Embodying Care: Igniting a Critical Turn in a Teacher Educator’s Relational Practice

2017 ◽  
Vol 14 (1) ◽  
pp. 39-55 ◽  
Author(s):  
Muffet Trout
Author(s):  
Marjorie Levinson

Chapter 2 studies the relationship between historicism and Romanticism. It locates the two between Enlightenment materialism, on one side, and Marxian historical and dialectical materialism, on the other. In so doing, it isolates a paradox of materialism—namely, its production of the very concepts that undo it. These include the ideas of knowing as dissociated conceptual activity, and consciousness as absolute negativity. Romanticism and historicism, it is argued, represent solutions to a common problem—a claim defended through a reading of Wordsworth’s sonnet “The world is too much with us.” In considering how we position ourselves in relation to past literature, the chapter evaluates the choices between contemplation and empathy, knowledge and power, blame and defense. As such, it represents the first move in a self-critical turn on the new historicist method that had shaped the author’s—and part of the field’s—work in the previous decade.


Religions ◽  
2020 ◽  
Vol 12 (1) ◽  
pp. 7
Author(s):  
Kim Harding ◽  
Abby Day

In Great Britain, “religion or belief” is one of nine “protected characteristics” under the Equality Act 2010, which protects citizens from discrimination in the workplace and in wider society. This paper begins with a discussion about a 2020 ruling, “Jordi Casamitjana vs. LACS”, which concluded that ethical vegans are entitled to similar legal protections in British workplaces as those who hold philosophical religious beliefs. While not all vegans hold a philosophical belief to the same extent as Casamitjana, the ruling is significant and will be of interest to scholars investigating non-religious ethical beliefs. To explore this, we have analysed a sample of YouTube videos on the theme of “my vegan story”, showing how vloggers circulate narratives about ethical veganism and the process of their conversion to vegan beliefs and practices. The story format can be understood as what Abby Day has described as a performative “belief narrative”, offering a greater opportunity to understand research participants’ beliefs and related identities than, for example, findings from a closed-question survey. We suggest that through performative acts, YouTubers create “ethical beliefs” through the social, mediatised, transformative, performative and relational practice of their digital content. In doing so, we incorporate a digital perspective to enrich academic discussions of non-religious beliefs.


2021 ◽  
pp. 147332502199087
Author(s):  
Lisa Warwick

This article theorises adult-child touch in residential child care as a relational practice, contributing to an emergent literature on residential child care, and conceptualises residential child care as a Lifespace. It responds to an on-going debate surrounding the use of touch in the sector, which has attracted academic attention since the early 1990s as a result of abuse scandals, the ensuing ‘no touch’ policies and a growing body of research identifying touch as an important aspect of child development. The paper draws upon a six-month ethnographic study of residential child care, which was explicitly designed to observe everyday interactions between residential care workers and young people. The findings suggest that touch cannot be discussed in isolation from either relationships or a contextual understanding of relationships in the specific context of residential child care. The study found that touch is unavoidable, relational and that dichotomous understandings of touch continue to present issues for both theory and practice.


2019 ◽  
pp. 1-31
Author(s):  
Paul Ingram

Abstract Theodor Adorno’s philistine functions as the other of art, or as the ideal embodiment of everything that the bourgeois aesthetic subject is not. He insists on the truth-content of the derogation, while recognising its unjust social foundation, and seeking to reflect that tension in a self-critical turn. His model of advanced art is negatively delimited by the philistinism of art with a cause and the philistinism of art for enjoyment, which represent the poles of the aesthetic and the social. The philistine is also the counterpart to the connoisseur, with the interplay between them pointing to his preferred approach to aesthetics, in which an affinity for art and alienness to it are combined without compromise. However, Adorno fails to realise fully the critical potential of the philistine as the immanent negation of art and aesthetics.


2014 ◽  
Vol 16 (4) ◽  
pp. 529-535 ◽  
Author(s):  
Julie Gedro ◽  
Joshua C. Collins ◽  
Tonette S. Rocco
Keyword(s):  

2021 ◽  
Vol 40 (1) ◽  
pp. 1-16
Author(s):  
Wendy Talbot

Humor has been a focus of therapy literature for over a century and is considered an essential communication tool and important component of therapeutic relationships. Yet couple therapy literature does not feature humor as a relational practice or strategy for couples’ relationship development. When humor presents in a therapy conversation it offers opportunities for therapists to explore the implications and meanings for the couple relationship, potentially contributing to new and enhanced relationship experience. This article provides vignettes from one couple therapy conversation to illustrate therapeutic possibilities for exploration of couples’ humor. Therapists are encouraged to pay attention to humor as a complex, dynamic, discursive practice with therapeutic benefits for couples’ therapy.


Author(s):  
Gabriel Solis

Ethnomusicology has often had an ambivalent relationship with technology: we owe our discipline to mid-twentieth-century developments in recording technology. Nevertheless there is a strong counter-modern streak that characterizes ethnomusicologists as a group. This essay investigates the reasons for ethnomusciologists’ mistrust of certain kinds of music technology and interprets ambivalence as a mode of critical engagement. It surveys turning points in the field from comparative musicology to the critical turn and from the critical turn to the new digital humanities. I conclude that digital humanities needs ethnomusicological ambivalence in the form of critical engagement. Good data analytics needs a skeptical view from the vantage point of music scholars and contextual knowledge-bearers in the cultures of study.


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