51,766 research outputs found
Letting in the Trojan mouse: Using an eportfolio system to re-think pedagogy.
No full textCopyright statement: Copyright 2008 Julie Hughes. The author assigns to ascilite and educational non-profit institutions a non-exclusive licence to use this document for personal use and in courses of instruction provided that the article is used in full and this copyright statement is reproduced. The author also grants a non-exclusive licence to ascilite to publish this document on the ascilite web site and in other formats for Proceedings ascilite Melbourne 2008. Any other use is prohibited without the express permission of the author.E-learning research, as an emergent field in the UK, is highly political in nature (Conole & Oliver, 2007, p.6) occupying a complex landscape which houses policy-makers, researchers and practitioners. Increasingly and more interestingly, the landscape is being shaped by the narratives and experiences of the learners themselves (Creanor et al., 2006, Conole et al., 2006) and the use of Web 2.0 technologies. However, as Laurillard (2007, p.xv) reminds us we still, ‘tend to use technology to support traditional modes of teaching’ and ‘we scarcely have the infrastructure, the training, the habits or the access to the new technology, to be optimising its use just yet’ (p.48). Web 2.0 spaces, literacies and practices offer the possibility for new models of education (Mayes & de Freitas, 2007, p.13) which support iterative and integrative learning but as educators and higher educational establishments are we prepared and ready to re-think our pedagogies and re-do (Beetham & Sharpe 2007, p.3) our practices? This concise paper will reflect upon how the use of new learning landscapes such as eportfolios might offer us the opportunity to reflect upon the implications of letting in the e-learning eportfolio Trojan mouse (Sharpe & Oliver, 2007, p.49)
The elegies of Ted Hughes
No full textThe purpose of this study is to make the case that Ted Hughes (1930-1998) is one of the pre-eminent elegists writing in English in the latter half of the twentieth century. Whilst his poetry has been widely criticised for its apparent preoccupation with violence and death, it is puzzling that the links these topics have in common with elegy have never been clearly verified. This might be because Hughes's elegies do not appear to bear the characteristics frequently associated with traditional poetic laments; however, as this study shows, closer scrutiny reveals not only many similarities, but also acts of resistance within the broader scope of elegy. Drawing on both established and contemporary critical debates surrounding Hughes and elegy, this study undertakes a comprehensive reading of the poet's major works from The Hawk in the Rain to Birthday Letters, whilst also paying attention to limited editions of his verse, including Recklings, Capriccio and Howls & Whispers. Posthumous publications, including the Collected Poems. Selected Translations and Letters of Ted Hughes, are accounted for. so that (alongside the chronological reading of the poems) Hughes's development as an elegist is fully realised. One of the aims of the thesis is to demonstrate that the poet's elegies are unified in presenting what I term the ‘actual'; that is to say, that Hughes does not fabricate sensations or forge experiences that purport to be beyond the realm of recognisable human endeavour. This I term his 'unfalsifying dream’. This is striking because quite often traditional elegies appear to present the opposite: a language which is ๐mate and images which are close to beatifying the deceased, putting them at a remove from human experience and existence. 'The Hawk in the Rain' is used to illustrate Hughes's theoretical position, especially in the case of his earlier war elegies and the circumstances of Remains of Elmet and Moortown Diary. He is both the observational, seemingly dispassionate poet (the hawk), capable of a detaching himself from the experience he wishes to relay in his verse, and yet, he is also the wanderer 'in the rain, one who is immersed in the momentous instant of his own language and experience. Like his personas, Hughes is divided. He is complicit with many of elegy's practices and traditions, but he is also a reformer and renovator of elegy, writing invigorating verse which brings the realities of mortality closer to the reader. In doing so, he reaffirms the significance of life and how this life might be better lived in closer harmony to poetry and contemporary ecological urgencies. 'The Elegies of Ted Hughes' aims to prove that far from being just a 'poet of nature', Hughes has been an exemplary elegist in our own time
Conversatorio con Lisa Garforth=Conversation with Lisa Garforth
No full textJulia Ramírez-Blanco conversa con Lisa Garforth, autora del libro Green Utopias y especialista en utopías medioambientales. Con ella, hablamos acerca de las posibles maneras de definir las ecotopías, y cómo estas se manifiestan tanto en la literatura como en distintas formas de práctica social.Julia Ramírez-Blanco interviews Lisa Garforth, author of the book Green Utopias and specialist in environmental utopias. With her, we talk about the possible ways of defining ecotopias, and how they manifest themselves both in literature and in different forms of social practice.http://re-visiones.net/audio/Entrevista-Lisa-Garfoth.mp
'Ovid, Plath, Baskin, Hughes'
No full textMany critical treatments of the poetic interaction of Sylvia Plath and Ted Hughes have overlooked Hughes's 1997 translation of 24 episodes from Ovid's Metamorphoses, Tales from Ovid. This paper argues that the connections between Hughes, Plath, and Ovid that erupt in Hughes’s final two collections of poetry are similarly complex and longstanding. I begin by considering Hughes’s 1988 essay ‘Sylvia Plath: The Evolution of “Sheep in Fog”’, in which he becomes the first critic of Plath’s work to note her engagement with Ovidian figures. Building on Hughes’s argument that the mythic figures of Phaeton and Icarus provide the interpretative key for understanding Plath’s Ariel poems, I provide further examples of Ovidian figures in Plath’s poetry. To focalise the allusive nexus between Ovid, Plath, and Hughes, I compare Plath’s poem ‘Sculptor’ (1958) – dedicated to Leonard Baskin and in which Baskin is cast as Ovid’s Pygmalion – to the tale of Pygmalion as translated by Hughes in Tales from Ovid. I present some further evidence for Plath’s presence (or conspicuous absence) in Tales from Ovid, before discussing some implications of Hughes’s (re)arrangement of the translations. Finally, I suggest that while Birthday Letters represents an explicit engagement with Plath, Tales from Ovid presents an implicit dialogue with Plath’s work and her own Ovidian allusion
Epílogo. Una vida más alla del trabajo=Epilogue. A Life Beyond Work
No full textEpílogo del libro El problema del trabajo, Madrid, Traficantes de sueños, 2020.Cesión por parte de la autora y la editorial Epilogue of the book The problem with work, Madrid, Traficantes de sueños, 2020.Assignment by the author and publishe
CASE STUDY: ZULUETA´S RAPTURE. Writtings from inside and outside the Academics on trial
No full textThe present text is divided into two parts: a presentation and a paper. First, in italics, I present what could be called “Case Study: Zulueta’s Rapture” and propose some reflections on its meaning within the framework of current university practices surrounding knowledge. Next to take the stand is the paper itself, the object of the trial, whose author proposes a political reading of the film Rapture (Arrebato in the original Spanish) by Iván Zulueta. Lastly, some conclusions are offered. I will say no more; the text has a complex structure and is best judged by reading it
The Time of Montage. A lecture in the form of a dialogue
No full textIn this lecture-conversation, Isabel de Naverán and Leire Vergara offer an array of readings, life experiences and descriptions of films in order to address the concept of montage as applied to contemporary choreography and curatorial work.Taking the description of several scenes as a point of departure, the authors propose an understanding of montage (both in exhibits and in choreography) based on a specific temporality in which peripheral elements and everyday life lend intention and meaning to the work. In this partially scripted conversation the authors exchange their perspectives on the white cube and the black box, and question some of the dynamics of those two mechanisms.The Time of Montage has been staged on three occasions. The first was in the Teatro Pradillo in Madrid, in the context of Laboratorio 987 (2013) organized by Chus Domínguez, Nilo Gallego and Silvia Zayas and the cycle of exhibits Form and Vouloir-dire curated by Leire Vergara in 2012 at the MUSAC (Museum of Contemporary Art of Castille and Leon), the second was in the Laboratorio 987 at MUSAC within the same initiative, and the third time in Sukaldea-Tabakalera in San Sebastián (2014) as part of the program Paracinema curated by Esperanza Collado. Each staging involved some changes to the text, the props and the dialogue conducted afterwards.RE-VISIONES presents a new version of the lecture, including the transcription and translation into English of the first two points proposed by each author, and a video recording of the lecture as staged at the Teatro Pradillo
Putting the World to Work
No full textThis text is a translation of the recently published book’s Introduction by Cara New Daggett, The Birth of Energy: Fossil Fuels, Thermodynamics, and the Politics of Work (Durham, Duke University Press, 2019), where this author records how 19th-century cultural imaginaries (particularly those gestated in the British Isles) were deeply convulsed by the articulation of two specific phenomena: on one hand, the creation of a new fossil fuel-based industrial production regime (in particular the massive use of coal) and the increase in employee productivity (subject to the logic of relative capital plusvalia, i.e. the work intensification for each unit of time); on the other hand, the emergence of a new concept of energy around thermodynamic science , which legitimized productive imaginaries and fossil imperialism through the theological perception of nature as an infinite source of resources at the service of human material progress (Western).Original publication: "Introduction: Putting the World to Work," in The Birth of Energy, Cara Daggett, pp. 1-14. Copyright, 2019, Duke University Press. All rights reserved. Republished by permission of the copyright holder.https://read.dukeupress.edu/books/book/2619/chapter/1627666/Putting-the-World-to-Wor
“Desde mi cama, revuelta”. Reflexiones tullidas para una revolución en horizontal= "From my bed, revolted". Crippled reflections for a horizontal revolution.
No full textResumenEn “Teoría de la Mujer Enferma” la autora Johanna Hedva (2018) pregunta ¿cómo se rompe la ventana de un banco con un ladrillo si no puedes salir de la cama?, para referirse a los modos de protesta y participación que son permitidos para las personas enfermas. En un mundo donde la protesta y la revolución se manifiestan en acciones públicas, ¿qué formas de revuelta y tácticas de resistencia son posibles para los cuerpos que no son físicamente capaces de situarse en la calle? Este artículo busca responder a esta pregunta proponiendo una revisión a nuestras prácticas de revuelta y revolución, lidiando con las implicaciones de lo que ambas excluyen. Basándome en materiales de mi investigación doctoral, la cual explora experiencias de mujeres con dolor cronificado, utilizo fotografías y extractos de una de las entrevistas realizadas durante el trabajo de campo, para proponer visualidades e imaginarios radicales que las personas enfermas o con discapacidad emplean cada día. En otras palabras, este artículo propone una reflexión de formas de revuelta y tácticas de resistencia tullidas para pensar en cómo se vive una revolución en horizontal.AbstractIn "Sick Woman Theory" author Johanna Hedva (2018) asks "how do you throw a brick through the window of a bank if you can't get out of bed?", to refer to the modes of protest and participation that are permissible for sick people. In a world where protest and revolution are manifested in public actions, what forms of revolt and tactics of resistance are possible for bodies that are physically unable to situate themselves in the street? This article seeks to answer this question by proposing a revision to our practices of revolt and revolution, grappling with the implications of what both exclude. Drawing on materials from my doctoral research, which explores the experiences of women with chronic pain, I use photographs and excerpts from one of the interviews conducted during fieldwork to propose radical visualities and imaginaries that sick or disabled people employ every day. In other words, this article proposes a reflection of forms of revolt and crippled resistance tactics to think about how a revolution is lived horizontally
Towards auto/pedagogy:A reflexive auto/biographic case study of professional learning mediated by technology
No full textTracing the development of my thinking and professional practice from the late 1980s to the present day, this thesis uses the auto/biographic method developed at CCCU by Linden West (e.g. West, 2004), in combination with a personal, reflexive dialogic hermeneutic redolent of the epistemological approaches of liberation theologians in the 1970s and 1980s, to evaluate critically the influence of five illustrative moments on the generation of new knowledge. The thesis argues that demonstrable learning gains were made when particular factors came together in these autobiographical moments. The insertion of the slash "/" in auto/biography denotes the self-directed reflection on these narratives, carried out systematically in order to derive meaning from them. The process of critical reflection on the narratives interwoven with reading around epistemology, the self and (information) technology, led to a framework emerging. Within the illustrative moments there appear to be four factors that, in combination, cause learning to occur: need, knowledge, networks and the application of newly-acquired knowledge in a new context or setting. Phonically, the framework can be argued to be N4. I argue that in the 21st Century, especially where what is to be learned is something technological, learning most likely occurs when all these factors are present. Recognising this to be a personal phenomenon I adopt the term auto/pedagogy to describe it since I believe that learning is a personal commitment to changing the state of one's being
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