Educationalists are currently engaging with Jacques Rancière’s thought on emancipation and equality. The focus of this paper is on what initiates the process that starts emancipation. With reference to teachers the question is: how do teachers become emancipated? This paper discusses how the teacher’s life is made ‘sensible’ and how sense is distributed in her life. Two stories are taken from Rancière’s own work, that of Ingrid Bergman and Joseph Jacotot, that give us an indication of the initiation process of (...) emancipation. Then I will see this in relation to the teacher, Mr Briggs, who is one of the main characters of the play Our Day Out (1987) by Willy Russell. (shrink)

Often when I am teaching philosophy of education, my students begin the process of inquiry by prefacing their questions with something along the lines of "I'm just curious, but . . . ." Why do we feel compelled as teachers and as students to express our curiosity as just curiosity? Perhaps there is a slight embarrassment in proclaiming our curiosity, which, in its strongest formulation, appears to be too assertive, too aggressive, or too inappropriate to speak in public in front (...) of others. In this sense, curiosity is itself problematic, something to be slightly ashamed of. Or are we afraid that our teachers and our classmates will think that our questions are motivated by something more than mere curiosity? The .. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)