Michael Peters

In a range of path-breaking publications that shaped his engagement with educational theory Paul Smeyers sympathetically investigated the claims and ‘atmosphere’ of postmodernism. In this chapter I investigate the backlash against postmodernism that holds it responsible for ‘post-truth politics,’ and of promoting a cynical attitude to truth and facts. I argue for an intellectual history of truth in which it is contested, not only in Continental tradition and in what some have called postmodernism, but also in the analytic tradition. I explore these issues through a reading of Wittgenstein’s place and role in the history of analytic philosophy and by investigating how he moves away from a notion of truth grounded in a form foundationalism in the Tractatus to embrace a form of anti-foundationalism in the Investigations and On Certainty.

Three prominent Wittgenstein scholars introduce the broad educational significance of Ludwig Wittgenstein’s work to a wider audience of educational researchers and practitioners through provocative, innovative, and playful readings of his work. They vividly demonstrate the influence of his thinking and its centrality to understanding our contemporary condition. Wittgenstein fundamentally shaped contemporary theories of language, representation, cognition, and learning. The book also traces the “pedagogical turn” of his thinking during the period from 1920 to 1926. What is most radical about Wittgenstein’s later work is that it suggests learning and initiation into practices are fundamental to understanding his philosophy. The book not only provides a new and fresh interpretation of Wittgenstein’s thought but also explores a new way of thinking about education as a way of revealing the educational dimension of philosophical problems.

This paper reviews two main historical approaches to creativity: the Romanticist approach, based on the culture of the irrational, and the Enlightenment approach, based on the culture of the objective. It defends a paradigm of creativity as a sum of rich semiotic systems that form the basis of distributed knowledge and learning, reviews historical ideas of the university, and identifies two conflicting mainstream models in regards to understanding of the university as a public good: the ‘Public’ University circa 1960–1980, and the ‘post-historical’ university. Based on practical experiences, and on previous works by Peters and Jandrić, it develops the new model of ‘the creative university as digital public university’, and argues that it provides a useful philosophical goal for directing present and future practices of the contemporary university.