Cultural and racial perspectives on positive psychologies of humility

Author(s):  
David R. Paine ◽  
Sarah H. Moon ◽  
Daniel J. Hauge ◽  
Steven J. Sandage
Keyword(s):  
1971 ◽  
Vol 4 (1) ◽  
pp. 91-94 ◽  
Author(s):  
James H. McMearn
Keyword(s):  

2018 ◽  
Vol 54 (5) ◽  
pp. 693-722 ◽  
Author(s):  
Decoteau Jermaine Irby

Purpose: This article explores the effects of sensemaking interventions on a group of educators’ race-conscious problem analysis of racial discipline disparities. Research Method: I conducted this research in a predominantly White diversifying suburban high school that served roughly1,600 students. To understand how sensemaking interventions shaped teachers’ racial ways of knowing, I conducted an ethnographic content analysis of 14 transcribed teacher focus group and data retreat exchanges to identify conversational patterns related to their problem framings. Findings: I found that providing diverse data types reflecting a range of racial perspectives offered cues that enabled organizational members to notice and (partially) disrupt the personal and organizational racism and race-evasive tendencies that drive the reproduction of racial inequities in school discipline. Implications for Research and Practice: Offering teachers sensemaking opportunities that prompt collective racial awareness and critical self-reflection can instigate shifts in racial ways of knowing that are critical to understanding and addressing discipline culture and climate problems in racially diversifying schools.


Author(s):  
Claire Perkins
Keyword(s):  

This chapter investigates women’s infiltration of mumblecore, an indie subgenre associated with auteurs such as Andrew Bujalski, Mark and Jay Duplass and Joe Swanberg, for feminist ends. In representing relationships among twenty-something millennials, mumblecore’s cheap, lo-fi digital aesthetic and anti-mainstream values of ‘authenticity’ are congenial to indie female practitioners such as Lynn Shelton, So Yong Kim and Desiree Akhavan. Rather than simple appropriations of a ‘male’ genre, their work represents a ‘reframing’ not only of mumblecore but indie cinema generally, which mumblecore has recently epitomised. In films with a feminist focus on female aspirations and insecurities but that also accommodate queer and racial perspectives, these practitioners transpose the mumblecore ‘ethos’ to accommodate otherwise marginalised subjectivities and experiences.


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