Saturday, June 18, 2022

It changes

 


It changes.

The classic month is reduced and doubled. No longer a single episode on the 4th of each month with the bio of a composer and a series of four works explained and to listen to ... but two episodes, on the 4th and 18th of each month, constantly introducing a composer with his bio. Still, only one work is explained and to be listened to.

I discovered, and I want to make you aware of, many other composers we have never heard of because only the same ones always run on the circuits. In this way, I will propose equally good music but composed by unknown subjects to most.

Thank you all for your attention; it is a pleasure to share my passion with you.

Roberto Roganti

Si cambia

 


Si cambia. 

Il mese classico si riduce e raddoppia. Non più una sola puntata il 4 di ogni mese con la bio di un compositore e una serie di quattro opere spiegate e da ascoltare... bensì due puntate, il 4 e il 18 di ogni mese, sempre un compositore con la sua bio, ma una sola opera spiegata e da ascoltare.

Ho scoperto e voglio rendervi edotti di tanti altri compositori di cui non abbiamo mai sentito parlare, perché sui circuiti girano sempre e solo gli stessi. In questa maniera vi proporrò musica altrettanto valida ma composta da soggetti sconosciuti ai più.

Grazie a tutti per l'attenzione, è un piacere condividere con voi questa mia passione.

Roberto Roganti

Es ändert


Es ändert.

Der klassische Monat wird reduziert und verdoppelt. Nicht mehr eine einzelne Folge am 4. eines jeden Monats mit der Biografie eines Komponisten und einer Reihe von vier Werken zum Erklären und Anhören ... sondern zwei Folgen, am 4. und 18. eines jeden Monat, immer ein Komponist mit seiner Biografie, aber nur ein Werk erklärt und angehört werden.

Ich habe viele andere Komponisten entdeckt und möchte Sie darauf aufmerksam machen, von denen wir noch nie etwas gehört haben, weil immer nur die gleichen auf den Rennstrecken laufen. Auf diese Weise werde ich Musik vorschlagen, die gleichermaßen gültig ist, aber aus unbekannten Themen für die meisten besteht.

Vielen Dank für Ihre Aufmerksamkeit, es ist mir eine Freude, diese Leidenschaft mit Ihnen zu teilen.

Roberto Roganti


Wednesday, June 15, 2022

Amazing Italy: Enjoying Rovigo and its cuisine with Maria Cristina Buoso (Part 3) - by Maria Teresa De Donato

 Amazing Italy:


Enjoying Rovigo and its cuisine with Maria Cristina Buoso (Part 3)

 

by Maria Teresa De Donato




 

Dear friends,

 

Today we are again with our friend and colleague, author, and blogger Maria Cristina walking around Rovigo. In the two previous articles, you mentioned the history of Rovigo, introducing us to some tasty recipes.

 

We will continue with Rovigo, of which we will discover other exciting tourist attractions to go to and see if we visit this city.


Enjoy the reading!

 

 

 


 

MTDD: Hi Maria Cristina, and welcome again to our appointment in the Amazing Italy column.

 

MCB: Thanks Maria Teresa for inviting me. It is always a pleasure to be your guest.

 

 

MTDD: Today, we continue to visit Rovigo. Where exactly are you taking us?

 

MCB: Today, I want to take you, even if only virtually, to Palazzo Roverella, a historic building in Rovigo. It overlooks Piazza Vittorio Emanuele II, the city's main square, but the entrance is around the corner in Via Giuseppe Laurenti 8. It is the testimony of the "Este" period.

  


(Rovigo – Palazzo Roverella – View from the side of the square)

 


 (Rovigo – Palazzo Roverella – View of the entrance in via Laurenti)

 

 

MTDD: Can you tell us about the history of this building and why it is important?

 

MCB: Certainly. The name of the architect who designed the building is unknown, although it is thought that the young Biagio Rossetti participated in the artistic design. The elderly Cardinal Bartolomeo Roverella commissioned the building in 1474 because it was to testify to the prestige achieved by the Roverella family. The sudden death of the client in 1477 stopped the construction works.

 

 

MTDD: Has this building been renovated and/or refurbished over the centuries?

 

MCB: Yes. From the late sixteenth century onwards, an incorrect use was made of the place with consequent restructuring interventions in the interior, often wrong, which led to the deterioration of the building until the end of the Second World War when the restoration of the facade was begun. On the contrary, the rest of the building was neglected until 1985.

The internal restructuring works began in 2000 and were carried out by Rovigo Municipality and the Cassa di Risparmio di Padova and Rovigo Foundation. That led to the redevelopment and returning to the city of a place where to bring the headquarters of the Pinacoteca dell'Accademia dei Concordi and the Seminary, rich in significant paintings.

 

(Rovigo – Palazzo Roverella – Facade)

 

MTDD: I am happy to know that the renovation and redevelopment of this ancient building were carried out in the end, giving it back the place it deserves in the history of your city.

MCB: Yes, it was fundamental. Annually Palazzo Roverella hosts exhibitions of national and European importance, primarily focused on modern art between 1800 and 1900, such as the current one by Kandinskij (until June 2022)

 

(Rovigo – Sign briefly describing Palazzo Roverella)


 

MTDD: Out of curiosity, does this building contain only Italian or foreign finds?

 

MCB: Palazzo Roverella also houses some finds from Ancient Egypt, including the mummies of a woman and an infant, called Meryt and Baby, accompanied by ushabti (small statues that were an integral and indispensable element of the funeral kit) and other objects and finds Greco-Roman, vases and ex-voto figurines, coming from private donations.

 

Anyone wishing to know more can read the information at the following links:

 

https://it.wikipedia.org/wiki/Palazzo_Roverella

https://www.rovigoinfocitta.it/palazzo-roverella-rovigo/

 

 

MTDD: Very interesting. This palace is also definitely worth visiting if we come to Rovigo, a town rich in art and culture.

Did you also prepare a recipe for us today?

 

MCB: Certainly. Today I conclude our interview with a typical recipe of my area: Venetian or Venetian artichokes. I hope you will appreciate it.

 

 


 

Venetian or Venetian artichokes are cooked stewed in a pan (in tecia, in the Venetian dialect)

 

There are several variations; this is the easiest and fastest.

Wash, clean and immerse the artichokes in water and lemon to prevent them from turning black; drain and squeeze them well.

 

Then put a mixture of breadcrumbs, salt, pepper, garlic, and parsley inside the artichoke. Press well to let everything in, then put them in a pan greased with olive oil. Pour some water, cover them with a lid, and let them cook for about 10/15 minutes (if the time is not enough because they are still hard, continue until you feel tender with a fork). Open and sprinkle them with the cooking juices and finish by evaporating the excessive seasoning must remain the right amount to accompany the artichokes on the plate, which will be soft and ready to be tasted.

  

https://mariacristinabuoso.blogspot.com/

https://www.instagram.com/mcbmipiacescrivere/

Meravigliosa Italia: Gustando Rovigo e la sua cucina con Maria Cristina Buoso (Terza Parte) - di Maria Teresa De Donato

 Meravigliosa Italia:

Gustando Rovigo e la sua cucina con Maria Cristina Buoso (Terza Parte)

 di Maria Teresa De Donato

 



Amici carissimi,

oggi siamo di nuovo con l’amica e collega autrice e blogger Maria Cristina a spasso per Rovigo. Nei due precedenti articoli ci ha accennato alla storia di Rovigo, presentandoci, alcune gustose ricette.

Proseguiremo con Rovigo di cui scopriremo altre interessanti attrattive turistiche da andare a vedere nel caso visitassimo questa città.

Buona lettura!

 


MTDD: Ciao Maria Cristina e benvenuta di nuovo a questo nostro appuntamento della rubrica Meravigliosa Italia.

MCB:  Grazie Maria Teresa per avermi invitata.  È sempre un piacere essere tua ospite.

 

MTDD: Oggi continuiamo a visitare Rovigo.  Dove ci porti esattamente?

MCB:  Oggi voglio portarvi, anche se solo virtualmente, a Palazzo Roverella, un palazzo storico di Rovigo. È la testimonianza del periodo "estense" e si affaccia sulla piazza Vittorio Emanuele II, la piazza principale della città, ma l’entrata si trova girato l’angolo in Via Giuseppe Laurenti n.8.

 


(Rovigo – Palazzo Roverella – Vista dal lato sulla piazza)

 


(Rovigo – Palazzo Roverella – Vista entrata in via Laurenti)

 

MTDD: Puoi parlarci della storia di questo palazzo e del perché è importante?

MCB: Certamente. L’edificio fu commissionato dall'anziano cardinale Bartolomeo Roverella nel 1474 perché doveva testimoniare il prestigio raggiunto dalla famiglia dei Roverella. Non si conosce il nome dell'architetto che progettò il palazzo, anche se si pensa che il giovane Biagio Rossetti abbia partecipato al disegno artistico. L'improvvisa morte del committente nel 1477 bloccò i lavori di costruzione.

 

MTDD: È stato rinnovato e/o ristrutturato nei secoli questo edificio?

MCB: Sì. Dal tardo Cinquecento in poi, si fece un uso errato del posto con conseguenti interventi di ristrutturazione nella parte interna, spesso sbagliati, che portò al degrado dello stabile fino alla fine della seconda guerra mondiale quando fu iniziato il restauro della facciata, mentre il resto del palazzo è stato trascurato fino al 1985.

I lavori di ristrutturazione interna sono iniziati nel 2000 ed eseguiti dal Comune di Rovigo e dalla Fondazione Cassa di Risparmio di Padova e Rovigo portandolo alla riqualificazione e restituendo alla città un luogo dove  portare la sede della Pinacoteca dell'Accademia dei Concordi e del Seminario, ricca di dipinti importanti.



(Rovigo – Palazzo Roverella – Facciata)

 

MTDD: Sono felice di sapere che alla fine si è provveduto alla ristrutturazione e riqualificazione di questo antico palazzo restituendogli il posto che merita nella storia della vostra città.

MCB: Si, è stato fondamentale.  Annualmente Palazzo Roverella ospita mostre di importanza nazionale ed europea, soprattutto incentrate sull'arte moderna fra 1800 e 1900, come quella attuale di Kandinskij (fino a giugno 2022)

 


(Rovigo – Cartello che descrive brevemente Palazzo Roverella)

 

MTDD: Per curiosità, questo Palazzo racchiude solo reperti italiani o anche stranieri?

MCB: Palazzo Roverella ospita anche alcuni reperti dell'Antico Egitto, tra cui le mummie di una donna e un infante, chiamate Meryt e Baby, corredate di ushabti (piccole statue che costituivano elemento integrante ed indispensabile del corredo funebre) ed altri oggetti e reperti greco-romani, vasi e statuine ex voto, provenienti da donazioni private.

Chi desiderasse saperne di più può leggere le informazioni riportate ai seguenti link:


https://it.wikipedia.org/wiki/Palazzo_Roverella

https://www.rovigoinfocitta.it/palazzo-roverella-rovigo/

 

MTDD: Molto interessante. Anche questo palazzo merita sicuramente di essere visitato nel caso venissimo a Rovigo, una cittadina ricca di arte e di cultura.

Hai preparato anche oggi una ricetta per noi?

MCB: Certamente. Oggi concludo questa nostra intervista con una ricetta tipica della mia zona: i Carciofi alla veneta o  alla veneziana. Spero apprezzerete.

 



Carciofi alla veneta o  alla veneziana,  si cucinano stufati in tegame (in tecia, nel dialetto veneto)

Ci sono diverse variazioni questa è la più facile e veloce.

Lavate, pulite e immergete i carciofi in acqua e limone per non farli annerire; scolateli e strizzateli per bene.

Dopo mettete all’interno del carciofo un composto di pangrattato, sale, pepe, aglio, prezzemolo, pigiate per bene per far entrare il tutto, dopo li mettete in un tegame unto con olio di oliva, versate dell'acqua, copriteli con un coperchio e fate cuocete così per circa 10/15 minuti (se non bastasse il tempo perché ancora duri, proseguite fino a quando con la forchetta non li sentiti teneri),  aprite e irrorateli con  il fondo di cottura e terminate facendo evaporare l’eccessivo condimento deve rimanere la quantità giusta per accompagnare sul piatto i carciofi che saranno morbidi e pronti per essere gustati.

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https://www.instagram.com/mcbmipiacescrivere/

Wunderschönes Italien: Genießt Rovigo und seine Küche mit Maria Cristina Buoso (Teil 3) - von Maria Teresa DeDonato

 Wunderschönes Italien:

Genießt Rovigo und seine Küche mit Maria Cristina Buoso (Teil 3)

von Maria Teresa DeDonato


 

Liebe Freunde,

heute sind wir wieder mit unserer Freundin und Kollegin Autorin und Bloggerin Maria Cristina in Rovigo unterwegs. In den beiden vorherigen Artikeln erwähnte sie die Geschichte von Rovigo und stellte uns einige leckere Rezepte vor.

Wir werden mit Rovigo fortfahren, von dem wir andere interessante Touristenattraktionen entdecken werden, um zu sehen, ob wir diese Stadt besuchen.

Viel Spaß beim Lesen!

 



MTDD: Hallo Maria Cristina und herzlich willkommen zu unserem Termin in der Rubrik Wunderschönes Italien.

MCB: Danke Maria Teresa für die Einladung. Es ist immer eine Freude, Dein Gast zu sein.

 

MTDD: Heute besuchen wir weiterhin Rovigo. Wo genau führst Du uns hin?

MCB: Heute möchte ich Euch, wenn auch nur virtuell, zum Palazzo Roverella, einem historischen Gebäude in Rovigo, mitnehmen. Es ist das Zeugnis der "Este"-Zeit und überblickt die Piazza Vittorio Emanuele II, den Hauptplatz der Stadt, aber der Eingang befindet sich um die Ecke in der Via Giuseppe Laurenti 8.

 

 


(Rovigo – Palazzo Roverella – Blick von der Seite auf den Platz)

 

 (Rovigo – Palast Roverella - Blick auf den Eingang in der Via Laurenti)

 


 MTDD: Kannst Du uns etwas über die Geschichte dieses Palasts erzählen und warum ihn wichtig ist?

MCB: Sicherlich. Das Gebäude wurde 1474 vom betagten Kardinal Bartolomeo Roverella in Auftrag gegeben, weil es das Ansehen der Familie Roverella bezeugen sollte. Der Name des Architekten, der das Gebäude entworfen hat, ist unbekannt, obwohl angenommen wird, dass der junge Biagio Rossetti an der künstlerischen Gestaltung beteiligt war. Der plötzliche Tod des Bauherrn im Jahr 1477 stoppte die Bauarbeiten.

 

MTDD: Wurde dieser Palast im Laufe der Jahrhunderte restauriert und/oder renoviert?

MCB: Ja, ab dem späten 16. Jahrhundert wurde der Palast zweckentfremdet mit konsequenten Umbaueingriffen im Inneren, oft falsch, was zum Verfall des Gebäudes bis zum Ende des Zweiten Weltkriegs führte, als die Fassade wurde begonnen, während der Rest des Gebäudes bis 1985 vernachlässigt wurde.

Die internen Umstrukturierungsarbeiten begannen im Jahr 2000 und wurden von der Gemeinde Rovigo und der Cassa di Risparmio di Padova und der Rovigo-Stiftung durchgeführt, um sie zu sanieren und in die Stadt zurückzubringen, wo sie den Sitz der Pinacoteca dell'Accademia dei Concordi haben sollten und das Seminar, reich an wichtigen Gemälden.

  


 (Rovigo – Palazzo Roverella – Fassade)

 

MTDD: Ich freue mich zu wissen, dass die Renovierung und Neugestaltung dieses alten Palasts am Ende durchgeführt wurde und ihm den Platz zurückgibt, den es in der Geschichte Ihrer Stadt verdient.

MCB: Ja, es war grundlegend. Jährlich beherbergt der Palazzo Roverella Ausstellungen von nationaler und europäischer Bedeutung, insbesondere mit Schwerpunkt auf moderner Kunst zwischen 1800 und 1900, wie die aktuelle von Kandinskij (bis Juni 2022).

 

 


(Rovigo – Schild mit kurzer Beschreibung des Palasts Roverella)

 

MTDD: Aus Neugier, enthält dieses Gebäude nur italienische oder ausländische Funde?

MCB: Der Palazzo Roverella beherbergt auch einige Funde aus dem alten Ägypten, darunter die Mumien einer Frau und eines Säuglings namens Meryt und Baby, begleitet von Ushabti (kleine Statuen, die ein wesentlicher und unverzichtbarer Bestandteil des Bestattungssets waren) und andere Gegenstände und Funde Griechisch-römische Vasen und Ex-Voto-Figuren aus privaten Schenkungen.

Wer mehr wissen möchte, kann die Informationen unter den folgenden Links lesen:


https://it.wikipedia.org/wiki/Palazzo_Roverella

https://www.rovigoinfocitta.it/palazzo-roverella-rovigo/

 

MTDD: Sehr interessant. Auch dieser Palast ist auf jeden Fall einen Besuch wert, wenn wir nach Rovigo kommen, einer Stadt, die reich an Kunst und Kultur ist.

Hast Du heute auch ein Rezept für uns vorbereitet?

MCB: Sicherlich. Heute schließe ich unser Interview mit einem typischen Rezept meiner Gegend: Venezianische oder venezianische Artischocken. Ich hoffe, Ihr werdet es zu schätzen wissen.

 


Venetos oder venezianische Artischocken, sie werden in einer Pfanne gedünstet gekocht (in tecia, im venezianischen Dialekt)

Es gibt mehrere Variationen, dies ist die einfachste und schnellste.

Die Artischocken waschen, putzen und in Wasser und Zitrone eintauchen, damit sie nicht schwarz werden; abgießen und gut ausdrücken.

Dann eine Mischung aus Semmelbröseln, Salz, Pfeffer, Knoblauch und Petersilie in die Artischocke geben, gut andrücken, um alles hineinzulassen; dann in eine mit Olivenöl eingefettete Pfanne geben, etwas Wasser angießen, mit einem Deckel abdecken und so kochen ca. 10/15 Minuten (wenn die Zeit nicht ausreicht, weil sie noch hart sind, mit einer Gabel weitermachen, bis sie sich weich anfühlen), öffnen und mit dem Bratensaft beträufeln und zum Schluss verdunsten, das überschüssige Gewürz muss in der richtigen Menge bleiben. Begleitet Ihr die Artischocken auf dem Teller, der weich und bereit zum Probieren ist.

https://mariacristinabuoso.blogspot.com/

https://www.instagram.com/mcbmipiacescrivere/

Wednesday, June 8, 2022

Education and Freedom (Part 1) - In Conversation with the Director of the Institute and educational writer Horst Költze - by Maria Teresa De Donato

 Education and Freedom (Part 1)

 

In Conversation with

 

the Director of the Institute and educational writer Horst Költze

 

by Maria Teresa De Donato


 




Today I have the great honor of having as a guest an extraordinary man, the Director of the Institute and educational writer Horst Költze, a dear friend of mine whose private and professional life is full of aspects as fascinating as they are disturbing.

 

There is a lot to say about his activities and publications, but I will leave it to my host as is my custom.

 

 

MTDD: Horst, thank you for accepting this interview and being here with us today.

 

HK: Maria Teresa, thank you for your invitation and your interest in the global education message.

You recognized the global importance of the educational message of my writings, which I must transmit from the source of intuition to the "children of the new millennium."

Through your interview, you open up a global sphere of influence. Thank you for this on behalf of the children.

 

 

MTDD: Thank you. Horst, you were born in 1932 in Köslin in Pomerania, which, since the end of the Second World War, belongs to Poland. You lived there until 1945, when you fled to Uetersen, a town northwest of Hamburg, before the invasion of the Red Army.

 

What memories do you have of those years and events?

 

HK: As a twelve-year-old boy, I was unaware of the fatal effect of this event when, on the evening of March 1, 1945, my mother and seven of us rushed three kilometers in the dark to the train station. I kept going, as children do. When we arrived in Uetersen, after a six-day train journey, my soul was still shaken, it felt lost in nothingness.

 

 

MTDD: How and to what extent have these events influenced your life, career, and publications?

 

HK: The experience of being tolerated as a refugee, without a real home, having only to eat and dress, and having just what is necessary to survive, has shaped my basic attitude towards life: I am fundamentally grateful for what life brings to me, for all that I could do and create.

Despite the painful experiences, these events convinced me of the significance of BEING THERE [= awareness of one's existence/living life in full awareness]. Accordingly, the Danish existential philosopher Sören Kierkegaard formulates this belief: "Life is lived forward and understood backward."

 

 

MTDD: While reading your CV, especially in the field of education, countless academic and non-academic topics and roles emerge, from teacher to principal, from principal to teacher, to supervisor and director of the institute.

 

Would you mind summarizing your activities in this sector?

 

HK: In all my different activities, functions, roles, and duties, people were always at the center of my thoughts and actions.

 

 

MTDD: In your self-portrait, we read: "Who I am. MYSELF! I always have been."

 

How important is it to understand who we are and live our lives in full awareness and harmony with our values?

 

HK: Man's answer to this fundamental question of his existence, WHO IS, decides what destiny is being prepared.

Two and a half millennia ago, the oracle of Delphi answered the question,

"What is the main task of man?":

"RECOGNIZE YOURSELF!"

 

Self-awareness, the awareness of one's SELF, is the fundamental condition for living in harmony with oneself, being in harmony with oneself, being in tune with oneself in the inner cosmos, and living in peace with oneself.

Such coherence with oneself is successful when one lives according to beliefs that determine a coherent state of being. A coherent state of being is based on values ​​that improve life. These values ​​create homeostatic balance in the organism.

Homo sapiens has the ability to create such an organismic and virtual state of being as a co-creator in their own inner cosmos with the ability to self-regulate. This primordial human option establishes his freedom and his dignity.

The basic condition is the knowledge of one's true SELF.

 

MTDD: To what extent does the educational knowledge imposed by the education system interfere with one's awareness of one's being and hinder its development?

 

HK: The prescribed knowledge and learning contradict the ontic constitution of the human being, whose main characteristic is life in freedom. The world-famous poet Jean-Paul Sartre has clear words for man's innate desire for freedom: "Man is condemned to freedom!"

 

To justify this, I will name a few details of this primary anthropological constitution:

 

This original human constitution is the basis of a democratic society.

This original constitution provokes the primal fear of every dictator.

This primeval human constitution led to the collapse of the WALL in Germany.

 

And this primal constitution is causing millions of Chinese millennials to say goodbye to the system. They live in the state of "Tangping." "Tangping" means not making yourself an instrument of others. "To go your way, with dignity. Even if you become an outsider and have to settle for less money", says the young Chinese woman, whom XIFAN YANG calls Yao Feng in her article "Uprising while lying down" in the weekly DIE ZEIT of April 13, 2022. XIFAN YANG states: "Young people do not participate more. They withdraw, go out, greet us and turn to ‘I’."

In the traditional school system, currently dominated in 76 countries by the PISA [Programme for International Student Assessment] functionalist study, children and adolescents are conditioned to adapt for at least ten years during the growth phase of the brain. The brain area in the frontal cortex for SELF-regulation is impeded from full development by forced learning. With forced learning, there is no existential reference to the person, to the true SELF. This hinders the development of the brain areas necessary for autogenesis.

At the end of school, graduates don't know WHO they are and what they actually want.

 

MTDD: On your home page, you state, "The knowledge of the school has clogged my system and overflowed my heart. I almost drowned in it."

 

Could you elaborate on this concept?

 

HK: I was "tied" to a school chair for hours, having to hear what the teacher was trying to put into my head. What was happening in my inner world didn't interest me. It was all about the subject.

Teachers are obliged to deliver the prescribed learning content in a set time and are obliged to evaluate students' learning products. Grades motivate and condition students just like mice in a Skinner box. Expected learning products are rewarded with good grades, poor learning products are punished with bad grades.

My heart was driven by fear of getting good grades to get promoted to the next grade. My salvation was that I left the "school jail" and started an apprenticeship.

 



(Horst Költze:  Anthropologically Oriented Teacher Training)


 

MTDD: Let's start by looking at some of your publications.

The first were

 

- Anthropological-oriented teacher training. (1981);

- Teacher training - Theory and practice of the different models (Ed.). (1990);

- Teacher training in transition - From the concept of technocratic to human training,

  In: Ruth C. Cohn / Christina Terfurth (Editor), Living Teaching-TCI for Schools

  (1993),

- The Pedagogical Diary - A step towards responsible training.

      In: Almut / Hoppe / Heike Hoßfeld (edited by),

        Evaluation as a process - Dialogue between self-evaluation and external evaluation. (2001)




                                          (Horst Költze: Pedagogy of Self-Genesis)


The first three titles underline the importance of training teachers of anthropological orientation.

 

Could you, please, describe the anthropological orientation, the theory of different teacher training models, and the transition from a 'technocratic' to a 'human' education?

 

HK: I'll start with a fundamental insight from existential philosopher Sören Kierkegaard:

"Man thinks in categories other than those in which he exists."

 

These two ways of being, thinking, and existing form the bipolar field of tension in human unity. Man integrates both modes of being operationally into the act of action.

Being a teacher takes place in the classroom like a live broadcast every minute, where thought materializes into action.

Pedagogically professional actions require a high degree of self-awareness and the effects on students.

Pedagogical professionalism develops only when teacher education integrates both ways of being, the category of THINKING and ACTION, in the teacher training process.

The basis of such a process of professionalization of anthropological orientation is the ontologically legitimized image of man, in which man is understood as SELF. In teacher training, through self-confrontation, awareness of the true SELF develops in the process of conscious representation.

The re-representation of the SELF is the fundamental condition of human formation.

 

 

MTDD: To what extent does third-party evaluation affect our self-esteem, and what can be done?

 

HK: The extent to which others judge our self-worth depends on our awareness of our true SELF. If the consciousness of one's SELF is underdeveloped, a virtual void arises in the inner cosmos. Dominant reference persons and authoritarian systems then prevail in this void.

What can be done about it?

As soon as the child says “I”, he can distance himself from himself and confront the SELF. This means confronting themselves in appropriate situations and promoting their freedom to make their own decisions, taking responsibility for their SELF and their fellow humans.

The anthropological justification of freedom of choice lies in the original constitution of man. Everyone has a chance to stop before reacting. The founder of speech therapy, Victor E. Frankl, acknowledged, "There is a space between stimulus and response. In this space, we have the freedom and the power to choose our answer. Our answer lies in our growth and our freedom."

This pause option is the basic condition of AUTO Adjustment. Self-regulation is successful as soon as a man has developed an autonomous standard of values ​​for himself. Therefore it is independent of the evaluation of third parties.

 

 

MTDD: How will readers interested in purchasing your publications do so?

 

HK: My books can be purchased at any local bookstore or ordered through Internet bookstores.

My essays, such as "The Evolutionary Spirit Transforms Educational Consciousness," can be downloaded for free from the Internet.

 

 

MTDD: Horst, your publications are numerous, and the topics to be covered are as interesting as they are profound. We can continue this exciting conversation about the world of teaching and learning in our next interview.

 

Thanks again for participating. It was an honor to have you as my guest.

 

HK: Maria Teresa, thank you for inviting me to this interview.




                                    (Horst Költze: School in Education Quake)