In search of a third place: a telecollaborative model for languaculture learning

This thesis presents a five-year, global classroom project, in which French and American students study the same texts (literature, film remakes, works of sociology and anthropology), while corresponding using ICTs. Their reflections provide the basis for the development of conceptual and perceptual toolkits, containing consciousness-raising activities on individual and culturally-biased semantic and perceptual differences and similarities. Students compare home culture images and the corresponding images from the other culture(s), in an attempt to arrive at a "third place" (Kramsch 1993), as an intercultural speaker (Byraml995; 1997). Feedback and transcripts from participants are used to assess the effectiveness of this pedagogy of languaculture in broadening discourse options and educational opportunities, and of the role of telecollaboration in student motivation and engagement. The analytical framework draws on insights of Bakhtin, Vygotsky and Flarre and Gillet, focussing on the learner as agent, and language as fundamentally dialogic in nature. Telecollaboration provides access to multiple discursive perspectives and negotiation of meaning, whereby students, especially the more motivated, ask real questions and receive real answers. The global classroom leads to a change in the locus of control, increasing motivation and encouraging students to appropriate their own learning. Significant individual, group and cross-cultural differences emerge in the interpretation and degree of appropriation of the materials and opportunities for intercultural communication. This thesis provides research-informed, pedagogical guidelines for developing similar intercultural telecollaborative courses and makes a creative contribution, both to the dialogic teaching of language as culture and to the integration of new technologies into the curriculum

The Crescent Student Newspaper, November 8, 1996

Student newspaper of George Fox University.https://digitalcommons.georgefox.edu/the_crescent/2164/thumbnail.jp

In the Eye of the Storm: A Special Report About the Robert Wood Johnson Foundation's Response to the 2005 Gulf States Disasters

Describes the foundation's early decision-making, immediate response, and long-term commitment to rebuilding in the hurricane-affected areas. Highlights staff and grantee activities, as well as lessons learned about the grantmaking process and strategy

Spartan Daily, February 18, 1997

Volume 108, Issue 18https://scholarworks.sjsu.edu/spartandaily/9095/thumbnail.jp

Strolling through the (post)modern city: Modes of being a flaneur in picture books

The city and the urban condition, popular subjects of art, literature, and film, have been commonly represented as fragmented, isolating, violent, with silent crowds moving through the hustle and bustle of a noisy, polluted cityspace. Included in this diverse artistic field is children’s literature—an area of creative and critical inquiry that continues to play a central role in illuminating and shaping perceptions of the city, of city lifestyles, and of the people who traverse the urban landscape. Fiction’s textual representations of cities, its sites and sights, lifestyles and characters have drawn on traditions of realist, satirical, and fantastic writing to produce the protean urban story—utopian, dystopian, visionary, satirical—with the goal of offering an account or critique of the contemporary city and the urban condition. In writing about cities and urban life, children’s literature variously locates the child in relation to the social (urban) space. This dialogic relation between subject and social space has been at the heart of writings about/of the flâneur: a figure who experiences modes of being in the city as it transforms under the influences of modernism and postmodernism. Within this context of a changing urban ontology brought about by (post)modern styles and practices, this article examines five contemporary picture books: The Cows Are Going to Paris by David Kirby and Allen Woodman; Ooh-la-la (Max in love) by Maira Kalman; Mr Chicken Goes to Paris and Old Tom’s Holiday by Leigh Hobbs; and The Empty City by David Megarrity. I investigate the possibility of these texts reviving the act of flânerie, but in a way that enables different modes of being a flâneur, a neo-flâneur. I suggest that the neo-flâneur retains some of the characteristics of the original flâneur, but incorporates others that take account of the changes wrought by postmodernity and globalization, particularly tourism and consumption. The dual issue at the heart of the discussion is that tourism and consumption as agents of cultural globalization offer a different way of thinking about the phenomenon of flânerie. While the flâneur can be regarded as the precursor to the tourist, the discussion considers how different modes of flânerie, such as the tourist-flâneur, are an inevitable outcome of commodification of the activities that accompany strolling through the (post)modern urban space

My Phone Lies to Me

This book of poems about fake news written by diverse project participants is foremost an invitation and invocation for readers to participate, with others, in an experiment in knowing and working differently with the internet: Fake News Poetry Workshops. Between 2018 and 2020, Alexandra Juhasz directed more than twenty of these workshops around the world, and these are ongoing beyond the confines of this book. Each differs in form and structure, but participants are always asked to attend to research, their own knowledge about the internet and social media, and what they can learn from their workshop and previous ones. My Phone Lies to Me shares the poems created in the workshops. As moving, eloquent, and useful as they may be — and you are invited to indulge in and learn from them — enjoying and learning from the poems is only a small part of this book’s project. Four short essays (two by Juhasz, with a foreword and afterword by critical internet scholars Tara McPherson and Margaret Rhee, respectively) introduce and situate the project’s processes of radical digital media. You can learn what Fake News Poetry Workshops make, do, and believe in, as well as how to collaborate with others to create your own. Fake News Poetry Workshops are one way to counter dominant and dominating internet modes and values, to fight the corrupt ways of being and knowing that use digital media to create, fuel, and weaponize fake news. The project verifies good news in the face of fake news: that we can gather together in our many local places and use analog structures (about digital things and ways) to generate, hold, and share ""art answers to phony questions