Evaluation of the Global Citizenship Portfolio: detailed executive summary

This evaluation measured the impact of the Global Citizenship Portfolio (GCP), which is a non-credit bearing module at Sheffield Hallam University that aims to support students to become ‘global citizens’. The GCP engages students in self-directed learning by combining: academic-run sessions; lectures; an intercultural experience which happens on campus, locally or abroad; and reflection. The evaluation was focused on the cohort of 78 students who started the module in October 2019 or January 2020 and completed it in May 2020. A mixed-methods project was conducted to provide quantitative and qualitative evidence from pre and post-module surveys and a sample of reflective journals. The findings of the evaluation highlighted that the GCP has had a positive impact on students’ development in becoming ‘global citizens’. Analysis of the data indicated that the majority of participants in the evaluation have demonstrated evidence of acquiring intercultural competencies, regardless of whether they undertook an experience ‘at home’ or abroad. This will help these students to engage with different value systems, communicate effectively across cultures and understand how their actions and those of others have global consequences. However, the drop in the number of respondents from the pre-module survey to the post-module survey might introduce a bias to the results of the evaluation. Recommendations are provided on the steps that can be taken to enhance the provision of the GCP and to increase the robustness of the evaluation

Football: a counterpoint to the procession of pain on the Western Front, 1914-1918?

In this article, three artworks of the First World War containing images of recreational football are analysed. These three images, In the Wings of the Theatre of War, Artillery Men at Football and Gassed, span the war from its beginning to its conclusion and are discussed in relationship to the development of recreational football in the front-line area, the evolving policies of censorship and propaganda and in consideration of the national mood in Britain. The paper shows how football went from being a spontaneous and improvised pastime in the early stages of the war to a well organized entertainment by war’s end. The images demonstrate how the war was portrayed as a temporary affair by a confident nation in 1914 to a more resigned acceptance of a semi-permanent event to be endured by 1918; however, all three artworks show that the sporting spirit, and hence the fighting spirit, of the British soldier was intact

Maria Cosway’s Hours: Cosmopolitan and Classical Visual Culture in Thomas Macklin’s Poets Gallery

Thomas Macklin’s Gallery of Poets opened at the Mitre Tavern in Fleet Street in 1788 with the aim to ‘display British Genius’ through ‘Prints Illustrative of the Most Celebrated British Poets’. Early newspaper coverage promised ‘a monument of the powers of the pencil in England, as the Vatican is at Rome’. The incongruous juxtaposition between Fleet Street and the Vatican spells out the cosmopolitan ambition of the literary gallery phenomenon through its real and imagined geographies of display. Through the format of the paper gallery of prints, Macklin’s Poets offered the inventions of British Poets as a repository of painting. This chapter examines how the cosmopolitan idiom of the paper gallery is negotiated in the first number of Macklin’s Poets. This essay examines the extent to which this ambition was achieved in the first Number of Macklin’s Poets which carried an engraving of Maria Cosway’s The Hours, originally a painting with an impressively European iconographic heritage. The painting was first exhibited at the Royal Academy in 1783, and was retroactively associated by Macklin with Thomas Gray’s ‘Ode on the Spring’. The trope of the Hours brought with it a weighty provenance derived from classical marble bas-relief, through the antiquarian pages of Pietro Santi Bartoli and Bernard de Montfaucon to Flaxman’s designs for Wedgwood plaques and vases. Cosway’s name also imported into Gray’s poem her reputation as a cosmopolitan, cultured woman who had completed the Grand Tour and who moved in elite circles including those of the Prince of Wales in London and the Duke of Orleans, Pierre d’Hancarville and Thomas Jefferson in Paris. The iconographies of the painting, the print, and the poem articulate a European cosmopolitan tradition for British Art

Evaluation of the Global Citizenship Portfolio

This evaluation measured the impact of the Global Citizenship Portfolio (GCP), which is a non-credit bearing module at Sheffield Hallam University that aims to support students to become ‘global citizens’. The GCP engages students in self-directed learning by combining: academic-run sessions; lectures; an intercultural experience which happens on campus, locally or abroad; and reflection. The evaluation was focused on the cohort of 78 students who started the module in October 2019 or January 2020 and completed it in May 2020. A mixed-methods project was conducted to provide quantitative and qualitative evidence from pre and post-module surveys and a sample of reflective journals. The findings of the evaluation highlighted that the GCP has had a positive impact on students’ development in becoming ‘global citizens’. Analysis of the data indicated that the majority of participants in the evaluation have demonstrated evidence of acquiring intercultural competencies, regardless of whether they undertook an experience ‘at home’ or abroad. This will help these students to engage with different value systems, communicate effectively across cultures and understand how their actions and those of others have global consequences. However, the drop in the number of respondents from the pre-module survey to the post-module survey might introduce a bias to the results of the evaluation. Recommendations are provided on the steps that can be taken to enhance the provision of the GCP and to increase the robustness of the evaluation