This essay offers a rationale for the employment of narrative pedagogies in introductory philosophy courses, as well as examples of narrative techniques, assignments, and course design that have been successfully employed in the investigation of philosophical topics. My hope is to undercut the sense that “telling stories in class” is just a playful diversion from the real material, and to encourage instructors to treat storytelling as a genuine philosophical activity that should be rigorously developed. I argue that introductory (...) courses focused on student narratives fulfill the ideals of learning-centered teaching. Since narrative learning also promotes self-knowledge and empathic understanding, there is good reason to consider replacing or supplementing canonical texts or arguments with narrative assignments. The concluding sections provide details as to how such assignments can be constructed,integrated into course units, and assessed. (shrink)

. Migrating narratives: pedagogical possibilities for relating difference. Ethics and Education: Vol. 7, Creating spaces, pp. 225-236. doi: 10.1080/17449642.2013.766539.

Situating narrative: philosophical and theological context -- Ethical being: the storied self as moral agent -- Reconciled being: narrative and pardon -- Pedagogies of pardon in praxis -- Towards a narrative pedagogy of reconciliation -- Ricoeur's legacy: A Praxis of Peace.

This article is a reexamination of the author’s understanding of pedagogy, aimed at developing an increased awareness of the provinciality, limits and blind spots of the pedagogy and knowledge systems of colonial modernity. It engages with particular Indigenous epistemological theorisations of non-human agency, with Haraway’s notion of multispecies entanglement, and with the Australian Great Barrier Reef in an inquiry aimed at noticing absences and hauntings of pedagogies of modernity, including the absence of ways of knowing and being without (...) separability and determinacy and the damage that has come of this. This opens space for contemplating separability and determinacy as ontological difficulties contributing to socio-ecological crises of our time. The article is intended as a move by the author toward developing greater capacity to stay with the trouble of educating and living on a damaged planet that is fast becoming uninhabitable. (shrink)

The relation between philosophy and pedagogy is complex and hard to grasp.1 Nonetheless, the tendency within much educational research influenced by the Anglo-American traditions of studying education is for philosophy to become a source from which educational researchers retrieve concepts, ideas, and critical methods for the analysis of empirical material, for formulating criticism of policy, or for developing curriculum theory. Philosophy is simply applied to educational research problems and questions. Such a relation can be prolific, but it risks resulting (...) in a formalistic study of education and an asymmetric relation in which philosophy contributes to pedagogy, but where pedagogy is not given a chance to speak... (shrink)

In introducing the works included in this special issue, this essay identifies some general ways that these and other narratives can function in ethical explorations in the field of education. The essay not only articulates ways that narratives can be useful to education scholars, but it also provides pedagogical reasons to connect stories with ethics in classrooms. It concludes with a brief nod to the dangers that Plato, contemporary scholars and teachers have about combining narratives with ethical inquiry, and touches (...) upon some ways to temper them. (shrink)

This book presents a survey of approaches to dealing with 'rival histories' in the classroom, arguing that approaching this problem requires great sensitivity to differing national, educational and narrative contexts. Contested narratives and disputed histories have long been an important issue in history-teaching all over the world, and have even been described as the 'history' or 'culture' wars. In this book, authors from across the globe ponder the question "what can teachers do (and what are they doing) to address (...) conflicting narratives of the same past?", and puts an epistemological issue at the heart of the discussion: what does it mean for the epistemology of history, if it is possible to teach more than one narrative? Divided into three sections that deal with historical cultures, multicultural societies and multiperspectivity, the chapters of the book showcase that dealing with rival histories is very much dependent on context, and that diverse teaching traditions and societal debates mean that teachers' abilities in engaging with the teaching of rival narratives are very different. The volume will be compelling reading for students and researchers in the fields of education, history, sociology and philosophy, as well as practising teachers. (shrink)

This book presents a survey of approaches to dealing with 'rival histories' in the classroom, arguing that approaching this problem requires great sensitivity to differing national, educational and narrative contexts. Contested narratives and disputed histories have long been an important issue in history-teaching all over the world, and have even been described as the 'history' or 'culture' wars. In this book, authors from across the globe ponder the question "what can teachers do (and what are they doing) to address (...) conflicting narratives of the same past?", and puts an epistemological issue at the heart of the discussion: what does it mean for the epistemology of history, if it is possible to teach more than one narrative? Divided into three sections that deal with historical cultures, multicultural societies and multiperspectivity, the chapters of the book showcase that dealing with rival histories is very much dependent on context, and that diverse teaching traditions and societal debates mean that teachers' abilities in engaging with the teaching of rival narratives are very different. The volume will be compelling reading for students and researchers in the fields of education, history, sociology and philosophy, as well as practising teachers. (shrink)

This paper argues in favour of the beneficial currency of Thomas Carlyle's ‘On Heroes, Hero-worship and the Heroic in History’ in three ways, each of which finds the basis of its critique in aspects of Foucault's theories of discursive practice, as explored in Foucault's theories of historical discourse; 1) that Carlyle's terminology connects with his discursive practice in an ambiguous manner, as his concept of worship is more akin to study than devotion, if we take the text of his lectures (...) as evidence of his perception; 2) the sources of enlightenment Carlyle offers us, based on these studies of heroic individuals, may provide an exemplar for interdisciplinary scholarship centred around biographies of notable individuals, and finally; 3) we challenge the notion that heroes such as those Carlyle offers us can be manifest in the present and argue that the depth of insight Carlyle demonstrates into his subjects is only possible by means of a lengthy temporal transition: the historicity of these narratives, and the narratives of social codification, cultural development and long-term impact witnessed and described over generations, is what makes them feasible at all. (shrink)

Exploring teaching as an upper secondary school teacher through lived experience offers pedagogical insights that have been challenged over a period of 25 years, when neoliberal educational policies gradually transformed the conditions for teaching in Swedish schools. The article is grounded in the assumption that the teaching profession is complex and there are multiple tacit dimensions inherent in being and becoming a teacher. Several of these dimensions are captured by the notion of pedagogical tact and have to be learned through (...) practice. However, over the past few decades, the implementation of neoliberal policies in the Swedish education sector have changed the conditions for teaching, and created an area of tension between the teacher’s pedagogical alignment and the educational practices influenced by neoliberal values. The aim of the study is to describe how the author experienced these tensions, and what they meant for her becoming and being a teacher in three different pedagogical sites: a higher education preparatory program, a vocational preparatory program, and in adult education. The description is grounded in the lifeworld phenomenological approach and carried out through personal narrative. (shrink)

Social studies’ explanations of race can marginalize educators of color, due to a lack of focus in the curriculum or conversations in the classroom. This article addresses the problem through composite counter-narratives, created from collaborations between the author and current social studies teachers of color. Two teachers, Charlie Smith and Rosita Hernandez, describe their experiences learning and teaching social studies through the lens of community. Current research positions counter-narratives as a pedagogical tool for pre-service teachers resisting majoritarian narratives or as (...) a curricular tool for elementary social studies teachers challenging mainstream historical texts. However, a gap exists on in-service social studies teachers using community to create counter-narratives. Composite counter-narratives serve as a starting point in addressing this gap. This article aims to provide scholarship space for the voices of teachers of color while situating the community as a significant influence in teaching social studies. (shrink)

This essay is a discussion of effective teaching in the science‐and‐religion classroom. I begin by introducing Alfred North Whitehead's three stages of learning—romance, discipline, and generalization—and consider their implications for powerful pedagogy in science and religion. Following Whitehead's three principles, I develop a number of additional heuristics that deal with active, visual, narrative, cooperative, and dialogical learning styles. Finally, I present twelve guidelines for how to use e‐mail and class‐based listserves to achieve some of these outcomes.

This paper offers an approach to support the development of reflective teaching practice among university academics that can be used to promote dialogue about quality enhancement and the student experience. Pedagogic frailty has been proposed as a unifying concept that may help to integrate institutional efforts to enhance teaching within universities by helping to maintain a simultaneous focus on key areas that are thought to impede development of pedagogy. These areas and the links that have been proposed to connect (...) them are interrogated here through the dialogic analysis of a framed autoethnographic narrative produced by a community ‘insider’ who has considerable experience of teaching within the arts and humanities. This person-centred methodology acknowledges the subjective nature of teaching and gives voice to important stories that otherwise might not be heard formally, and allows an academic to rehearse this voice individually before comparing it with others in the institution. (shrink)

Brazilian educator, Paulo Freire, best known for his work Pedagogy of the Oppressed, challenged education plans that contributed to the marginalization of minorities and the poor. Freire believed that education should be used for liberation by helping learners reflect on their experiences historically, giving immediate reality to issues of racism, sexism, and the exploitation of workers. Known as one of the most influential theoretical innovators of the twentieth century, his views have left a significant mark on progressive thinkers about (...) education and liberation. Reinventing Paulo Freire is an homage to him by protégé Antonia Darder. Here, she explores the legacy of Freire, interviews eight former students who studied him-- now teachers themselves, and reflects on the teaching practice as demonstrated by Freire himself. The interviews take the form of first person narratives; the epilogue consists simply of a letter and a poem. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

The following article reconstructs the philosophy of education implicit in Paul Ricœur’s late writings —above all, his “Autonomy and Vulnerability”— to address the current crisis in the humanities. In keeping with Kant and the Bildung tradition, Ricœur reminds us that education aims, above all, at self-formation. In particular, a “pedagogy of responsibility” serves as a bridge between vulnerability and “autonomy”: shorthand in Ricœur’s thought for character, intellectual independence, and moral maturity. Unlike orthodox Kantians, however, Ricœur highlights the indispensable role (...) symbolic representation plays in the cultivation of autonomy, mutual recognition, and three related modes of identity: narrative identity, personal identity, and moral identity. Moreover, we learn this art of identity-formation from sustained study in the humanities (literature, philosophy, history, etc.). (shrink)

In the South Korean film, The Parasite, the underling family, in an act of desperation, uses deceptive means to infiltrate the rich family. The term parasite refers nominally to the underling family, and their efforts to befriend and inhabit the class territory and social hierarchy of the rich family. How can this be of use for education? To answer this, we ask: what can we learn from Parasite to inform contemporary philosophy of education? Primarily, this experimental piece written from different (...) philosophical viewpoints, suggests that the images, narrative, and social context of the film cannot be read stereotypically. Using a blend of Deleuze and Stiegler ‘cinema-theory’, we present a heuristic perspective on the Parasite from three viewpoints: (1) South Korean society, and how a pedagogy of the parasite helps to understand the dynamics of contemporary philosophy of education in a global context. South Korea is uniquely placed at the cusp and threshold of deterritorializing Western capitalism, given its position next to the only in-tact communist state system; (2) The film shows how theorizing an exceptional notion of time contributes to the overall pedagogy of the parasite. Here, being a parasite is about waiting to attach oneself to a host, yet this waiting is an anxious, perceptive, adherent time, a reciprocal time, and one internally interconnected to that of the host; (3) The ethics of the parasite. The parasite chooses a host from a certain viewpoint before attaching itself and trying to be absorbed into the host. The pedagogy of the parasite suggests a unique ethical treatment of these assimilative processes and allows us to consider cinema as a parasitic means to shake the passive audience out of its stupor when bearing witness to the violence in the film and its own collusion in the trauma and reality of contemporary capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 1-20 [Access article in PDF] A Pedagogy of Two Ways of Seeing:A Confrontation of "Word and Image" in My Name is Red 1 Feride Çiçekoglu The novel of Orhan Pamuk, My Name is Red, recently the center of controversy, not only in its homeland Turkey but in all the countries where it was translated, focuses on the debates around image-making in (...) late sixteenth-century Istanbul, then the Ottoman capital. It is also a contemporary tale. Its focus is not only the tradition of miniature painting during the Ottoman period in particular, but also the tradition of Western painting. Above all, My Name is Red is a detective and love story, starting with a murder and resolving the mystery at the end, like many other novels in this genre. What is unique is the role that the confrontation of different traditions of painting, Western and Islamic, and that between "word and image" play in the resolution of the love story and the solving of the mystery. The tradition of miniature painting, the illumination and illustration of narrative texts, which legitimized itself as the art of the book, may be interpreted as a way of dealing with the iconoclastic tradition of Islam. In this context, images are not seen as things-in-themselves but they are treated as "footnotes" even when the image seems to dominate the written word on the page. Image-making becomes an extension of the text, rather than an independent art. It serves the purposes of the words for a better understanding of the meaning, for a description of the aura of the narration, for the depiction of the images the reader of the story will paint in the mind's eye. Images, it has been said, do not represent real life; they are an externalization of the inner life. Thus, contrary to meaning and interpretation in Western art, the meaning in Islamic illumination is "inwards, converging on a private truth" rather than disclosing itself with an "outwards movement" 3Such a way of seeing is a totally different story than the discipline of art history traditionally allows: [End Page 1] the history of art, everywhere interlaced with the problems of representationalism, is in large part a commentary of the Western tradition upon itself, even if examples may be chosen from beyond its borders. Representationalism and its attendant problems are integral to the history of Western art, but not to the history of all art. 4Pamuk's novel provides a rich frame of reference for wandering in both traditions of image-making, Western and non-Western, which have seldom — if ever — been presented in the same framework. My Name is Red reconstructs two different ways of seeing in retrospect within the fictional atmosphere of late sixteenth-century Istanbul, weaving a rich panorama of the now lost tradition of Islamic illumination, faced by the "troubled notions of representation, naturalism, realism, and mimesis" due to the impact of Venetian painting. 5It is incidental that in the novel, the contradiction of traditions fails to liberate the imagery of the Ottoman miniatures from the pages of the books and from the yoke of the narrative text. Pamuk himself certainly does not wish to be seen or evaluated as writing from the viewpoint of "positivistrationality" from a teleological standpoint of "enlightenment." In his words, "I do not see it as: The miniaturists were going to be westernized if they were not prohibited by Islamic tradition." 6Pamuk is well aware of the fact that "Westernization of the West" isbased on the idea of the Renaissance as a "myth." 7 He finds it ironic that "this nineteenth-century myth of the Renaissance is still taken seriously by many people"; even more so in non-Western cultures, since "the West" itself is in a process of "de-Westernization" by demystifying the myth. 8 He cites Svetlana Alpers's The Art of Describing in this context, as a work which impressed and inspired him for... (shrink)

The wicked problems that constitute sustainability require students to learn a different set of ethical skills than is ordinarily required by professional ethics. The focus for sustainability ethics must be redirected towards: (1) reasoning rather than rules, and (2) groups rather than individuals. This need for a different skill set presents several pedagogical challenges to traditional programs of ethics education that emphasize abstraction and reflection at the expense of experimentation and experience. This paper describes a novel pedagogy of sustainability (...) ethics that is based on noncooperative, game-theoretic problems that cause students to confront two salient questions: “What are my obligations to others?” and “What am I willing to risk in my own well-being to meet those obligations?” In comparison to traditional professional ethics education, the game-based pedagogy moves the learning experience from: passive to active, apathetic to emotionally invested, narratively closed to experimentally open, and from predictable to surprising. In the context of game play, where players must make decisions that can adversely impact classmates, students typically discover a significant gap between their moral aspirations and their moral actions. When the games are delivered sequentially as part of a full course in Sustainability Ethics, students may experience a moral identity crisis as they reflect upon the incongruity of their self-understanding and their behavior. Repeated play allows students to reconcile this discrepancy through group deliberation that coordinates individual decisions to achieve collective outcomes. It is our experience that students gradually progress through increased levels of group tacit knowledge as they encounter increasingly complex game situations. (shrink)

In this interview, conducted by Gonçalo Marcelo, Richard Kearney recaps his intellectual trajectory, commenting on his early works on imagination and his own narrative style of doing philosophy in order then to make explicit the deep connection between the more recent developments of Carnal Hermeneutics, Reimagining the Sacred and the work done with others in the context of the Guestbook Project. Drawing on some lesser-known aspects of his work, he emphasizes the carnal dimension of recognition and discusses the pitfalls (...) of the Age of Excarnation. Finally, and as part of his ongoing role as a public intellectual, he also comments on Europe’s social and political situation and the dangers it faces arguing for a pedagogy of narrative exchange as a means to foster hospitality and inclusion. (shrink)

This article examines the pedagogic vision of audiovisual archives in Ici et ailleurs ( Here and Elsewhere, 1974/1978) (shot by Sonimage and drawn from the abandoned project Jusqu’à la Victoire [1970]) in terms of the stratification of images and sounds. Drawing on Gilles Deleuze and Michel Foucault, Tom Conley writes that a diagram that depends upon the division between the visible and the enunciable may be comprehended in terms of a map and as a line of forces. Such strata can (...) act as signposts for diverse and multilateral readings of film, as viewers “read” cinematic landscapes and time-images. In Ici et ailleurs, stratigraphic shots juxtapose the Western, static home life of a family in France with the nomadic life of Fedayeen troops in Jordan and Palestine. This article argues that Sonimage’s narrative specificity relies upon an “in-between” method that defines an inter-space between semantic orders. (shrink)

Kindergarten Narratives on Froebelian Education showcases the latest scholarship and historical understandings concerning the casting of the kindergarten idea abroad: across cultures, continents and centuries. Each chapter reveals previously unknown narratives of intrepid endeavour, political pragmatism and pedagogical innovation that collectively provide insight into the transformation of Froebel's ideas on early education into a global phenomenon. Across global contexts, each chapter will present a case study of the ideas scattering abroad, illustrative of the movement of ideas, curricula and pedagogical change; (...) in effect taking the kindergarten beyond the geographies and pedagogies of its German beginnings and borders. Chapters draw on historical examples of Froebelian education from The Netherlands, New Zealand, Japan, Sweden, the UK and the USA. In the journal History of Education in 2006, Froebelian history scholar Professor Kevin J. Brehony (1948-2013) lamented the 'relative neglect' of the history of early years education at the same time there was a heightened global social and political interest in educating the young child. In this book, an international team of contributors respond to Brehony's challenge that historical perspectives can play a role in current debates and suggest ways historical narratives might inform policies and practices in twenty-first century early childhood education, care settings and contexts. Reconnecting past lessons and insights with present and future concerns for early education, young children and their place in society, this important collection also includes an historical timeline charting the spread of Frobelian education ideas and kindergartens across the world. (shrink)

Can on-line ‘place-based learning’ be more than a facsimile or ritual? Using a phenomenology of my pandemic practice, I investigate the meaning of ‘place-based learning:’ entertaining Aristotle’s seminal thought on place as a container to venture into contemporary phenomenological inquiries where places and things are not only conceptually implicated by each other, but immanent and potentially powerful elements in learning experiences. Bonnett’s (2021) ecologizing of education shows that authentic forms must be embodied and emplaced in order to open learners to (...) the more in situ, deeply-contextualized and yet ‘transcendental’ and ‘ecstatic’ reception of the more-than-human realm of nature (as what comes-forth, phusis). But this Heideggerian narrative with which I resonate poses challenges for students and place-based educators. Wittgenstein’s philosophical approach, itself modelled on place-based investigation of language (our ‘home city’), draws me back from metaphysical inclinations to dwell constructively on ordinary discourses rooted in educational practices. (shrink)

The article conceptualizes the term Pedagogy of Fear as the master narrative of educational systems around the world. Pedagogy of Fear stunts the active and vital educational growth of the young person, making him/her passive and dependent upon external disciplinary sources. It is motivated by fear that prevents young students—as well as teachers—from dealing with the great existential questions that relate to the essence of human beings. One of the techniques of the Pedagogy of Fear is (...) the internalization of the view that without evaluation and assessment we cannot know a child’s level or “worth”—and therefore are unable to help him/her if he is “slow in learning.” In contrast, Philosophy for/with Children offers a space for addressing existential questions, some of which deal with urgent social issues. The willingness to make philosophy inquiry an alternative already from an early age seeks to allow the child to challenge him/herself with new and fresh questions. Philosophy for/with Children does not regard children as a “space of lack” (experience, knowledge, values, etc.) The new and fresh philosophical perspective of children demands the presence of a willingness to engage in dialogue and rejection of the fear of the innocent and deep questions of philosophy. Shaking free of the Pedagogy of Fear and restoring honor to children’s questions demands a fundamental conceptual change within education. The replacement of existential certainty as it is depicted by adults in the existing education system with an existential question is a heavy intellectual task that in most cases is viewed as subversive—primarily on the part of the adult. It demands a return to starting points and a willingness to allow children a free and safe educational space in which to ground preliminary and fertile questions about themselves, their lives, their environment, and, most of all, the changing world they discover with the form of originality that is right for them. (shrink)

This paper begins with a brief examination of the contemporary American political landscape. I describe three recent events that illustrate how attempts to control the narrative about events that transpired threaten to undermine our shared reality. I then turn to Book I of Plato’s Republic to explore the potentially tyrannizing effect of Socrates’s narrative voice. I focus on his descriptions of Glaucon, Polemarchus and his slave, and Thrasymachus to show how Plato presents Socrates’s narrative activity as a (...) process that controls how the auditor understands the events that follow. I then turn to an alternate understanding of Socratic narrative which extols its philosophically and politically liberatory possibilities. I use my own previous work on Socratic narrative, Jill Frank’s Poetic Justice, and Rebecca’s LeMoine’s Plato’s Cave as three examples that emphasize the more positive dimensions of Socratic narrative. Finally, I end with a brief exploration of Cornel West’s Democracy Matters, and bell hooks’ works on pedagogy to argue for the possibility a Socratically-informed public space for political discourse. (shrink)

Against the view that the physical sciences should be the privileged source of reliable knowledge within the academy in general, and in philosophy in particular, this essay argues that an interdisciplinary approach to knowledge-production, one that includes social and psychological assessment as well as narrative analysis, can better capture the diverse range of human epistemic activities as they occur in their natural settings. Postpositivist epistemologies, including Lorraine Code's social naturalism, Satya Mohanty's and Paula Moya's postpositivist literary and pedagogical projects, (...) and Linda Alcoff's dialogical template for knowledge form the basis of a revised naturalized epistemology that is more accountable to a socially engaged inquiry. This revised naturalism shifts orientation from the idealized setting of the laboratory and its a priori conditions for knowledge to localized settings, where knowledge emerges out of diverse contextualized interpretations of the natural and social world that interlocutors produce as they dialogue with one another. Mayra Montero's neocolonial narrative thematizes the spatial shift of scientific activity, showing how epistemic authority, aligned with North American interests and regional identity, is established, withheld from others, and contested. (shrink)

In recent years new discourses have emerged to inform philosophy and pedagogy in early childhood. These range from various postfoundational perspectives to objectivist accounts such as neuroscience in relation to brain development. Given the variety of competing narratives, the field is complex and multifaceted with potential to revision early childhood pedagogy through varied paradigms and philosophical orientations. This special issue sought scholarship on a range of philosophical perspectives about early childhood education, particularly those related to issues of (...) class='Hi'>pedagogy. In this article, we develop an argument for philosophically informed pedagogy to balance some of the psychological and empirical approaches that dominate the field. Based on the provocations of the seven articles that comprise this issue, we argue for greater attention to subjective and even mysterious approaches to learning that call for ontological orientations to pedagogy as a relationship rather than a response or an intervention. (shrink)

Following the question of what it means to be a dance pedagogue, the aim of this paper was to examine some determinants of the profession of dance pedagogue and to establish the meaning and understanding of the way dance pedagogues speak about the ‘pedagogical’ in their profession. By applying qualitative research and the method of in-depth interviews with dance pedagogues who work in different fields of education and art, we tried to describe and analyse the area of their work, their (...) educational activities, and values they promote in their work. As a result of the qualitative analysis and the interpretative phenomenological analysis of the rich narratives, we have identified five topics: the notion of dance as a dimension of artistic and educational activity; the determinants of pedagogical work; the meaning of pedagogical role; the transformation of artistic practice into pedagogical practice; the distinguishing characteristic of the educational method. The results point to the conclusion that dance pedagogues see their work as a primarily educational work that combines art and pedagogy. The pedagogical knowledge of the dance pedagogues is an inseparable part of their professional habitus. (shrink)

This book re-theorizes the relationship between pedagogy and play. The authors suggest that pedagogical play is characterized by conceptual reciprocity (a pedagogical approach for supporting children's academic learning through joint play) and agentic imagination (a concept that when present in play, affords the child's motives and imagination a critical role in learning and development). These new concepts are brought to life using a cultural-historical approach to the analysis of play, supported in each chapter by visual narratives used as a (...) research method for re-theorising play as a pedagogical activity. Whenever a cultural-historical approach is applied to understanding pedagogical play, the whole context of the playful event is always included. Further, the child's cultural environment is taken into account in order to better understand their play. Children from different countries play differently for many reasons, which may include their resources, local cultural beliefs about play and specific pedagogical practices. The inclusion and acknowledgement of social, cultural and historical contexts gives credence and value to understanding play from both child and adult perspectives, which the authors believe is important for the child's learning and development. As such, the relationships that children and adults have with human and non-human others, as well as any connections with artefacts and the material environment, are included in all considerations of pedagogical play. (shrink)

This study examined the approaches used by two preservice elementary school teachers as they designed and taught antiracist social studies lessons about civil rights history during a community-based field experience. Using a theoretical framework of racial pedagogical content knowledge (RPCK), we identified three domains of RPCK needed to enact antiracist elementary social studies teaching and analyzed how these domains surfaced during lessons and interviews. Our cross-case analysis revealed that both preservice teachers struggled to balance presenting civil rights events as historically (...) significant while also calling their legacy into question. However, the preservice teacher who fostered dialogic and student-centered discussions was ultimately more successful with antiracist teaching. We provide implications for supporting elementary school teachers in developing social studies lessons that embody antiracism and teach the long civil rights movement. (shrink)

This essay responds to a persistent paucity of narrative and Indigenous perspectives in scholarship related to a critical pedagogy of place. In it Gregory Lowan-Trudeau explores interrelated concepts such as diasporic indigeneity, identity, and critical, place-based education and research through a literary métissage that weaves together Western and Indigenous narratives to reflect upon recent experiences of visiting sites of great personal and familial significance.

This article aims to reveal the semantic dynamics of narratives on Rousseau in Kyiv academic philosophy of the 19th and early 20th centuries. through the separation of the informational layer from the rhetorical one in their content and the identification of hidden (unarticulated) elements that determined both the general nature of the narrative and the evaluative judgments of the narrators. Based on archival primary sources and printed editions (mostly bibliographic rarities), a historical and philosophic study of the narratives on (...) Jean-Jacques Rousseau and his philosophy of education performed, which were created and broadcast by professors of Kyiv Theological Academy and St.Volodymyr University Pamfil Yurkevych, Sylvester Gogotskyi, Markellin Olesnitskyi, Mykola Makkaveiskyi, Oleksandr Selikhanovych, and Vasyl Zenkovskyi. Keeping almost the same informational core, the narratives of Kyiv academicians on Rousseau differ significantly in terms of rhetoric. While the “older generation” goes into philosophical criticism of the pedagogical ideas of the Swiss thinker as the Stranger, the “younger ones”, limiting themselves to remarks about their controversial nature, represent him as the Self. This difference is due to both personal factors and institutional conditions for the development of Kyiv academic philosophy, as well as changes in the general political situation in the period of the late 19th and early 20th centuries. (shrink)

Where does theory come from in educational research - and how is it operationalized in diverse, interdisciplinary contexts and professional settings? This volume examines the places and spaces of theory in the work of nine pre- to post-doctoral scholars, whose narratives transport us across a wide range of interdisciplinary themes and fields of inquiry from Irigaray on mothering in higher education to Jamison among Danish engineering undergraduates; from Te Whariki in a New Zealand kindergarten to ren wen in contemporary China. (...) Drawing on a range of theorists such as Butler, Bhabah, Bourdieu, Freire, Foucault, Levi-Strauss and Žižek, the book provides numerous opportunities for debate and discussion on theory and the doctoral thesis and their interrelations with pedagogy and methodology in times of great insecurity across the globe. In doing so it develops new possibilities for pedagogies of change in and beyond our current educational systems and structures. (shrink)

The presence of dual and ambivalent characters (good/ bad) has always constituted the aesthetic and educational content in children’s fairy tales. Since the Nineteenth century, fairy tales and children’s books have had as an essential reference increasingly complex images and illustrations with vivid colors. This, together with the narration, has allowed the flourishing of a genre of fairy tale noir, whose explicitly pedagogical content is grafted into the plots not always “to happy ending” of fairy tales. The book by Heinrich (...) Hoffmann, _Struwwelpeter_, and that by Ernst Theodor Hoffmann, _Der Sandmann_, which are at the heart of this essay, constituted a first, important example of this new kind of narrative. They have revealed, from a pedagogical-psychoanalytic perspective, the value of what Freud in a 1919 paper, _Das Unheimliche_, analyzed as a necessary manifestation of presence/absence (conscious and unconscious) in the phases of human growth. (shrink)

This book is framed as a dialogue, between Hugo Letiche's iconoclastic appeals to demontrate (as in a demo) for pedagogy/philosophy/politics of (re-)territoralization (as in the demos), and Jacques Rancière's call for dissensus and a new sensibility (le partage du sensible) that may lead to critical democratization. Writing here are: Asmund Born, Damian O'Doherty, Joanna Latimer, Hugo letiche, Geoff Lightfoot, Simon Lilley, Alphonso Lingis, Stephen Linstead, Garance Maréchal, Jean-Luc Moriceau, Rolland Munro, Rukmini Bhaya Nair, Peter pelzer, Yvon Pesqueux, Burkard Sievers, (...) Isabelle Stengers, and Niels Thyge Thygesen. The authors explore learning and education, research and investigation, writing and practice, in the context of organization and of organizing. They champion, affect, hope, poetic narrative, slow science, justice, the commons, engagement and fairness. (shrink)

This seriously playful book provides comic relief in an age of neoliberalism and argues that parody can be used to creatively benefit our practices of self-narration and quests for knowledge. It demonstrates how parody utilizes humor, play, and self-reflection to allow for a helpful, alternative relationship to mistakes and our multifaceted-self. The book works to delineate specific ways of viewing, studying, creating, and performing a particular form of humorous parody, and through pedagogical application, it balances practical hands on examples via (...) digital video creation with examples and exercises such as interrogating our creative histories and parodying them--either as a classroom exercise or in individual self-reflection. The core readership for this book is rhetoric and composition scholars researching continental philosophy, humor, and narrative theory, and it lends itself to classroom implementation for professors, as it brings together (often for the first time) major academic conversations on humor throughout philosophy, literary and cultural studies, communication studies, and media studies. Therefore, this book will be essential reading for undergraduate/graduate courses that feature humor, alternative forms of communication in the public sphere, alternative rhetorical strategies, and courses that focus on the importance of creativity and play in our daily lives and scholarship. (shrink)

Na tragu pitanja o tome što znači biti plesni pedagog, cilj ovoga rada bio je ispitati neke odrednice profesije plesnog pedagoga te prikazati način na koji plesni pedagozi progovaraju o onom ‘pedagoškom’ u svojoj profesiji. Primjenom kvalitativnog istraživanja te metodom dubinskog intervjua s plesnim pedagozima koji djeluju u različitim područjima odgojno-obrazovnog i umjetničkog rada, nastojalo se je opisati i analizirati područje njihova rada, odgojnog djelovanja te odgojne vrijednosti koje oni u svome radu afirmiraju. Temeljem kvalitativne analize podataka i primjenom interpretativne (...) fenomenološke analize u bogatom empirijskom narativu identificirano je pet tema: poimanje plesa kao dimenzije umjetničkog i odgojnog djelovanja, odrednice pedagoškog rada, značenje pedagoške uloge, transformacija umjetničke prakse u pedagošku praksu i posebnost odgojno-obrazovne metode. Rezultati istraživanja govore o tome kako plesni pedagozi doživljavaju i tumače svoj pedagoški rad – prije svega kao odgojni rad u kojemu se događa spoj umjetnosti i pedagogije pri čemu je naglašeno njihovo pedagoško umijeće kao neraskidivi dio profesionalnog habitusa plesnog pedagoga. Following the question of what it means to be a dance pedagogue, the aim of this paper was to examine some determinants of the profession of dance pedagogue and to establish the meaning and understanding of the way dance pedagogues speak about the ‘pedagogical’ in their profession. By applying qualitative research and the method of in-depth interviews with dance pedagogues who work in different fields of education and art, we tried to describe and analyse the area of their work, their educational activities, and values they promote in their work. As a result of the qualitative analysis and the interpretative phenomenological analysis of the rich narratives, we have identified five topics: the notion of dance as a dimension of artistic and educational activity; the determinants of pedagogical work; the meaning of pedagogical role; the transformation of artistic practice into pedagogical practice; the distinguishing characteristic of the educational method. The results point to the conclusion that dance pedagogues see their work as a primarily educational work that combines art and pedagogy. The pedagogical knowledge of the dance pedagogues is an inseparable part of their professional habitus. (shrink)

The article explores the landscape in higher education in which old binary divisions are officially denied yet have been reinvigorated through a mix of conservative and neo-liberal policies. Efforts to resist such pressures can happen at different levels, including, in this case, module design and classroom practice. The rationale for such resistance is considered in relationship to the authors’ political and moral standpoints. Debates within higher education policy circles are invariably reduced to a series of oppositions: theory and practice; training (...) and education; research and teaching. The article seeks to break down such polarities through an exploration of classroom practice. In fact, we argue that such distinctions help to legitimize the existing inequalities in higher education and group-based harms, which characterize the sector. Instead, a case is made for a pedagogy that enables students, particularly those from diverse and disadvantaged backgrounds, to use their experiences, values, etc. to exchange and develop ideas in a group context, thereby providing an important means of collective empowerment (intellectual and practical, both at work and in their private lives). In this process students are encouraged to use ethical theories as tools to explain and underpin their understanding of work-based scenarios. The role of the academic is to facilitate such exchanges and foster new ethical approaches and a public awareness and engagement that goes beyond the classroom. The pedagogic approach, drawing on notions of relational autonomy and narrative methods as well as providing spaces for the co-production of new knowledge, confirms the indivisibility of research and teaching. (shrink)

In this article, a poetical and performative narrative is shared to examine how the use of stories to critically self‐reflect on oppression facilitates an understanding of critical social theory in nursing education and impacts social justice. A fusion of prose with a poetical narrative is employed; the latter is reserved to capture the immediacy of personal, emotive, and embodied storied experiences. This deeply intimate and dialogical story begins with a pedagogical experiment created to facilitate nursing students' understanding of (...) critical social theory. Drawing upon Paulo Freire's work, the nursing teacher in a professional development course attempted to deconstruct power relations and cultivate an open and safe learning environment by sharing a poem that depicts her oppression. Students then anonymously wrote a word/statement about their oppression. The teacher created a composite poem from students' words and shared it with the class; it was a powerful moment that highlighted their shared humanity. As a way to further explore stories and consider how to preserve these words, a small group of students and the teacher formed the ‘the oppression group’. Towards the end, we conclude an unfinished story by realizing that the chains of oppression are loosening and humanity is surfacing. There is still a camouflaging of an authentic self. There are still stories to be told. The group is not yet certain if a social representation of an authentic self is possible and if all stories can be told. It has become apparent that the personal can play out in social justice as enacted in the classroom between teacher and students and provides an entry point into the development of the capacity to be social agents in nursing. The group simultaneously concludes the story with both an ending and a threshold of social justice. (shrink)

Disneyland is work disguised as play; school disguised as vacation. While Walt Disney’s curriculum deploys across all of its products, it literally engulfs the approximately 50 million ‘guests’ who visit the Disney Parks each year. Drawing on Sarah Ahmed’s phenomenological reading of orientation in Queer phenomenology, this article investigates the ways in which Disney’s didacticism is made material through practices and procedures designed to orient the park’s visitors, to ensure that those visitors always know where they are and who they (...) are, as a means of educating ‘good’ citizens. The argument focuses not on Disneyland’s narrative curriculum but on its corporeal one: visitors are enticed to make affective investments, to construct or reconstruct their identities to comply with the Disney version of the ideal American worker and consumer, as the park attempts to reorient those who resist those roles. (shrink)

Who's afflicted? Early in Nicole Piemonte's book Afflicted: How Vulnerability Can Heal Medical Education and Practice, she quotes an email from a physician whose voice sets the problem and tone. He describes himself as someone “who has intended well” but then “nearly burned out because of the insidious process of physician formation that left me a mess at the threshold of the suffering of other human beings.” His confessional manifesto regrets “the sad things I have seen and done.” His (...) class='Hi'>narrative then turns to redemption: “I was—pardon the sentiment—loved back into a good medical practice as a form of growing wisdom and care” (pp. x–xi). Afflicted is written for those who hear this voice speaking for many others. (shrink)

Students often find themselves disconnected from foundations courses such as Philosophy of Education, citing the abstract nature of some of the ideas studied and a perceived disconnect from practical issues. Moreover, the place/space of the university classroom itself can be seen to contribute to students? disengagement and stunting of their critical capacities. In this article, we present two intertwined narratives. In one strand, we describe our attempt to secure our students? engagement in our course, Introduction to Philosophy of Education, as (...) well as remedy the forms of interaction that are called out of a university classroom through our employment of what we termed the pedagogical spaces project. This project is built upon the notion of a situated pedagogy and emphasizes a performative stance for students. We present a description of the pedagogical steps undertaken. Intertwined with the first narrative, we also present a mapping of how our very understanding of our project and its goals evolved. Theoretical grounding for our project occurs through theorists such as Howard Cannatella, David A. Gruenewald, John Martin, Harold Rugg, Augusto Boal, Martin Buber, and Mikhail Bakthin. Utilizing excerpts from student self-evaluations, final essays, and insights from theorists such as Megan Boler, we illustrate the ways in which students were able to holistically engage in critical and situated thought about familiar and dominant images of teaching and learning. (shrink)