This article discusses the relation between emotions and testimony, by asking the questions: What do emotions do? Are emotions possible and desirable starting points for teaching difficult and complex subjects such as injustice and historical wounds? This article explores the 2015 image and testimony of Alan Kurdi, lying on a beach of the Mediterranean Sea and the immense emotional response it elicited from the media. By critiquing emotions based on testimonies in teaching, by primarily following Ahmed and Todd, this article (...) argues that emotions are cultural practices, not psychological states, and, thus, are relational. On this point, the argument is developed into two different movements, first, the effects offered by listening; second, opacity in relation to transparency, based on the thoughts of Glissant. The aspects of listening and opacity in relation to testimonies, in turn, yield an ambivalent space in which emotions play a role in students encounter with testimonies and may, in turn, imply educational possibilities. (shrink)

In recent years, aggressive and conservative nationalistic forces have been growing stronger worldwide (Rydgren 2018). Increased random terrorist attacks are now occurring in sites previously thoug...

Whereas there are many aspects of Roger Simon’s thought that can be privileged, one of the most compelling points of entry for beginning to consider his legacy in the field of education, and beyond, lies with his concern for the difficult work of receiving and transmitting, of giving countenance to, the traces of those now absent. Indeed, in the last 20 years of his scholarly work, Simon pressed us to consider the pedagogical stakes in forging an ethical living relation with (...) the remnants of past and presently unsettled—ongoing—historical wrongs. Keenly aware of how memorial practices risk falling into facile assurances and deferrals, Simon emphasized the important work of “remembrance-learning,” in which the task is to learn how to ethically receive and translate the remnants of a difficult past in our present, so that we might be able to more thoroughly think our time. In this paper I provide an overview of a certain tendency in Simon’s later thinking, pointing to how his work on pedagogy, aesthetics, curation and collective study was motivated by a not so ordinary way of thinking that takes seriously the fact that the dead cannot bury the dead; that they need those in the present, those whose turn it is to do the work, to offer human significance and a human completion to what remains a remnant. (shrink)