This article argues that to disrupt legal education in a radical sense, students need to become acquainted with the art of worldmaking and the view that law is a “way of worldmaking”. First, I show that law is a cultural semiotic practice that requires decoding and, for that reason, demands a creative intervention by those that want to know, understand, and do things with law. Altogether this amounts to recognizing the different modes in which law creates, and is part of, (...) worlds. Second, I propose that due to different features of their aesthetic form, comics are a particularly effective medium to place students before the myriad ways in which law and lawyers make and reproduce worlds. Third, I illustrate the argument by exploring how the Saga comic series, through its formal multimodality and narrative and cultural complexity, can make good on that challenge. (shrink)

This paper presents a critical interpretive synthesis of research on the efficacy of comics in educating consumers on communicable diseases. Using this review methodology, the authors drew from empirical as well as non-empirical literature to develop a theoretical framework exploring the implications of comics’ combination of images and text to communicate this health promoting information. The authors examined selected works’ alignment with the four motivational components of Keller’s ARCS Model to evaluate research within the context of learner motivation. Findings of (...) this research indicate comics offer a useful method for providing consumer health education, particularly regarding topics that individuals may have difficulty in discussing openly. (shrink)

The aim of this paper is to present how an innovative approach to teaching philosophy can effectively meet the requirements of the prescribed curriculum, and contribute to achieving the expected learning outcomes, interdisciplinary teaching and learning links, formative monitoring and evaluation of student achievements, to achieve educational subject goals. In this paper, the authors, considering comics as a kind of teaching medium, i.e., the application of the comic method in teaching, on the example of a scenario for a (...) philosophy lesson in high school show how it is possible to combine a comics approach to teaching philosophy with philosophy for children. Philosophy for children as well as the comic book approach to teaching philosophy are extremely complementary (they are provocative and dialogical, stimulate students' intellectual curiosity, develop critical and creative thinking, create a positive and stimulating learning environment), which allows them to be combined effectively. (shrink)

Teaching is often framed in terms of performance: an orator stands before a crowd, attempting to capture attention and to deliver material prepared in advance. This analogy falls apart, however, when one considers the extent to which teaching is a dialogical endeavor. Looking to the Meno, the Symposium, and the Republic, this paper offers an interpretation of these texts which deepens our understanding of Plato’s theory of education. First, a Platonic view of education recommends a view of educators not as (...) imparters of wisdom upon passive recipients, but as mediators of student growth. Second, the tragic and comic nature of the above Platonic dialogues suggests that the content of a lesson will always be inflected by the personal characters of the students and teacher. This has direct implications for how philosophers approach their task as teachers, the most notable being that the personal characters and classroom dynamics are factors which must be taken into account in the formulation and development of effective pedagogical methods. (shrink)

Though graphic narratives (or comics) now permeate popular culture, address every conceivable topic including illness and dying, and are used in educational settings from grade school through university, they have not typically been integrated into the medical school curriculum. This paper describes a popular and innovative course on comics and medicine for 4th-year medical students. In this course, students learn to critically read book length comics as well as create their own stories using the comics format. The rationale for (...) the course, its general content and format, and methods for teaching are described. Finally, the author offers some reflections on why this medium resonates so powerfully with medical student learners. (shrink)

A modern form of narrative, comic books are used to communicate, discuss, and critique issues in business ethics and social issues in management. A description of comic books as a legitimate medium is followed by a discussion of the pedagogical uses of comic books and assessment techniques. The strengths of the pedagogy include crossing cultural barriers, understanding the complexity of individual decision-making and organizational influences, and the universality of dilemmas and values. We provide an initial source for (...) educators on the topics, comic books, plotlines, and other commentary for consideration of use in the classroom from high school to graduate business ethics and social issues in management courses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comic RomanceBenjamin La FargeIOn the surface, it would seem that nothing could be more different from comedy than romance. Comedy deflates, romance inflates. Comedy is realistic, romance fantastical. Comedy reduces, romance elevates. Comedy is democratic, romance heroic. Yet there are underlying similarities. Both involve a conflict between destructive and restorative impulses. In both, appearances are typically mistaken for reality, and both end happily. Above all, both are governed (...) by a structure of illogical logic that generates laughter in one and fantasy in the other.The generic differences between comedy and romance are crucial to a proper understanding of their functions. Comedy celebrates the renewal of life, the relation of man to woman and of man to man, in a spirit of tolerant acceptance, while romance celebrates a narcissistic dream of the self. If the former is best enjoyed in a crowded theater, the latter is usually enjoyed in solitude. Romance is a fiction of wish fulfillment. Since wishful thinking is generally understood as childish, romance is often regarded as a poor cousin among literary genres, haughtily dismissed by highbrows who associate it with the infantile pleasures of their childhood reading and with lowbrow fiction in general. This is precisely why so many sophisticated readers are reluctant to grant science fiction and other forms of fantasy any enduring literary value. In their view the pleasures of such works can not be taken seriously.Yet those childhood pleasures have a lasting appeal that lingers in the mind of every adult. There must be few grown readers who do not harbor a special fondness for the first heroes and heroines they encountered in their favorite childhood stories. Many of those heroes possess [End Page 18] some magical power; and when they place that power in the service of justice, especially the justice of revenge, their appeal is irresistible. I have seen grown men, armed and dressed for battle, avidly reading Superman comics. What stirred them, as it stirred many educated men and women in their childhood, was the spectacle of an omnipotent hero fighting to overcome the wrongs of this world.Even if our sentimental memory of these heroic figures is nothing more than nostalgia for irrecoverable pleasures, their initial impact may be seen as having a formative influence on a child's expectations, as many commentators have thought. In either case, they are all descended from a venerable tradition of literary figures. Superman himself is a direct descendant of Sherlock Holmes, who comes from a long line of English heroes going back to Robin Hood and Merlin, each of whom is involved in righting some injustice. Ultimately, all of them are descended from Odysseus, who reclaimed his rightful kingdom, after an absence of twenty years, by murdering his wife's suitors.Romance, like comedy, is a conflict between destructive and restorative impulses, and these impulses are embodied in the characters that inhabit this dream fiction.1 Like comic characters, the characters of romance evoke in us the same responses of wish and fear, and like comedy itself romance builds toward a catharsis of those two emotions. To achieve that catharsis, romance requires our "willing suspension of disbelief" (as Coleridge put it so memorably), which we have no difficulty in granting, provided only that the story is skillfully told. What we want from romance is the fulfillment of the wishes it arouses; what we get from their fulfillment is the pleasure of story-for-the-sake-of-story. It is this pleasure, in fact, that constitutes the basic, generic purpose of romance.The difference between the two genres, however, can be seen in the kinds of wish and fear they evoke in us, for unlike comedy the feelings of wish and fear evoked by romance are uncomplicated by ambivalence. We may wish to experience the destructive impulse vicariously through the protagonist, but only in order to see him triumph in the end. We are so entirely sympathetic to his enterprise that we cannot possibly wish for his destruction. If he is destroyed, as in the case of Tristan, the hero of the eponymous medieval romance, we are forced to recognize that the love potion he drank with Isolde was his... (shrink)

In the article, the author analyzes the conditions for a subject’s existence in the post-informational society, which lead to forming a new style of thinking in the younger generation, functioning outside the textocentric paradigm. The author raises the actual problem of the education system, since it is impossible to build a successful learning process without meeting the demands of the time, without taking into account the peculiarities of perceiving the world by modern people. In the youth environment, the screen (clip) (...) style of thinking has long prevailed, which in the process of cognition is based on visual images. In the course of the study, the author comes to the conclusion that, responding to the new style of thinking, it is necessary to strive for a combination of methods of working with linear text and visual sources of information, to which a modern person is so receptive. This harmonious combination is provided by a comic strip with rich didactic potential. The article describes the positive aspects of using comics in the educational process and examines an example of using comics in philosophy classes. (shrink)

This paper engages with Italo Calvino’s lecture on Visibility, included in his last—and testamentary—volume Six Memos, by understanding it in an educational and pedagogical key. While the question of pedagogy is expressly addressed by Calvino himself in his lecture, the interpretation here provided is not merely an application of his tenets but an elaboration on and an autonomous development of them. In particular, in the spotlight there is the intimate bond image-cum-writing which seems to preside over Calvino’s insights and (...) is here suggested as key to tackling the challenges of the contemporary mediascape and the “tautological vision” dominating therein. While a part of the educational discourse invokes “homeostatic” pedagogical solutions, namely the (ultimately confrontational) deployment of writing to compensate for the iconic ruling regime, this paper explores the possibility of a specific kind of visual education (instantiated by comics and Otto Neurath’s Isotype), which combines the role of the image with some features traditionally attributed to the pedagogy of writing (e.g. the cultivation of abilities of abstraction, of reflection etc.). A pedagogy of figuration is, accordingly, proposed as an interruption of the tautological vision of the new media and as conducive to educating readers of the unwritten world and of the world of digital images, Mr. Palomar—the hero of Calvino’s last novel—possibly being the archetype of this kind of (new?) readership. By referring to two influential notions in the contemporary debate in educational philosophy and theory, this pedagogy is finally interpreted in term of (visual) thing-centredness rather than (visual) subjectification. (shrink)

Curricular design that addresses residency physician competencies in communication skills and professionalism remains a challenge. Graphic Medicine uses comics, a medium combining text and images, to communicate healthcare concepts. Narrative Medicine, in undergraduate medical education, has limited reported usage in Graduate Medical Education. Given the time constraints and intensity of GME, we hypothesized that comics as a form of narrative medicine would be an efficient medium to engage residents.The authors created a novel curriculum to promote effective communication and professionalism, focusing (...) on empathy, compassion and cultural competency. A four-week curriculum was delivered in a neurology residency program. Excerpts from non-fiction graphic memoirs about neurological conditions were read, discussed, and paired with prompt-driven drawing exercises. Qualitative surveys were used to assess acceptability of comics, usefulness of comics to convey patient illness experience, and perception of patient needs for physician-patient communication.Ninety-seven percent of residents reported the sessions were a good use of their time. Residents identified new symptoms of neurologic disorders, articulated patient communication needs, and expressed increased empathy after participation. Residents participated in drawing exercises, but these were not formally analyzed. Graphic medicine is a well received format that may build communication skills and increase empathy. (shrink)

Freedom and responsibility -- The two freedoms of speech in Plato -- Speech codes and the life of learning -- Liberal education and life -- First things first : history and the liberal arts -- Philosophy in the comics -- The one book course : an internship in the ivory tower -- Why I read such good books : Aeschylus, Sophocles, the moral majority, and secular humanism -- Plato and Nietzsche on death : an introduction to the Phaedo -- The (...) empire of poetry : on Shakespeare's Titus Andronicus -- Agreeing to agree : on beginning Rousseau's social contract -- Unraveling Ravelstein : Saul Bellow's comic tragedy -- The philosophy of Leo Strauss : an introduction -- On opening The closing of the American mind -- Richard Kennington : the true and the good -- Seth Benardete : the life of wonder -- A life of learning. (shrink)

Social entrepreneurship (SE) is gaining increasing legitimacy as a form of ethical business practice and a solution to various societal challenges. Despite the burgeoning interest in SE in the realms of ethical business scholarship and business ethics education, new pedagogical developments have been limited. To advance SE pedagogy, we produced a new multimedia-based tool consisting of two SE-focused comics and evaluated their efficacy in “winning the hearts and shaping the minds” of learners in an experimental setting. We tested the effects (...) of the two comics individually. Comic #1, a story of a gambling addict who transforms into a social entrepreneur, was used to examine the effects of using a comic on learners’ engagement and cognitive enhancement, while comic #2, a story of a teenage academic misfit who finds her passion in crafting objects and establishes a social enterprise, was used to interrogate the effects of using a comic on the relationship among SE self-efficacy, SE intent, and entrepreneurial passion. We also collected qualitative feedback in the form of learners’ comments about the second comic. Our results supported the two proposed models and suggested that comics show promise in enhancing SE teaching and learning. Our new contribution consists of the theoretical relationships examined in the models, our insights into why comics can be beneficial to learners, the scholarly artistic contribution of the comics, and the use of an experimental approach. We end the article with suggestions for designing, implementing, and evaluating future multimedia-based pedagogy in SE and ethical business teaching and learning. (shrink)

Exploring a variety of female superhero narratives, including Wonder Woman comics and television shows like The Secrets of Isis, The Bionic Woman, and Buffy the Vampire Slayer, this book argues that twentieth-century superheroine stories historically depicted education as the path to female liberation and empowerment.

A common view holds that humor and morality are antithetical: Moral flaws enhance amusement, and moral virtues detract. I reject both of these claims. If we distinguish between merely outrageous jokes and immoral jokes, the problems with the common view become apparent. What we find is that genuine morals flaws tend to inhibit amusement. Further, by looking at satire, we can see that moral virtues sometimes enhance amusement. The position I defend is called symmetric comic moralism. It is widely (...) regarded as patently absurd. I hope to correct this mistake. (shrink)

In company with its sister volume, Arts-Based Research Across Textual Media in Education explores arts-based approaches to research across media, including film and comics-related material, from a variety of geographic locations and across a range of sub-disciplines within the field of education. This first volume takes a textual focus, capturing process, poetic, and dramaturgical approaches. The authors aim to highlight some of the approaches that are not always centered in arts-based research. The contributors represent a variety of arts-based practices and (...) methods, and they weave this marrying of artistic and scientific expertise and experience into the fabric of the chapters themselves. Authors from international contexts speak to the importance of utilizing artistic approaches for research processes. From multimodal field notes to poetic forms to the dramaturgical, chapters in this book represent steps forward in educational inquiry to bringing together both the creative and credible. The book includes multiple images and rich descriptions shared from the field. This first volume covers amongst other topics: co-created narratives; creative fiction in research; analytic portraits; dramatic representation, and critical poetic inquiry. It would be suitable for graduate students and scholars interested in qualitative inquiry and arts-based methods, in Education and the social sciences. (shrink)

Teaching bioethics with visual education tools, such as movies and comics, is a unique way of explaining the history and progress of human research and the art and science of medicine to high school students. For more than a decade, bioethical concepts have appeared in movies, and these films are useful for teaching medical and research ethics in high schools. Using visual tools to teach bioethics can have both interpretational and transformational effects on learners that will enhance their overall understanding (...) of complex moral and legal issues in medicine and research.High school students are uniquely suited to learn bioethics because they will soon become legal adults. As adults, they will make moral decisions that may affect their health and wellbeing as well as that of their communities and societies.However, not all visual education tools are appropriate for bioethics pedagogy in high school. Bioethics film and comic producers must consider the specifics of student age, race, gender, belief, level of education, and sexual orientation. Such tools must not be dominated by either dystopic or utopic genres, must aim for objectivity, and must consider the complexity of ethical decision making. It is critical that the teacher, who is the final arbiter regarding the use of visual tools in the classroom, determines that the visual learning tool is acceptable for students in any particular education context. In addition, during the conceptualization and creation of these tools, bioethics film and comic producers must work harder to ensure that these visual tools are devoid of any form of stereotyping. (shrink)

Based on two years of ethnographic fieldwork in an urban elementary school, this volume is an examination of how school division politics, regional economic policies, parental concerns, urban development efforts, popular cultures, gender ideologies, racial politics, and university and corporate agendas come together to produce educational effects. Unlike conventional school ethnographies, the focus of this work is less on classrooms than on the webs of social relations that embed schools in neighborhoods, cities, states, and regions. Utilizing a variety of (...) narratives and analytical styles, this volume: * explores how curriculum innovations are simultaneously made possible by and undermined by school district politics, neighborhood histories, and the spatial and temporal organizations of teachers' and parents' lives; * situates the educational discourse of administrators and teachers in the changing economic and political climates of the city; * analyzes the motivations behind an effort by school and business proponents to refashion classrooms within the school into business enterprises, and of children's efforts to make sense of the scheme; * examines the role of the school as a neighborhood institution, situating it at the intersections of city planners' efforts to regulate city space and children's efforts to carve out live spaces through out-of-school routines; * contemplates the meaning of school as a site for bodily experience, and looks at how patterns of space and control in the school shaped children's bodies, and at how they continued to use body-based languages to construct maturity, gender, and race; and * investigates the school as a space for the deployment of symbolic resources where children learned and constructed identities through their engagements with television, comic books, movies, and sports. _Tangled Up In School_ raises questions about how we draw the boundaries of the school, about how schools fit into the lives of children and cities, and about what we mean when we talk about "school.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 21-38 MuseSearchJournalsThis JournalContents[Access article in PDF]Attractions to Violence and the Limits of EducationPaul DuncumThe effects of violent media fare upon young people are of great concern for educators and parents alike. Recently, some visual art educators have attempted to deal with the issue under the rubric of visual culture. 1 Adopting a critical position toward media violence, they have developed programs that (...) attempt to encourage in their students a view of citizenship that rejects an easy use of violence as the solution to resolving real life issues. In consideration of these attempts, this article examines media violence—not to comment upon the efforts of other art educators but to point to the exceptionally difficult, perhaps intractable, forces faced by any form of educational intervention.There can be no doubting that violence—defined as involving intentional physical harm—is highly popular in mass media entertainment and is increasingly gory. Tartar refers to Shakespeare's term "violent delights" 2 as an oxymoron, but delight in violence is exactly what many people appear to find. There appears to be no contradiction in Shakespeare's term—Shakespeare being no stranger to the idea—only a succinctly expressed observation of a particular taste that is both long-standing and nowadays evident in an increasingly visceral, violent mass media.This article addresses three questions: First, what is it about displays of violence that is so appealing? Where is the pleasure in watching bodies being blown apart? Where is the delight in watching barbarous torture, slaughter, and death? What is the lure, the attraction? Or, since one of my arguments will be that there are qualitatively different kinds of violence, is it more appropriate to ask what are the attractions of violence? Second, why are violent spectacles becoming more and more intense? Why are representations of violence becoming increasingly visceral? Third, what are we doing to ourselves by exposing ourselves to so much violent mass media? [End Page 21] What is the societal significance, the real world consequences, of being attracted to violent imagery?There are many kinds of violent spectacles. This article deals exclusively with violence in current mediated popular forms of entertainment, principally television, film, video, and computer games. It is not narrowly concerned with intentionally aestheticized images, for example, through the use of slow motion or when the soundtrack to images of mass slaughter switches from the mayhem on screen to the souring beauties of operatic singing. Such images are included here, but the article deals with an inclusive range of representations of violence typically found in some degree to be pleasurable by large sections of the public. Specifically, four kinds of violence are examined: comic, transgressive, retaliatory, and gratuitous.Of course, not everyone is attracted to violence, and most popular entertainment is not violent. 3 The best-selling video games are violent, 4 but violent films and videos are far outweighed by nonviolent fare, especially comedies. 5 Nevertheless, much media fare is violent. Studies conducted in the mid-to-late 1990s concluded that 60 percent of U.S. television programs contained violence, 40 percent of which was offered as humorous. 6 By the age of eighteen a child has seen around 200,000 violent acts on television, including 40,000 murders. 7 This includes 3 to 5 violent acts per hour on prime time and 20 to 25 per hour during Saturday morning cartoons.Sensory AttractionProfessional critics of film and video often talk about the aesthetic qualities of media violence—for example, of "balletic spectacle" and "orgiastic energy." 8 The New York Times film critic's review of Sam Peckinpah's 1969 film The Wild Bunch, a milestone in cinematic violence, wrote of the climatic massacre as a "blood ballet" and that the director "first highlights the horror of the mindless slaughter and then—and this is what really carries horror—makes it beautiful, almost abstract." 9 Virtually the same words were used recently by eminent U.S. film critic Roger Ebert with regard to Tarrantino's exceptionally... (shrink)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working on (...) games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

Este documento presenta los resultados preliminares de una investigación en la que se articula el concepto de narrativas transmedia educativas con una metodología emergente denominada INAEP (Investigar, Narrar, Elaborar y Preguntar). El texto contempla la reflexión sobre observaciones realizadas a un grupo de Scouts, niños y niñas de 10 a 14 años en la ciudad de Bogotá, Colombia, a quienes se les enseñó historia en un ambiente educativo no formal mediante un material didáctico desarrollado bajo las bases del método INAEP, (...) a la luz del cual se espera evaluar su aprendizaje y la aplicabilidad del método en diferentes contextos educativos. (shrink)

Analyzing two harm reduction comics campaigns—one early in the AIDS crisis and one more recent, I explore tensions between queer safer sexual erotics and national discourses of sexual norms/deviation raised by Cindy Patton and William Haver at the height of AIDS discourse theory in 1996, approximately halfway between the comics. Using these theorists’ reflections on the history of AIDS activism/representation as a hinge, I explore the manifestation/transformation a decade later of the ethical, educational, and erotic issues they raise. Both (...) foreground the ways that HIV, safer sex, and/or eroticism pose difficulties for systems of linguistic and visual representation. Combining text and image, comics—a common harm reduction medium—epitomize this representational issue. While the GMHC addresses an immediate need for information about safer sex, Alex attempts to tackle the unrepresentability/unthinkability of safer and/or seropositive sex. Safer Sex Comix, while largely prioritizing directness above formal experimentation, employ strategies of transgressing the borders of the comics panel to emphasize a plethora of lower-risk sexual acts. The most visually inventive moments in Alex represent Alex’s feelings of unintelligbility post-diagnosis, but the comic restricts its representation of sex only to anal intercourse, and it proves unable to visualize alternative formulations of the erotic, turning to more normative narratives and images as earlier, visually explicit unsafe sexual encounters are replaced with more a/illusive representations post-conversion, literalizing the unrepresentability of seropositive erotic life. (shrink)

Headmaster of King Edward's School in Birmingham for fourteen years, Edwin Hamilton Gifford also held a number of ecclesiastical posts, including select preacher at both Cambridge and Oxford. Better known for his biblical and patristic scholarship, he also prepared this edition of the Euthydemus, Plato's most comical dialogue. Thought to be an early work, depicting a discussion between Socrates and two sophists trained in eristic, it is among the earliest-known treatises on logic, satirising various fallacies that were subsequently categorised by (...) Aristotle. Published in 1905, a generation after Jowett's standard translation, this edition was intended for university and advanced school students. A thorough introduction is given in English, followed by the Greek text, extensive notes, and indexes of vocabulary and names. As such, this reissue illuminates the educational preoccupations of both early twentieth-century England and classical Athens. (shrink)

__Teachers Bridging Difference_ describes how educators can move out of their comfort zones and practice connecting with others across differences to become culturally responsive teachers. _Based on a course developed for preservice teachers, the book illustrates how educators can draw on the visual arts as a resource to explore their own identities and those of their students, and how to increase their understanding of the ways our lives intersect across sociocultural differences. Drawing on scholarship from multiple disciplines and from her (...) own experience, Marit Dewhurst identifies four stances designed to help educators connect with students in today’s multicultural classrooms. To practice these stances, the book introduces eight arts-based activities that can be used by educators in multiple contexts. Ranging from community maps and conversation portraits to scenario comics and reflection zines, the activities are designed to be accessible to even those with little arts experience and can be executed with a wide variety of materials and media. Unique and timely, _Teachers Bridging Difference _is an arts-based tool kit for teachers interested in exploring issues of identity and difference as a foundation for creating a more just and equal society. (shrink)

Offers many fresh insights that will give even longtime readers of Shakespeare a new appreciation of the great master. Scholars have long debated the extent of Shakespeare's education. Although his friend and admirer Ben Jonson said of him, "thou hadst small Latine and lesse Greek," Shakespeare's plays reveal a wide familiarity with literary and philosophical works from the Renaissance, the Middle Ages, and the classical age. Philosopher Farhang Zabeeh delves into this fascinating topic in this detailed study of the philosophical (...) influences evident in Shakespeare's plays and sonnets. Readers will be surprised and delighted to discover in Shakespeare unmistakable echoes of Plato, Aristotle, Cicero, Dante, Montaigne, and other famous thinkers. In one chapter, the author makes a convincing case that one of the bard's most famous comic characters, John Falstaff, is a parody of Socrates. In other chapters, he demonstrates indirect references to Plato in Shakespearean passages concerning appearance versus reality, as well as the influence of Aristotle's ethics. Other common philosophical themes evident in the plays concern the nature of time, subjectivity versus objectivity, and political and moral values. (shrink)

A modern form of narrative, comic books, are used to communicate, discuss, and critique issues in business and society. A description of comic books as a legitimate medium is followed by a discussion of the pedagogical uses of comic books. The strengths of the pedagogy include crossing cultural barriers, understanding the complexity of individual decision-making and organizational influences, and the universality of dilemmas and values. We provide an initial source for educators on the topics, comic books, (...) plotlines, and other commentary for consideration of use in the classroom from high school to graduate business ethics courses. (shrink)

We humans laugh often and it is not always because something is funny. We laugh in the face of the pathetic or the powerless; sometimes we laugh at our own powerlessness or pathos.In short, we laugh at both the comical and the difficult. Here I am especially interested in the laughter that is sparked by what is difficult and how that laughter—and all laughter—breaks through to mark a range of emotional states: fear, nervousness, shame, confusion and others not viewed as (...) positive, as well as joy, delight, interest, relief and other states that are viewed as positive. I also am interested in understanding what and how laughter reveals and what and how it conceals. As I explore both interests in this article, I make a compound point about laughter in educational settings: that laughter marks a breakdown of experience and that same laughter creates space for reflective listening and thinking, for diffusion of difficult affect, and for the disruption of habit that makes growth possible (and even likely) if that laughter is taken seriously. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on May (...) 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on May (...) 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

In this creative and engaging reading, Richard Kuhns explores the ways in which _Decameron's_sexual themes lead into philosophical inquiry, moral argument, and aesthetic and literary criticism. As he reveals the stories' many philosophical insights and literary pleasures, Kuhns also examines _Decameron_in the context of the nature of storytelling, its relationship to other classic works of literature, and the culture of trecento Italy. Stories and storytelling are to be interpreted in terms of a wider cultural context that includes masks, metamorphosis, mythic (...) themes, and character analysis, all of which Boccaccio explores with wit and subtlety. As a storyteller, Boccaccio represents himself as literary pimp, conceiving the relationship between storyteller and audience in sexual terms within a tradition that goes back as far as Socrates' conversations with the young Athenians. As a whole, Boccaccio's great collection of stories creates a trenchant criticism of the ideas that dominated his social and cultural world. Addressed as it is to women who were denied opportunities for education, the author's stories create a university of wise and culturally observant texts. He teaches that comic, religious, sexual, and artistic themes can be seen to function as metaphors for hidden and often dangerous unorthodox thoughts. Kuhns suggests that _Decameron_is one of the first self-conscious creations of what we today call "a total work of art." Throughout the stories, Boccaccio creates a detailed picture of the Florentine trecento cultural world. Giotto, Buffalmacco, and other great painters of Boccaccio's time appear in the stories. Their works and the paintings that surround the characters as they prepare to leave the plague-ridden city, with their representations of Dante, Aquinas, and other thinkers, are essential to understanding the ways the stories work with other works of art and illuminate and enlarge interpretations of Boccaccio's book. (shrink)

This handbook explores the ways biomedicine and pop culture interact while simultaneously introducing the reader with the tools and ideas behind this new field of enquiry. From comic books to health professionals, from the arts to genetics, from sci-fi to medical education, from TV series to ethics, it offers different entry points to an exciting and central aspect of contemporary culture: how and what we learn about scientific knowledge and its representation in pop culture. Divided into three sections the (...) handbook surveys the basics, the micro-, and the macroaspects of this interaction between specialized knowledge and cultural production: After the introduction of basic concepts of and approaches to the topic from a variety of disciplines, the respective theories and methods are applied in specific case studies. The final section is concerned with larger social and historical trends of the use of biomedical knowledge in popular culture. Presenting over twenty-five original articles from international scholars with different disciplinary backgrounds, this handbook introduces the topic of pop culture and biomedicine to both new and mature researchers alike. The articles, all complete with a rich source of further references, are aimed at being a sincere entry point to researchers and academic educators interested in this somewhat unexplored field of culture and biomedicine. (shrink)

Im Ausgang von der anf änglichen Frage, welche Formen der Empathie zu den Produktionsbedingungen einer gelingenden Komödie gehören, wird zunächst argumentiert, dass Komik generell ›kulturelle Empathie‹ voraussetzt, d.i. ein Gespür dafür, welche Erwartungen und emotionalen Reaktionen bestimmte Themen und situative Konstellationen auslösen werden. Situationskomik und insbesondere die Komik peinlicher familiärer Situationen werden darauf zurückgeführt, dass wir uns sowohl empathisch in die Gefühle und die Peinlichkeit der Lebenslage der Protagonisten hineinversetzen können als auch gleichzeitig selbst die unbeteiligte Perspektive des Beobachters einnehmen. (...) Anschließend untersucht der Beitrag die Filmkomödie Toni Erdmann als Sonderfall einer Wiederverheiratungskomödie, die selbst eine Reflexion über Empathie darstellt. Es wird gezeigt, dass die Form von Empathie, die der Protagonist im Zusammenhang des für die Wiederverheiratungskomödie charakteristischen Erziehungsprozesses für die Protagonistin Ines aufbringt, nicht als ein Sichhineinversetzen in die wirklichen Gefühle oder die Lebenslage von Ines verstanden werden kann – in dieser Hinsicht erscheint er auf komische Weise empathiefrei. Toni Erdmanns Empathie zielt vielmehr auf ihre das eigene verengte Selbstverständnis transzendierenden Möglichkeiten und somit auf ihre Freiheit. Starting from the initial question which forms of empathy are included in the making of a comedy, it is argued that comedy requires ›cultural emphathy‹, i.e. a clear sense of what expectations and reactions would be triggered among the public by certain topics and performances. The comic effects of slapstick and other forms of situational comedy in association with family configurations are attributed to our capacity to put ourselves into the awkward situations of the protagonists and, at the same time, to adopt the perspective of the uninvolved spectator. Subsequently the film comedy ›Toni Erdmann‹ is examined as a special case of remarriage comedy which represents a reflection upon empathy. It is argued that the protagonist Winfried, in the context of the process of education which is typical for remarriage comedies, does not feel emphathy for the protagonist Ines with regard to her actual feelings and living conditions (on the contrary, some comical effects derive from his refusal of empathy). His emphathy is rather directed towards those of her possibilities and capacities which transcend her actual image of herself; in other words, it is directed towards her freedom. (shrink)

lecture 1. The world of the Greco-Roman moralists -- lecture 2. How empire changed philosophy -- lecture 3. The great schools and their battles -- lecture 4. Dominant themes and metaphors -- lecture 5. The ideal philosopher, a composite portrait -- lecture 6. The charlatan, philosophy betrayed -- lecture 7. Philosophy satirized, the comic Lucian -- lecture 8. Cicero, the philosopher as politician -- lecture 9. Seneca, philosopher as court advisor -- lecture 10. Good Roman advice, Cicero and Seneca (...) -- lecture 11. Musonius Rufus, the Roman Socrates -- lecture 12. Dio Chrysostom, the wandering rhetorician -- lecture 13. Dio Chrysostom, preaching peace and piety -- lecture 14. Epictetus, philosopher as school teacher -- lecture 15. Epictetus, the stoic path to virtue -- lecture 16. Epictetus, the messenger of Zeus -- lecture 17. Marcus Aurelius, meditations of the king -- lecture 18. Jews thinking like Greeks -- lecture 19. Philo, Judaism as Greek philosophy -- lecture 20. Plutarch, biography as moral instruction -- lecture 21. Plutarch and philosophical religion -- lecture 22. Plutarch on virtue and educating children -- lecture 23. Plutarch, envy, anger, and talking too much -- lecture 24. The missing page in philosophy's story. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

A modern form of narrative, comic books, are used to communicate, discuss, and critique issues in business and society. A description of comic books as a legitimate medium is followed by a discussion of the pedagogical uses of comic books. The strengths of the pedagogy include crossing cultural barriers, understanding the complexity of individual decision-making and organizational influences, and the universality of dilemmas and values. We provide an initial source for educators on the topics, comic books, (...) plotlines, and other commentary for consideration of use in the classroom from high school to graduate business ethics courses. (shrink)

The purpose of this article is a critical reconstruction of the Platonic conception of laughter, which is presented primarily in Republic and Philebus. A comic quality calls, in his opinion, to lower emotions, it throws human mind out of balance and undermines the prevailing order of values. The philosopher associates a laughter with the feeling of envy, which comes down to the joy of humiliating of someone weaker. The comic envy - as opposed to passive jealousy - almost (...) automatically leads to the activity, to the enhancement of humiliation. Laughter is caused according to Plato by a defect resulting from the ignorance about himself. The key feature of the comic situation is the asymmetry between the victim's weakness and the strength of a laughing person. Plato's concept of laughter turns out to be one-sided, when we compare it with "laughter of Democritus" which serves as a therapeutic and catharctic means. Laughter is here a clear signal that initiates the critical reflection on himself and gives impetus to a change of attitude towards the world. In his writings Plato did not include such educational and cognitive aspects of laughter because in his philosophy it becomes a specific antagonist of true knowledge. The negative attitude towards laughter does not go hand in hand with Plato’s recognition of Socrates, who used irony as a key element in his method of inquiry leading to truth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Child's Creation of a Pictorial WorldEllen Handler SpitzThe Child'S Creation of a Pictorial World, by Claire Golomb. Mahwah, New Jersey: Erlbaum, 2004, 388 pp.Children's drawings fill us with wonder and delight. They may tend, however, to puzzle us, especially if we seek to comprehend them in terms appropriate to the drawings of mature artists or in terms relevant for other pictorial forms and expressions. Likewise, they may (...) puzzle us if we make the mistake of supposing that they represent in any direct or obvious way the cognitive development of young children or if we see them only as comical, inept efforts at depicting external reality. Children's drawings stimulate many nagging questions, among them the one as to why it should be that a child who knows so much and who is verbally so articulate may be graphically capable of depicting so little.Claire Golomb's work has proven extraordinarily helpful here as a corrective because Golomb, after many years of research and reflection, writes about these youthful creations not as "print-outs" of a child's mind. She sees them, rather, as exemplars of particular visual representational schemata that are generally available to and employed by young children. And although she regards these schemata as universal, she acknowledges that they are clearly subject to a wide range of individual variability. Over all, the value of Golomb's work lies in her extensive, descriptive research. Acknowledging her intellectual debt to her mentor, Rudolph Arnheim, Golomb reminds her readers that representation is never mimesis pure and simple. Representation is never, she tells us, the result of an "intention to copy nature." Therefore, when young children do otherwise, they ought not to be seen as failing. Their drawings ought not to be viewed as unsuccessful attempts to imitate nature or to depict with faithful realism what appears before their eyes. Rather, as Golomb states and attempts to demonstrate throughout the pages of her well-illustrated volume, children employ graphic schemata that develop over time in terms of shape, color, content, and composition. Ever seeking meaning, children create pictorial worlds that, while they have no one-to-one correlation with the perceptual world, are tied to it, importantly, nonetheless.Golomb assiduously describes and illustrates each of her studies so that her readers are treated to a panorama of this "orderly progression," as she puts it, this evolution of children's graphic work. Her book, moreover, is characterized by a certain social scientific aura; that is to say, she proffers statistics and quantifies her data to prove her points. She takes pains to argue, for example, from research conducted in tandem, apparently, with her daughter, that it is extremely difficult to differentiate, prima facie, the drawings of children who have been diagnosed as disturbed from those who are considered normal. Having worked for a couple of years in a residential treatment center for schizophrenic children, I would aver that this claim might be debatable. However, were one to be [End Page 120] able to so differentiate, this might constitute a challenge to Golomb's theory that the representational schemata are, as she puts it, "robust." According to her findings, they remain more or less in tact. Likewise with regard to the issue of cultural variables. Here Golomb argues, gently and respectfully, against positions taken by two other well-known scholars in the field, Brent and Marjory Wilson, who accord a higher priority than she does to cultural differences. According to the Wilsons, children's drawings are importantly influenced by whatever graphic models are made available to them in a given culture. For Golomb, however, these variables, while significant, do not interfere substantially with the universal classifications she proposes. As she writes, "The drawings of young children are as different one from another as fingerprints, yet they can be classified" (357).In general, then, the body of work Golomb offers in this second edition of her first volume published under the same title in 1992 by the University of California Press importantly contributes, as it initially did, to ongoing research in numerous fields, including art education, early childhood studies, art history, developmental psychology, anthropology, and art... (shrink)

Opening on Olympus and concluding with two trials involving ‘the Syrian’ (an obvious Lucianic persona), Lucian'sDouble Indictment(=Bis Acc.) presents a fantastical scenario that draws on Old Comic, Platonic and biographical models. In the first of the Syrian's two trials, a personified Rhetoric accuses the Syrian of abandoning her, his legitimate wife, for his lover, Dialogue. Dialogue, in turn, accuses the Syrian ofhubris, asserting that the Syrian rendered him a generic freak when he forced him to accept ‘jokes,iambos, cynicism, and (...) Eupolis and Aristophanes’ (ὁ σκῶμμα καὶ τὸν ἴαμβον καὶ κυνισμὸν καὶ τὸν Εὔπολιν καὶ τὸν Ἀριστοφάνη,Bis Acc.33). Amidst this literary fantasy, Lucian seemingly adds an element of realism when the Syrian specifies that he was ‘almost forty’ (τετταράκοντα ἔτη σχεδὸν γεγονότι,Bis Acc.32) at the time he left Rhetoric for Dialogue. This is notably not the only instance in which we find this age attributed to a Lucianic alter-ego: Lycinus in theHermotimus(=Hermot.) is likewise described as being ‘almost forty’ at the time of the dialogue. This is strikingly also the same age at which the dialogue's eponymous interlocutor—he is sixty at the time of the dialogue—began his own philosophical education (αὐτὸς κατὰ σὲ γεγονὼς ἠρξάμην φιλοσοφεῖν τετταρακοντούτης σχεδόν,Hermot.13). (shrink)

The paper analyzes a handful of works for children and youth that are based on mythology and deal with depression, a topic that is becoming more frequent in contemporary children’s and young adults’ culture, mainly because of the need to break the mental he­alth taboo. These are the newest edition of Laura Orvieto’s Storie di bambini molto antichi, Rachel Smythe’s digital comics Lore Olympus, Patricia Satjawatcha­raphong’s short animation Reflection, and the webcomic series Therapy created by Anastasia Gorshkova. They provide examples (...) from literary and audio-visual culture for very young re­aders and more adult teenagers and youth, raising the issue of deep sadness utilizing storytelling and not in a didactic way. Some of the protagonists struggling with the problem are far from lively chara­cters in conventional interpretations of the myths, so the texts play upon stereotypes entrenched in the culture. It appears that children’s works inspired by classical antiquity have significant interpretative potential and educational value – as well as the ability to surprise the audience. (shrink)

The story of Abraham and Isaac belongs to the plots frequently recurring in the school drama of sixteenth century Europe. Two related texts are related in the article: Theodore de Bčze’s drama with the title Abraham sacrificanl (staged in Lausanne in 1550) and an anonymous Polish text dating from the end of the sixteenth century Ofiarowanie Izaaka [The Sacrifice of Isaac]. Both the dramas begin with the Prologue, heralding the main events of the story. The works share a three-part, biblical (...) structure (Ofiarowanie Izaaka is composed of three acts), the motif of a father’s love for his son, Abraham’s and Sarah’s care for their son, Abraham’s perplexity and finally the ending, where an angel, a pre-figuration of Christ, appears. The main differences lie in the way in which the protagonists have been grouped - the amusing characters of, among others, Achne, the servant, enrich the play with comical, realistic elements. The similarities between the two texts result not only from their chronology, the common repertoire of school theatres, and the cosmopolitan character of school education. The congruence (despite some apparent differences between the staging possibilities of Lausanne and Cracow) confirms a close relationship between Polish Renaissance drama and the culture of Western Europe and emphasizes its creative character in the presentation of Biblical plots, extending beyond the Bible. (shrink)

In her study Anarchism and Education, Judith Suissa argues that anarchist learning entails a constant interplay of tensions arising from emergent desires to transform society and the challenges society poises for realizing them. This is inescapable because a critical attitude is integral to an anarchist process of learning, infusing it with creative license premised on the conviction that we need not accept things as they are, that learning is not only a space for understanding, but also enactment. My purpose is (...) to explore this dynamic in the work of graphic artist Kevin Pyle, an American-born artist with a substantive body of illustrated books and comics addressing a myriad of issues. I am interested... (shrink)

Women's games refers to a category of games developed and marketed exclusively for the consumption of women and girls in the Japanese gaming industry. Essentially gender-specific games comparable to the `games for girls' proposed by the girls' game movement in the USA, Japanese women's games are significant for their history, influence and function as a site for female gamers to play out various female identities and romantic fantasies within diverse generic structures. This article will first review previous research and literature (...) on women and gaming, analyze the key issues raised in the discourse concerning femininity and electronic games, outline the history and development of women's games, explain how multiple factors contributed to the appeal of women's games by analyzing the games Angelique and Harukanaru Tokino Nakade3 and, lastly, discuss the meaning and significance of women's games in the larger context of women and gaming. The 1994 game Angelique succeeded in establishing a loyal and close-knit fan base by actively utilizing popular female culture such as shoujo manga (girls' comics) and the fan base for voice actors. Angelique also set up the specifics and conventions of women's games: a focus on romance, easy controls and utilizing other multimedia. In 2004, Harukanaru Tokino Nakade3 deconstructed the genre and gender conventions of women's games and shoujo manga, while developing a new type of feminine identity and narrative. Women's games indicate that genderspecific games can be more than educational tools to familiarize girls with technology or perpetuate stereotypes; they can be a significant extension of female culture into the realm of gaming, and contribute to the development of women's culture and the diversification of the gaming industry. (shrink)

Plato's Hippias Major has usually been taken to be a comic dialogue, and rightly so. Its main theme is the καλόν, but what is primarily targeted and harshly mocked throughout the dialogue is Hippias’ pretence of having σοφία, which should allow him to define what the καλόν consists in. Yet, καλόν is an ambiguous term since, besides its aesthetic meaning, it also usually means the ‘morally right’. Not being able to define what καλόν is therefore also amounts to being (...) unable to define what the right is. And indeed, the genuine σοφία, as Plato will tell us explicitly, is the σοφία that helps people, especially the youth, to become morally better. Thus, the serious conclusion Plato wants his reader to draw is, first, that the well-known sophist Hippias have no real σοφία despite their very name, and second, and most importantly, that they cannot help anyone become virtuous, and that therefore their claim of educating people in moral goodness proves to be specious. (shrink)

The importance of the adolescence in the value orientations formation as a stable personality trait associated with the shaping of worldview has always been a matter of special research attention. This article seeks to investigate the formation of teenagers’ value orientations through creolized texts. The creolized text is a text in which verbal and nonverbal components form a visual, structural, semantic and functional wholeness, aimed at a complex impact on the recipient. The authors cleared out cognitive, emotional, and behavioural criteria (...) for the formation of students’ value orientations. To determine students’ instrumental and terminal values, M. Rokeach’s method of value orientation diagnostics was used. Educational workshops aimed at altering teenagers’ values with the use of creolized texts were arranged. Examples of motivational posters and comics created by students in the process of these extracurricular activities are provided. The reflexive component is presented through students’ impressions of working with creolized texts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 243-258 [Access article in PDF] Poaching on Men's Philosophies of Rhetoric: Eighteenth- and Nineteenth-Century Rhetorical Theory by Women Jane Donawerth Although their discussions have often been ignored in histories of rhetoric, women did participate in the development of philosophies of rhetoric in the eighteenth century and nineteenth century. 1 Most, like Hannah More, left to men preaching, politics, and law (the traditional genres of (...) European rhetoric) and took as their territory conversation and letter writing (more domestic rhetorical forms). 2 But some "poached" on men's territory. In this essay, I examine the tactics that Maria Edgeworth, Eliza Farrar, and Frances Willard used to appropriate and respond to a tradition of rhetoric that by fiat excluded women from rhetorical education, public speaking, and persuasive writing. In order to analyze their poaching on men's territory, I borrow from Michel de Certeau's theory of everyday practices of consumption.In The Practice of Everyday Life (1984), de Certeau suggests that we should study the ways that culture is constituted not only by dominant ideology, but also by "the dominated element in society (a status that does not mean that they are either passive or docile)" (xi-xii). Culture, for de Certeau, is not simply consumed; rather, in everyday life, it is invented "by poaching in countless ways on the property of others" (xii). One must study not just consumers, but also how they consume, what they do and make with the cultural artifacts and constructs offered to them, how they manipulate ideology. For the weak, those lacking political power, de Certeau, like recent feminists, 3 claims sophistic rhetoric, since the Sophists privileged the art of making "the weak position seem the stronger" (xx). How do "users reappropriate the space organized by techniques of sociocultural production?" asks de Certeau (xvii). For the weak, as for the Sophist, "[a] tactic insinuates itself into the other's place, fragmentarily, without taking it over in its entirety, without being able to keep it at a distance" (xix). With these issues in play, de Certeau studies everyday practices--shopping, cooking, moving about, and, most important for our purposes, reading. [End Page 243]Although seemingly passive, reading, de Certeau points out, is an "activity" of "silent production" (xxi). The reader does not absorb what he or she reads, but, instead, reinvents it--misunderstands it, adapts it to his or her own interests and concerns, remembers pieces of it, but pieces mutated. "This mutation makes the text habitable" (xxi), argues de Certeau. Thus, the dominant in culture may offer a set of rules, but it is only a basis for improvisation for the multitude of others in society. Consumption is not the imposition of an ideology on a society; a group does not absorb what it consumes. Instead, the group makes what it consumes its own. "'Assimilating' does not mean 'becoming similar to,'" according to de Certeau; rather, it means "'making something similar'" (166). A reader is not, then, a passive consumer. A reader "wander[s] through an imposed system," modifying and inventing a meaning (169). De Certeau thus focuses on the reading practices of the many "others" of society, "the silent, transgressive, ironic or poetic activity of readers... in private" (172). Readers do not absorb what they read. They are "travelers" who move across and "poach" from the "fields" of others' writings (174).With this essay, I examine the ways in which three women poach on men's rhetorical theory. Maria Edgeworth uses parody, comically enlarging key words in Enlightenment rhetoric to make a place for women in it. She reinvents the demonic shrew as a clever sophistic rhetorician. Eliza Farrar uses performance: she places women in the role of disciple, admiring the great men who thought up rhetoric, but then taking over the role of rhetorician with the pretense of laudatory imitation. Frances Willard uses collage: she cuts and pastes her own and other women's ideas about women preaching in with those of the famous men of her society. She creates a republican, presbyterian... (shrink)

L’illégitimité de la bande dessinée a une histoire. Elle est le fruit de processus historiques mêlantcritiques de la bande dessinée et efforts de réhabilitation. L’après-guerre a été une période-clé dans ladisqualification de la bande dessinée, alors principalement publiée dans les journaux pour enfants,d’importantes mobilisations en affirmant le caractère criminogène et démoralisateur. Ces discours onttrouvé une validation et une consécration institutionnelles à travers l’adoption de la loi du 16 juillet 1949,qui a organisé, jusqu’à nos jours, un contrôle des publications de bande (...) dessinée. A maxima,ce contrôle a opéré une disqualification en pratique de cette forme d’expression. A minima, il a en tout casentretenu l’image de la bande dessinée comme une forme potentiellement dangereuse, certainement peuéducative, de toute façon faiblement légitime. C’est en ce sens que la loi de 1949 a contribué àl’institutionnalisation, et donc à la relative pérennité, de l’illégitimité de la bande dessinée.The illegitimacy of the comic strip has its own history. It is the result of historical processes that havecombined criticism of comic strips with efforts to rehabilitate them. The post-war years were a pivotal timein the process of disqualifying comic strips as considerableefforts were made to assert their criminalising and demoralising nature. This type of discourse was institutionalisedand enshrined in France by the Act of 16 July 1949, which – until today – has organised controls over the publication of comic strips. At the very least, these controls have sustainedthe view of comic strips as a potentially dangerous, definitely non-educational and scarcely legitimate form,and have even gone so far as to disqualify them entirely in practice. Thus did the Act of 1949 help toinstitutionalise, on a relatively enduring basis, the illegitimate nature of the comic strip. (shrink)

A dimensional rather than a typological approach to studying class clown behavior was recently proposed (Ruch, Platt, & Hofmann, 2014). In the present study, four dimensions of class clown behavior (class clown role, comic talent, disruptive rule-breaker, and subversive joker) were used to investigate the associations between class clown behavior and indicators of social status and social functioning in the classroom in a sample of N = 300 students attending grades 6 to 9 (mean age: 13 years, 47.7% male). (...) Participants and their teachers completed measures of class clown behavior, and peer nominations of peer acceptance, mutual friends as well as social behavior in the classroom (popular-leadership, aggressive-disruptive, sensitive-isolated, and prosocial behaviors) were collected. The results showed that overall, class clown behavior was positively related to peer acceptance, the number of mutual friends in the classroom and peer-perceived social status. Overall, it was also positively related to peer-rated popular-leadership and aggressive-disruptive behaviors, as well as negatively related to prosocial behaviors. When considering the four dimensions of class clown behavior, comic talent was particularly relevant for the relationship with social status and with popular-leadership behaviors, but also with aggressive-disruptive behaviors. Aggressive-disruptive behaviors were also particularly related to the class clown dimension disruptive rule-breaker. The results underline the significance of class clown behavior for the social status and functioning of students and may help further understand the phenomenon in its multidimensional nature. (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)