Carolina Biological Supply Cell Respiration Lab

Overschooling


Inflation school / training


Several scholars at the European level, including Marie Duru Bellat *, dealing with sociology and economics of education are assuming that in advanced societies is being shown in excess of schooling, called Overschooling.
Above a certain limit the crescista schooling would not be useful in the socio-economic development of a country. Duru Bellat quote l'OCSE, nel rapporto Education at a Glance del 2006, sostiene che al di sopra di una media di 7,5 anni di scuola, gli effetti positivi sulla crescita economica tendono a diminuire.

La media di scolarizzazione nei paesi avanzati EU è di 11,8 anni, ecessiva e controproducente, creando una sorta di inflazioni scolatsica/formativa che non gioverebbe al paese. ( L'inflation scolaire )
Tra gli esempi diversi Paesi del blocco ex-comunista, con un livello di scolarizzazione mediamente elevato, altissima percentuale di laureati, ma PIL sottozero e redditi personali bassi.



Viene messa così in discussione l’opinione diffusa, vedi Ivan Illich ( Deschooling Society ) or concepts related to human capital , that bring more young people as possible with their qualifications and / or graduate promote economic and social justice.
The development of education is not an end in itself, Duru-Bellat, justifying "educational inflation". Need more training for what purpose?

See also European teachers

European teachers

approfondisci ( )


in press ---


* Marie Duru-Bellat, sociologue spécialiste des questions d’éducation, est professeur à l’IEP de Paris et chercheur à l’Observatoire Sociologique du Changement et à l’Institut de Recherche en Education (IREDU). Elle travaille sur les politiques éducatives et les inégalités sociales et sexuées dans le système scolaire. Parmi ses ouvrages récents, on compte : L’école des filles. Quelle formation pour quels rôles sociaux ?, L’Harmattan, 2004 ; Les inégalités sociales at school. Genesis and myths, PUF, 2002; Inflation school. The disillusionment of meritocracy, Seuil, 2006.

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Gianluigi

Friday, November 6, I presented Without shelter library Mondadori di Vicenza. My friend Gianni, who was in the front row, I wrote this thinking.

Hello Stefano

A thought on the evening of Friday, November 6, 2009

At this point I am only interested to know what to believe and should not be poetry.

not do politics or political power, not a religion or religious power. It is not sentimentality but flesh and flesh is born crying.

Poetry comes from inner suffering, as schizophrenia, manic search times, that it can become and beauty (if it is true that this alone will save us). The poet is a craftsman of the word, that word that sometimes, as I said, struggling to find themselves and then you have to wait for, but by going to meet. I believe that poetry should not stand anywhere or be a party. Of any color, black or red or white. Comparison is with the things of the world itself, and especially with yourself. The poem is almost a state of trans, (these days, obviously not confusion), rather a state of wonder and ecstasy. The craftsman of the word reaches something that will never be satisfied. And yet try again to write, assemble disassemble, smooth putting together and writing life, love and death in different ways, with all the ensuing complications: pain, love for poetry and for themselves.

it follows in this cataclysmic event, yes! that God is dead. We do not need more.

And the poem is serious and what should I believe that it is better not to know the effect that when someone or someone finds out ends. This is to reiterate the constant search to be made. It would be trite to say that it's almost like a woman who never ceases to know, especially when it's love for her. But it is also important to know that is a mutual thing that makes you feel something good.

Good weekend

Hello thanks.

Gianluigi

on Blanc found some of his poems.

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Stephen Cannella Crozzoletti

Dear Stephen,

I recently completed my journey to the homeless. I would like to express my sincere appreciation for this thy work, who not only write poetry, but you live, giving it meaning, making it breathe. I do not think it is only a book for insiders. It 'a book for those who love poetry, understood not as a mere exercise in good writing, but as a path that leads to a (responsible) freedom.

My impressions are limited to only some of topics you covered in the book, those on which I focused more, I shall return, because there are many thoughts that crowded in my head, I'm trying to untangle. Impressions are very personal, unpretentious. Maybe mine was an improper reading, perhaps I went to look for what I wanted to find.

Poetry "does not serve anyone." It "shows us a model report no masters and no slaves. I do not think a little. "It 's been the starting point of this trip, and was also the arrival point.

The poem, the "honest", is free. Did not owners because the poet when he writes, breathes on its own. In verse one often comes along a bumpy road, looking for questions and answers, by appointing his own ghosts, ordering his thoughts and to be freed. In the end, you choose. However, the choice is never the point of arrival: it starts, it starts again. You say: "I write to get ready to choose, freedom of thought, which opens direction and breath." It 's so, it should be.

constraints there are, the language is a constraint. The items are both cage and knotted sheets, thrown out the window of the cell to reach the outside. There is the bond of responsibilities ("do the best you can"), the need to be there, not to be outside, even if you do not write poetry "civil" in the strict sense.

I was particularly involved in the chapter on rent and finite, where talk of writing close to the margin. Writing: "if the slack from the extreme edge is approached and attended by the author, the work and the same finite in it breathing is less singular, almost to zero by the open era to which they belong ..." .

I'm not sure I have grasped the meaning of your words, but the head was slowly formed a picture: the margin (unreachable, unspeakable) as a kind of moving line, moving away and approaching in the light of experience, age, feel, that you accept the risk of running .

Close to the edge I imagined the word dangling from his lips. Below is a ravine and opens up the sky. In any case, it is vertigo. In any case, the jump in the air does not provide protection, shelter. There is this to be suspended, this time in the balance, the words come by themselves or they are seized, brought to him, worked on a line, christened. Before being delivered to others. May fall on the ground or flying. There are times when I like to see the words down, dirty with mud, others I prefer to see them take off, or suspended in midair, about to stop. I'm going off topic ...

I found very interesting (again, your words are wise beyond) the section on "challenge to the strength of the text" challenge in which, say, the author comes into play, along with the criticism. Individual work on their texts author is primarily a work on oneself, the truth value of his writing and thinking behind all the writing, the result of a certain way of life and feeling.

In addition to the trial (necessary) on the "leak" of a text carried by the critics, I think is important in the history of the personal work "in the silence of his study" (maybe the kitchen?) Is the single author . If the text "takes", if over time it will be true in all honesty, beyond the contingencies, as well as the emotions of the moment, then we can truly say that poetry "does not serve anyone." And for this writer is, in space and time of a poem, free, with the possibility, almost a responsibility, to push the boundaries. Not cheap.

Stefania Crozzoletti

Big Boob And High Heel

Manuel Cohen

Dear Stephen,

where to start? Lately, I have always from the apology: I apologize for the long silence following the arrival of your book, arrival of which I have not thanked you, and I do now.

I'm sorry because this fall they are pressured by deadlines and a number of outstanding commitments, in addition to the usual weekly routine Rome-Brussels-Liège ... and the books that arrive are piling up, and sometimes not enough s'entusiasmo, especially if the reading work concerns a ponderous and powerful as yours, and not the plaquette short verses.

You and I know very well how a letter is inadequate and unsatisfactory in comparison with the value ratio and, yes, the value of your critical work. Meanwhile, I'll give you my most dear and believe congratulations: You have drawn a field whose latitudes may cause envy in those who do not! It 's the kind of critical recognition, for the amplitude spectrum or prospects, that you take, which I suck so much! Without shelter is a beautiful book. This is from the title. Dry, clear, essential, honest, sharp and refined.

Are you a good critic, I had read here and there, in magazines or on operations anywhere in the apparitions, and I felt the strength and rigor. But read 'homeless', not only confirms some feelings, but I am surprised, very surprised you can in your readings are at once rigorous, faithful, yet extremely unpredictable. Can you ask the reader with references so beautiful, and with a complexity of reading, philosophical background, that continuous bonding between literature and refined ontology .... For example: how to write about the group Anterem. E ', with ease. I find that much right (once you would have said: noble) that you've dedicated a study so complex Anterem group: we both know how much work there is, and how much effort in drawing up a serious magazine, that makes sense, chasing a primary sense, and we know that many efforts are often accompanied by the silence surrounding.

The arguments with which to address the theoretical issues in the first section, but also in the second correlative on the 'canon' are not only convincing and I shared very reasonable. You have the ability to consciously and with full autonomy commensurate with the enormous issues, and all the aporia on writing.

Then, the section of reading, even if you want, the most delicious, and best able to meet a lot of curiosity about authors and their writings, said that often, the authors surveyed are never casual, and respond to specific choices of taste, and choices of the field.

E 'obvious, and, believe me, it is not to say that' homeless' is a work destined to become a reference point, a paradigm of confrontation and, for anyone with intellectual honesty to take care of contemporary poetry, and for anyone who has it in high regard.

Dear Stephen, I wanted, for now, to provide all my support, sharing, empathy. Will, è una promessa, pure un mio intervento scritto, che, va da sè, non potrà arrestarsi al grado della semplice secensione.

un caro, sodale saluto, tuo Manuel