Rosa Slegers – författare

The ability to enrich student learning is fundamental to the educational process and requires a broad range of talents. A truly great educator will inspire students through a well-grounded approach to stimulating intellectual curiosity and growth, while maintaining high standards of performance. This inspiration and stimulation requires a great deal of effort in course and program development, delivery, and performance, as well as the sharing of experiences. The individual is the core of entrepreneurial thought and action, and this book is unique in that it offers insight and detail into how self and contextual awareness is created and delivered at Babson College, a school that takes a strong leadership role in entrepreneurial education. In this book, educational scholars from a variety of academic disciplines share their experiences. These scholars view teaching as both a serious responsibility and a wonderful opportunity and have created a consequential learning environment that enhances intellectual growth and practical achievement. This book has been written by educators for educators who want to engage and inspire the next generation of entrepreneurial leaders.

According to Adam Smith, vanity is a vice that contains a promise: a vain person is much more likely than a person with low self-esteem to accomplish great things. Problematic as it may be from a moral perspective, vanity makes a person more likely to succeed in business, politics and other public pursuits. “The great secret of education,” Smith writes, “is to direct vanity to proper objects:” this peculiar vice can serve as a stepping-stone to virtue. How can this transformation be accomplished and what might go wrong along the way? What exactly is vanity and how does it factor into our personal and professional lives, for better and for worse?This book brings Smith’s Theory of Moral Sentiments into conversation with William Makepeace Thackeray’s Vanity Fair to offer an analysis of vanity and the objects (proper and otherwise) to which it may be directed. Leading the way through the literary case study presented here is Becky Sharp, theambitious and cunning protagonist of Thackeray’s novel. Becky is joined by a number of other 19th Century literary heroines – drawn from the novels of Jane Austen, Charlotte Brontë and George Eliot – whose feminine (and feminist) perspectives complement Smith’s astute observations and complicate his account of vanity. The fictional characters featured in this volume enrich and deepen our understanding of Smith’s work and disclose parts of our own experience in a fresh way, revealing the dark and at times ridiculous aspects of life in Vanity Fair, today as in the past.

According to Adam Smith, vanity is a vice that contains a promise: a vain person is much more likely than a person with low self-esteem to accomplish great things. Problematic as it may be from a moral perspective, vanity makes a person more likely to succeed in business, politics and other public pursuits. “The great secret of education,” Smith writes, “is to direct vanity to proper objects:” this peculiar vice can serve as a stepping-stone to virtue. How can this transformation be accomplished and what might go wrong along the way? What exactly is vanity and how does it factor into our personal and professional lives, for better and for worse?This book brings Smith’s Theory of Moral Sentiments into conversation with William Makepeace Thackeray’s Vanity Fair to offer an analysis of vanity and the objects (proper and otherwise) to which it may be directed. Leading the way through the literary case study presented here is Becky Sharp, theambitious and cunning protagonist of Thackeray’s novel. Becky is joined by a number of other 19th Century literary heroines – drawn from the novels of Jane Austen, Charlotte Brontë and George Eliot – whose feminine (and feminist) perspectives complement Smith’s astute observations and complicate his account of vanity. The fictional characters featured in this volume enrich and deepen our understanding of Smith’s work and disclose parts of our own experience in a fresh way, revealing the dark and at times ridiculous aspects of life in Vanity Fair, today as in the past.

Ask for the tragic and Europe will answer. Leaving behind the philosophers’ enthusiasm of the nineteenth century, ‘tragedy’ and ‘the tragic’ now seem little more than vague containers. However, it appears that we still discover a tragic essence in our personal lives. Time and again tragedy is being registered, written down and staged. This book wants to open a contemporary philosophical perspective on the tragic. What is the locus of tragedy? Does it relate to metaphysics, the gods, destiny, and chance? Or is it a matter of ethics, of the Law and its transgression? Does man himself occupy the locus of tragedy, because of his unreasonable and boundless desires, as many philosophers have suggested? Is man today still able to account for his tragic condition? Or do we locate the tragic first and foremost in the esthetic imagination? Is not the theatrical genre of tragedy the locus authenticus of all things tragic? Is there more to the tragic than drama and play?