Making waves in education

Making Waves in Education is a book of a collaborative nature, being a collection of chapters written by undergraduates studying B.A. Hons in Education at the Universities of Plymouth and York. Thirteen chapters, each from a different student, cover topics from learning theories to sex education, home education and autism. The chapters are well-organised and written, and they cover key topics in an accessible and thoughtful way. The chapters are generally well - referenced and present critical and balanced arguments. Many use hard statistics in an effective way to back up their points and all include bibliographies as indeed one expects from a serious publication. The collection therefore addresses itself to a wide readership of anyone interested in education, and students and teachers/trainers in HE in particula

The Journal of the Center for Interdisciplinary Teaching and Learning

IMPACT: The Journal of the Center for Interdisciplinary Teaching & Learning is a peer-reviewed, biannual online journal that publishes scholarly and creative non-fiction essays about the theory, practice and assessment of interdisciplinary education. Impact is produced by the Center for Interdisciplinary Teaching & Learning at the College of General Studies, Boston University (www.bu.edu/cgs/citl).How do our students learn what it means to be a human being, with all the attendant responsibilities and joys? How do we learn to teach in a truly interdisciplinary manner? These are some of the questions that preoccupy this issue’s contributors

Science and the Scientist in Frankenstein: From Literature to Film Adaptation

In the following study, I analyze the figure of the scientist and the scientific process in Mary Shelley’s novel Frankenstein as well as in five different cinematographic adaptations: Frankenstein(1931), by James Whale; The Curse of Frankenstein (1957), by Terence Fisher; The Young Frankenstein (1974), by Mel Brooks; Mary Shelley’s Frankenstein (1994), by Kenneth Branagh; and Victor Frankenstein (2015), by Paul McGuigan. I also carry out a review of the scientific background in the nineteenth century and of Mary Shelley’s education and the scientific influences she may have had while writing the novel. Then each representation of the scientist is classified according to Haynes’ classification in From Faustus to Strangelove. Afterwards, I analyze the way in which the scientific process is carried out in each film adaptation. Finally, I conclude outlining the homogeneous depictions of Victor Frankenstein and the free, detailed representations of the scientific process made by the different film adaptations.En el siguiente estudio, analizo la figura del científico y del proceso científico llevado a cabo en la novela de Mary Shelley, Frankenstein, así como en cinco de sus adaptaciones cinematográficas: Frankenstein (1931), de James Whale; La maldición de Frankenstein (1957), de Terence Fisher; El Jovencito Frankenstein (1974), de Mel Brooks; Frankenstein de Mary Shelley (1994), de Kenneth Branagh; y Victor Frankenstein (2015), de Paul McGuigan. Mi análisis comienza con una breve presentación de los avances científicos del siglo XIX relacionados con la novela, así como de la educación y las posibles influencias científicas que Mary Shelley pudo tener cuando la escribió. Catalogo cada representación de la figura del científico siguiendo la clasificación que Haynes realiza en From Faustus to Strangelove. A continuación, analizo la manera en la que el proceso científico se ha llevado a cabo en cada adaptación cinematográfica. Finalmente, concluyo mi estudio destacando cuestiones como la homogeneidad en las representaciones de Víctor Frankenstein y el libre y detallado desarrollo del proceso científico que se realiza en las diferentes adaptaciones cinematográficas.Departamento de Filología InglesaGrado en Estudios Inglese

A Historical Analysis of Non-Normative Embodiment Through the Lens of Frankenstein’s Creature

A trend to historicize the field of Disability Studies has emerged in recent years. However, little research has been done to place different societies and generations in conversation with one another. This thesis will utilize various adaptations of Mary Shelley’s Frankenstein in order to explore shifting anxieties concerning non-normative embodiment through the vessel of the Creature. I examine the Creature’s changing physical form next to scientific and medical literature of the period to explore connotations of disability and otherness within that society. I consider the manifestation of anxieties towards non-normative embodiment through Mary Shelley’s 1831 Frankenstein, James Whale’s 1931 film Frankenstein, and Victor LaValle’s 2018 graphic novel Destroyer; the frequent reworking of Frankenstein’s Creature allows for an examination of shifting and persistent anxieties concerning non-normative embodiment over time

10 Year Anniversary Issue

In celebration, this edition reminisces on the earlier works of the Grand Valley Journal of History, as this year marks the 10 year anniversary of the journal’s inception. This special collection highlights the considerable growth of the journal over the past decade by compiling an article from volumes one through seven that best represents Zeitgeist, or the “spirit of the times.” Our editors\u27 notes have a common theme of noticing how some perspectives of historical events and cultural ideas have stayed the same, while others have shifted. By looking back into history, we can see that the spirit of the times may not be the same as it once was, or that the spirit itself is what has driven both material and ideological changes across time. We thank you for your readership and continued interest in the Grand Valley Journal of History

Towards a structure of feeling: Abjection and allegories of disease in science fiction', 'mutation' films

This article considers differences between the representation of mutation in science fiction films from the 1950s and the present, and identifies distinctive changes over this time period, both in relation to the narrative causes of genetic disruption and in the aesthetics of its visual display. Discerning an increasingly abject quality to science fiction mutations from the 1970s onwards—as a progressive tendency to view the physically opened body, one that has a seemingly fluid interior–exterior reversal, or one that is almost beyond recognition as humanoid—the article connects a propensity for disgust to the corresponding socio-cultural and political zeitgeist. Specifically, it suggests that such imagery is tied to a more expansive ‘structure of feeling’, proposed by Raymond Williams and emergent since the 1970s, but gathering momentum in later decades, that reflects an ‘opening up’ of society in all its visual, socio-cultural and political configurations. Expressly, it parallels a change from a repressive, patriarchal society that constructed medicine as infallible and male doctors as omnipotent to one that is generally more liberated, transparent and equitable. Engaging theoretically with the concept of a ‘structure of feeling’, and critically with scientific, cinematic and cultural discourses, two post-1970s’ ‘mutation’ films, The Fly (1986) and District 9 (2009), are considered in relation to their pre-1970s’ predecessors, and their aesthetics related to the perceptions and articulations of the medical profession at their respective historic moments, locating such instances within a broader medico-political canvas

A Study of Ahmed Saadawi’s Frankenstein in Baghdad in Light of Appropriation of Mary Shelley’s Frankenstein Through Translation and Adaptation Studies

This doctoral thesis examines both Mary Shelley’s Frankenstein, Or the Modern Prometheus (1888), and Ahmed Saadawi’s Frankenstein in Baghdad (2014) in light of adaptation and appropriation by employing the framework of translation and adaptation studies. Adaptation studies first emerged as a field of study in the first half of the twentieth century but its generalisations and arguments initially focused on text and screen; for instance, essays and texts by Vachel Lindsay (1915), Virginia Woolf (1927), and Sergei Eisenstein’s (1944) highlighted the distinctions between novels and films in general as well as the changes and transformations that the screen had brought about in the course of adaptations of texts (Leitch, 2017, p. 3). This approach established the theoretical grounds for the discipline of adaptation studies as it developed in Europe and the West in the sixties and seventies. On the one hand, this thesis aims to introduce both adaptation and translation studies into the Iraqi academia as an effort to examine Iraqi fiction, particularly Saadawi’s Frankenstein in Baghdad, in parallel with the international and canonical literary works, such as Shelley’s Frankenstein. On the other hand, this research will also attempt to investigate and subsequently showcase the conclusions of the analysis of the Iraqi novel to the readership and scholarship of the British and European Frankenstein. The intersectional grey zones of the West and East, the civilisational missing links between the world and marginal literature/s, and comparisons between Shelley’s Gothic and science fiction and Saadawi’s Iraqi 2003 post-war reality will be portrayed in both of the selected novels. Therefore, this work represents the space shared by those novels to explore and discuss the various ways in which the latter work appropriates the former. Moreover, Saadawi’s work problematises several central themes also present in Saadawi’s work. For instance, Shelley’s Frankenstein considers science and scientific creation from various aspects as its central theme, while Iraqi Frankenstein depicts a brutal war iv against Iraq that turns Iraqi society into a slaughterhouse through the incorporation and intervention of Iraqi militias, sectarian terrorists, the US Army and its allied forces’ military attacks on and within the country. In other words, the Iraqi monster of Whatsitsname rising from the ashes of the US-led 2003 invasion of Iraq, represents the failure of the Sykes-Picot Agreement of 1916, which divided the Middle East and created new artificial borders based on the interests of the early twentieth-century superpowers such as France, Britain and Russia. As a result, adaptation and cross-cultural translation will, likewise, be employed to examine the selected texts and highlight the strong relations that connect them. It will, additionally, highlight the significance of the Iraqi Frankenstein, a work that concentrates on the post-2003 war context of marginalised Iraq by problematising some of Shelley’s main themes. Along with the various sources used in the process of undertaking this research, the current researcher conducted two interviews with the author of Frankenstein in Baghdad and its English translator into English language, which come as appendices at the end of this work. The main findings of this work revolve around the adaptation of the latter text by the former, the decontextualisation which exists in the latter, the expression of the disintegration and trauma of war, and the triumph of Saadawi’s novel as a crucial representational voice of the marginalised and repressed Iraq and its citizens.Programa de Doctorat en Llengües Aplicades, Literatura i Traducci