3,621 research outputs found
Making the third mission possible: investigating academic staff experiences of community-engaged learning
Community-engaged Learning (CEL) is an intentional and structured pedagogical approach, which links learning objectives with community needs. Most of the existing literature is centred on Service-learning practice in the United States. To date, there have been no in-depth studies on the experiences and perspectives of practitioners who engage with CEL in a UK or more specifically, a Scottish Higher Education context.
The thesis presents data collected from a qualitative study utilising documentary analysis of government and institutional literature and 23 in-depth interviews with University practitioners, managers and leaders. I explored factors which influence the perspectives and experiences of CEL practitioners at one Scottish, research-intensive Russell Group university.
Adopting a research ontology informed by Margaret Archerâs Morphogenetic, Critical Realist approach, I analyse the data collected through the lens of an emancipatory Neo-Aristotelian virtue-ethics framework and argue that CEL practice at this university contributes to, what the evidence suggests is, its ultimate purpose: promoting and cultivating individual flourishing and emancipatory critical thinking for the common good. Focussing on university-community engagement, the findings suggest that there are some inconsistencies between how the University is portrayed in public-facing literature compared to the level of institutional support individual practitioners of CEL report receiving. I conclude that failure to adequately support CEL activity in the future could negatively impact the sustainability and quality of community engagement at Alba University
Displacement and the Humanities: Manifestos from the Ancient to the Present
This is the final version. Available on open access from MDPI via the DOI in this recordThis is a reprint of articles from the Special Issue published online in the open access journal Humanities (ISSN 2076-0787) (available at: https://www.mdpi.com/journal/humanities/special_issues/Manifestos Ancient Present)This volume brings together the work of practitioners, communities, artists and other researchers from multiple disciplines. Seeking to provoke a discourse around displacement within and beyond the field of Humanities, it positions historical cases and debates, some reaching into the ancient past, within diverse geo-chronological contexts and current world urgencies. In adopting an innovative dialogic structure, between practitioners on the ground - from architects and urban planners to artists - and academics working across subject areas, the volume is a proposition to: remap priorities for current research agendas; open up disciplines, critically analysing their approaches; address the socio-political responsibilities that we have as scholars and practitioners; and provide an alternative site of discourse for contemporary concerns about displacement. Ultimately, this volume aims to provoke future work and collaborations - hence, manifestos - not only in the historical and literary fields, but wider research concerned with human mobility and the challenges confronting people who are out of place of rights, protection and belonging
Choreographing tragedy into the twenty-first century
What makes a tragedy? In the fifth century BCE this question found an answer through the conjoined forms of song and dance. Since the mid-twentieth century, and the work of the Tanztheater Wuppertal Pina Bausch, tragedy has been variously articulated as form coming apart at the seams. This thesis approaches tragedy through the work of five major choreographers and a director who each, in some way, turn back to Bausch. After exploring the Tanztheater Wuppertalâs techniques for choreographing tragedy in chapter one, I dedicate a chapter each to Dimitris Papaioannou, Akram Khan, Trajal Harrell, Ivo van Hove with Wim Vandekeybus, and GisĂšle Vienne.
Bringing together work in Queer and Trans* studies, Performance studies, Classics, Dance, and Classical Reception studies I work towards an understanding of the ways in which these choreographers articulate tragedy through embodiment and relation. I consider how tragedy transforms into the twenty-first century, how it shapes what it might mean to live and die with(out) one another. This includes tragic acts of mythic construction, attempts to describe a sense of the world as it collapses, colonial claims to ownership over the earth, and decolonial moves to enact new ways of being human.
By developing an expanded sense of both choreography and the tragic one of my main contributions is a re-theorisation of tragedy that brings together two major pre-existing schools, to understand tragedy not as an event, but as a process. Under these conditions, and the shifting conditions of the world around us, I argue that the choreography of tragedy has and might continue to allow us to think about, name, and embody ourselves outside of the ongoing catastrophes we face
Children and Youth at Risk in Times of Transition: International and Interdisciplinary Perspectives
Children and youth belong to one of the most vulnerable groups in societies. This was the case even before the current humanitarian crises around the world which led millions of people and families to flee from wars, terror, poverty and exploitation. Minors have been denied human rights such as access to education, food and health services. They have been kidnapped, sold, manipulated, mutilated, killed, and injured. This has been and continues to be the case in both developed and developing countries, and it does not look as if the situation will improve in the near future. Rather, current geopolitical developments, political and economic uncertainties and instabilities seem to be increasing the vulnerability of minors, especially in the wars and armed conflicts currently being waged not only in Europe, but on almost every continent. How can risks children and youth are exposed to in times of transition be reduced? Which role do state agencies, non-governmental organisations, as well as children's coping strategies play in mitigating the vulnerabilities of minors? This volume addresses risks to which children and young people are exposed, especially in times of transition. The focus is on different groups of children in the European wartime and post-war societies of the Second World War, 'occupation children' in Germany, teenage National Socialist collaborators in Norway, and more recent cases such as child soldiers, refugee children, and children of European "Islamic State" fighters. The contributions come from international scholars and different academic disciplines (educational and social sciences, humanities, law, and international peace and conflict studies) and are based on historical, quantitative, and/or qualitative analyses.Kinder und Jugendliche gehören zu den am meisten gefĂ€hrdeten Gruppen einer Gesellschaft. Dies war auch schon vor den aktuellen humanitĂ€ren Krisen in der Welt der Fall, die Millionen von Menschen und Familien zur Flucht vor Kriegen, Terror, Armut und Ausbeutung veranlassten. MinderjĂ€hrigen wurden Menschenrechte wie der Zugang zu Bildung, Nahrung und medizinischer Versorgung verweigert. Sie wurden entfĂŒhrt, verkauft, manipuliert, verstĂŒmmelt, getötet und verletzt. Dies war und ist sowohl in den Industrie- als auch in den EntwicklungslĂ€ndern der Fall, und es sieht nicht so aus, als wĂŒrde sich die Situation in naher Zukunft verbessern. Dieser Band befasst sich mit Risiken, denen Kinder und Jugendliche vor allem in Zeiten des Ăbergangs ausgesetzt sind. Im Mittelpunkt stehen verschiedene Gruppen von Kindern in den europĂ€ischen Kriegs- und Nachkriegsgesellschaften des Zweiten Weltkriegs, "Besatzungskinder" in Deutschland, jugendliche NS-Kollaborateure in Norwegen und neuere FĂ€lle wie Kindersoldat*innen, FlĂŒchtlingskinder und Kinder von europĂ€ischen "Islamischen Staat"-KĂ€mpfer*innen. Die BeitrĂ€ge stammen von internationalen Wissenschaftler*innen und verschiedenen akademischen Disziplinen (Erziehungs- und Sozialwissenschaften, Geisteswissenschaften, Rechtswissenschaften und internationale Friedens- und Konfliktstudien) und basieren auf historischen, quantitativen und/oder qualitativen Analysen
2023-2024 Catalog
The 2023-2024 Governors State University Undergraduate and Graduate Catalog is a comprehensive listing of current information regarding:Degree RequirementsCourse OfferingsUndergraduate and Graduate Rules and Regulation
Reinstated Dignity â Continued Silencing. Violent, Gendered Imagery in Holocaust Web Exhibitions
This paper examines how and to what effect recent trends regarding the use of violent imagery in exhibitions on Nazi mass atrocities transpire online. Analysing 87 web exhibitions by the three internationally most influential museums on the Shoah, it becomes evident that these museums avoid displaying graphic images of violence. However, an analysis of imagery that exhibitions produce linguistically unearths apparent dissonances. On the one hand, the aim of restoring the dignity of victims and giving them a voice marks a central feature of all examples. On the other hand, online exhibitions on the Shoah largely rely on stereotypes in gendered perceptions and narratives of extreme violence. The paper traces the impact of tropes that invoke gendered concepts of power and agency and argues that they limit curatorsâ ability to explain and analyse the pretext and events of the Shoah.This paper examines how and to what effect recent trends regarding the use of violent imagery in exhibitions on Nazi mass atrocities transpire online. Analysing 87 web exhibitions by the three internationally most influential museums on the Shoah, it becomes evident that these museums avoid displaying graphic images of violence. However, an analysis of imagery that exhibitions produce linguistically unearths apparent dissonances. On the one hand, the aim of restoring the dignity of victims and giving them a voice marks a central feature of all examples. On the other hand, online exhibitions on the Shoah largely rely on stereotypes in gendered perceptions and narratives of extreme violence. The paper traces the impact of tropes that invoke gendered concepts of power and agency and argues that they limit curatorsâ ability to explain and analyse the pretext and events of the Shoah
Second-Person Surveillance: Politics of User Implication in Digital Documentaries
This dissertation analyzes digital documentaries that utilize second-person address and roleplay to make users feel implicated in contemporary refugee crises, mass incarceration in the U.S., and state and corporate surveillances. Digital documentaries are seemingly more interactive and participatory than linear film and video documentary as they are comprised of a variety of auditory, visual, and written media, utilize networked technologies, and turn the documentary audience into a documentary user. I draw on scholarship from documentary, game, new media, and surveillance studies to analyze how second-person address in digital documentaries is configured through user positioning and direct address within the works themselves, in how organizations and creators frame their productions, and in how users and players respond in reviews, discussion forums, and Letâs Plays. I build on Michael Rothbergâs theorization of the implicated subject to explore how these digital documentaries bring the user into complicated relationality with national and international crises. Visually and experientially implying that users bear responsibility to the subjects and subject matter, these works can, on the one hand, replicate modes of liberal empathy for suffering, distant âothersâ and, on the other, simulate oneâs own surveillant modes of observation or behavior to mirror it back to users and open up oneâs offline thoughts and actions as a site of critique.
This dissertation charts how second-person address shapes and limits the political potentialities of documentary projects and connects them to a lineage of direct address from educational and propaganda films, museum exhibits, and serious games. By centralizing the userâs individual experience, the interventions that second-person digital documentaries can make into social discourse change from public, institution-based education to more privatized forms of sentimental education geared toward personal edification and self-realization. Unless tied to larger initiatives or movements, I argue that digital documentaries reaffirm a neoliberal politics of individual self-regulation and governance instead of public education or collective, social intervention.
Chapter one focuses on 360-degree virtual reality (VR) documentaries that utilize the feeling of presence to position users as if among refugees and as witnesses to refugee experiences in camps outside of Europe and various dwellings in European cities. My analysis of Clouds Over Sidra (Gabo Arora and Chris Milk 2015) and The Displaced (Imraan Ismail and Ben C. Solomon 2015) shows how these VR documentaries utilize observational realism to make believable and immersive their representations of already empathetic refugees. The empathetic refugee is often young, vulnerable, depoliticized and dehistoricized and is a well-known trope in other forms of humanitarian media that continues into VR documentaries. Forced to Flee (Zahra Rasool 2017), I am Rohingya (Zahra Rasool 2017), So Leben FlĂŒchtlinge in Berlin (Berliner Morgenpost 2017), and Limbo: A Virtual Experience of Waiting for Asylum (Shehani Fernando 2017) disrupt easy immersions into realistic-looking VR experiences of stereotyped representations and user identifications and, instead, can reflect back the userâs political inaction and surveillant modes of looking.
Chapter two analyzes web- and social media messenger-based documentaries that position users as outsiders to U.S. mass incarceration. Users are noir-style co-investigators into the crime of the prison-industrial complex in Fremont County, Colorado in Prison Valley: The Prison Industry (David Dufresne and Philippe Brault 2009) and co-riders on a bus transporting prison inmatesâ loved ones for visitations to correctional facilities in Upstate New York in A Temporary Contact (Nirit Peled and Sara Kolster 2017). Both projects construct an experience of carceral constraint for users to reinscribe seeming âoutsideâ places, people, and experiences as within the continuation of the racialized and classed politics of state control through mass incarceration. These projects utilize interfaces that create a tension between replicating an exploitative hierarchy between non-incarcerated users and those subject to mass incarceration while also de-immersing users in these experiences to mirror back the userâs supposed distance from this mode of state regulation.
Chapter three investigates a type of digital game I term dataveillance simulation games, which position users as surveillance agents in ambiguously dystopian nation-states and force users to use their own critical thinking and judgment to construct the criminality of state-sanctioned surveillance targets. Project Perfect Citizen (Bad Cop Studios 2016), Orwell: Keeping an Eye on You (Osmotic Studios 2016), and Papers, Please (Lucas Pope 2013) all create a dual empathy: players empathize with bureaucratic surveillance agents while empathizing with surveillance targets whose emails, text messages, documents, and social media profiles reveal them to be ânormalâ people. I argue that while these games show criminality to be a construct, they also utilize a racialized fear of the loss of oneâs individual privacy to make players feel like they too could be surveillance targets.
Chapter four examines personalized digital documentaries that turn users and their data into the subject matter. Do Not Track (Brett Gaylor 2015), A Week with Wanda (Joe Derry Hall 2019), Stealing Ur Feelings (Noah Levenson 2019), Alfred Premium (JoĂ«l Ronez, Pierre Corbinais, and Ămilie F. Grenier 2019), How They Watch You (Nick Briz 2021), and Fairly Intelligentâą (A.M. Darke 2021) track, monitor, and confront users with their own online behavior to reflect back a corporate surveillance that collects, analyzes, and exploits user data for profit. These digital documentaries utilize emotional fear- and humor-based appeals to persuade users that these technologies are controlling them, shaping their desires and needs, and dehumanizing them through algorithmic surveillance
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