Law and Fancy

Martha Nussbaum\u27s graceful book Poetic Justice is an elegant brief for the importance of our capacity for imaginative fancy to our moral and legal lives. Imaginative fancy, Nussbaum argues, allows us to know the internal substance and quality of the lives of others. It allows us to come to appreciate, to understand, to share, and ultimately to resist others\u27 suffering. It is, in short, the means by which we come to care about the fate and happiness of others. It is a part, but not the whole, of our capacity to transcend a narcissistic and infantile egoism. It is therefore central, not peripheral, to our capacity for moral judgment, and it is accordingly central, not peripheral, to our lives as public citizens. Fancy is a part, not the whole, of what prompts us toward a generous, humanistic, egalitarian, and democratic stance toward others. Fancy is a part, not the whole, of what enables us to give a due regard to the individuality, the dignity, and the irreducible worth of our fellows. Given its importance to our moral, political, and legal lives Nussbaum argues, we should not only study our capacity for imaginative fancy, but we should also value, nurture, and encourage it. Reading modem realistic fiction, particularly (but not only) in novel form, is central to that end. The modem realistic novel, Nussbaum argues, is the fanciful genre, par excellence. Through reading realistic novels -- and only to a lesser extent watching films or reading history -- we come to understand the most important promise the book contains, however, may be implicit rather than explicit. In this work and elsewhere, Nussbaum acts on her clearly deeply felt conviction that the western literary and philosophical canon, correctly and critically read, suggests a case for a moral and political structure that is at once humanistic, egalitarian, generous, and liberal in its respect for individuals and communities alike. If sustainable, this is a claim of tremendous importance and great hope, not only to law-and-literature or law-and-humanities scholars, but obviously for all engaged citizens in liberal societies. Poetic Justice does not directly argue for this claim although the first two chapters in particular -- which rest almost entirely on interpretations of Dickens\u27s Hard Times -- suggest it. Although they are never spelled out quite this explicitly, at least three arguments run through Poetic Justice regarding the relation between fancy and our moral lives. First, Nussbaum directs her elaboration of the capacity for fancy, and its relation to novelistic realism, to an internal, decidedly friendly critique of utilitarianism. The second argument, elaborated upon in the third chapter, is in my view the heart of the book. In this chapter, Nussbaum argues that fancy relates not just to utilitarianism or to sound normative economics, but to moral decisionmaking generally. The third argument, alluded to throughout the book but most explicitly stated in the final chapter, Poets as Judges, is that fancy informs not just our moral sense, but, more specifically, our sense of justice. I will not comment here on the arguments of the first chapter of Nussbaum\u27s book - that utilitarianism or normative economics, or both, uninformed by narrative wisdom risk being sterile, and that a sensitive reading of both Dickens\u27s Hard Times and Wright\u27s Native Son underscores that truth

Evaluation Report of Prospero’s Island: an Immersive Approach to Literacy at Key Stage 3.

Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate students’ engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve students’ learning. Prospero’s Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements: • An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term); • A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term); • A return to the installation for one lesson, led by English teachers (autumn term); • Follow-on work by teachers to develop immersive learning in English lessons (spring term); • An independent evaluation of the project (autumn and spring terms)

13 ways of looking at a poem: How discourses of reading shape pedagogical practice in English.

Different discourses of reading construct differing ways of reading texts. This article illustrates such differences by showing how three contrasting ways of interrogating a literary text arise from three contrasting discourses of reading. In doing so, it shows how "similar" constitutive elements in a view of reading are highlighted and constructed differently in these three interrogations. The implications of these differing constructions for classroom practice and the professional development agenda of English teachers are discussed

Evaluation of articulate project

The Articulate Project was commissioned by West Dunbartonshire Council, with funding from the Scottish Executive’s Future Learning and Teaching (FLaT) programme,The Scottish Arts Council, West Dunbartonshire Council and West Dunbartonshire Partnership. Activities relating to the project took place between May and December 2004. The overall aim of the Articulate Project was to “explore how or if the arts, and specifically drama and theatre practice, might impact positively on English language skills in the classroom” (AELP, 2005, p5). The five specific aims of the Articulate Project were to: · develop the creative and imaginative writing skills of participating pupils · improve the ability of pupils to communicate effectively · raise levels of pupils’ self esteem and self worth · increase pupils’ motivation to participate in, and enjoy, learning · create a positive impact on thinking skills, problem solving and team working on individuals, schools and the community. The Traverse Theatre devised a programme of pupil activities with the help of a teacher in one of the participating primary schools. In the initial stage, all participating pupils (in each class from each of five schools) were introduced to drama techniques by a Traverse Theatre actress and they attended two theatre performances. In the next stage the focus shifted to creative writing, and a group of ten pupils from each class worked directly in 10 workshops with a Traverse Theatre playwright, in order to develop their own drama sketches, which were performed by professional actors in Denny Civic Theatre. At the same time, the remainder of each class engaged in similar creative writing lessons with their teacher. Although this second Articulate group did not have their work performed, they supported the Denny Civic Theatre production by producing art work with the help of a professional artist. There were three main phases in the evaluation, which began five months after the projectended. A first phase (June and July 2005) was designed to build up a picture of the Project through extended interviews with its key architects and through document analysis. In a second phase (August – October 2005), impact on pupils was explored through theirresponses to Articulate-specific questionnaires and to two standardised instruments (the Marsh Self Description Questionnaire and the Torrance Test of Creative Thinking - ‘Thinking Creatively with Words’), as well as through their focus group contributions. This second phase included evaluation of the project’s impact on staff through one-to-one interviews with school staff and analysis of an extended interview with the Traverse Theatre Literary Development Officer. A third phase (November 2005 – January 2006) was concerned mainly with data analysis, including pre- and post-project attainment level data for reading and writing, but also provided an opportunity for parents and a local community organisation to express views on the project. During this phase final discussions also took place with a primary Head Teacher and the Depute Head in the secondary school

Aesthetics and literature : a problematic relation?

The paper argues that there is a proper place for literature within aesthetics but that care must be taken in identifying just what the relation is. In characterising aesthetic pleasure associated with literature it is all too easy to fall into reductive accounts, for example, of literature as merely "fine writing". Belleslettrist or formalistic accounts of literature are rejected, as are two other kinds of reduction, to pure meaning properties and to a kind of narrative realism. The idea is developed that literature-both poetry and prose fiction-invites its own distinctive kind of aesthetic appreciation which far from being at odds with critical practice, in fact chimes well with it

From the Book Page to the Big Screen: An Exploration of Literature-to-Film Adaptions and Their Use in the Classroom

Many classic titles of children’s literature have been adapted into feature film presentations. Although often regarded as a mere form of entertainment, movies can and should be incorporated into the elementary classroom as supplementary material to be paired with their corresponding works of literature. The four examples provided include Cloudy with a Chance of Meatballs by Judi Barrett, A Wrinkle in Time by Madeleine L’Engle, The Giver by Lois Lowry, and Peter Pan by J. M. Barrie. Each of these four works originated as a book that was later recreated into a film format with varying degrees of accuracy to the original story. Through a close examination of the author, theme, classroom application, and film connection, a greater appreciation is gained for the integration of film in the language arts classroom

Getting creative in the languages classroom

The following principles are central to the work of ‘Linguistic Creativity in Language Learning’, a research strand of Creative Multilingualism: We create language every day. Language diversity facilitates creative diversity. Linguistic diversity nurtures diverse expression of feelings, thoughts and identities, and diverse ways of knowing and seeing the world. In this chapter we outline how they might be considered in relation to classroom language learning. One of the authors of this chapter..

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences