the blind in E axel &
n levent
The
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