scholarly journals Anti-Oppressive Composition Pedagogies

2019 ◽  
Vol 115 ◽  
pp. 1-4
Author(s):  
Julia Havard ◽  
Erica Cardwell ◽  
Anandi Rao

The project of creating an anti-oppressive composition issue began with multi-disciplinary, multi-institutional collaboration between Julia Havard, Erica Cardwell, Anandi Rao, Juliet Kunkle and Rosalind Diaz, who crafted a call for community-building and community-transformation: to build tools, resources, and spaces for transforming our classrooms, specifically our writing classrooms; and to approach the teaching of composition in community, with accountability, and with urgency. This collaboration started as a working group at the University of California Berkeley, Radical Decolonial Queer Pedagogies of Composition, as a number of instructors at multiple levels of the academic heirarchy struggled with the differences between our writing classrooms and our research. Following Condon and Young (2016), Inoe (2015), and Gumbs (2012), our editing team wanted to create a context and process for rich unraveling of  un-teaching oppressive systems through composition. 

2015 ◽  
Vol 4 (3) ◽  
pp. 48
Author(s):  
John Joseph

In this interview, Ron Nicol, Senior Partner and Managing Director at BCG and John Joseph, Assistant Professor of Strategy at the University of California-Irvine, discuss BCG’s approach to organizational design known as “delayering.” Delayering is the process by which the layers and levels in the organization are reduced and aligned so as to provide better decision making and reduce costs. As Nicol discusses, delayering is a multi-step process based on two key concepts: the geometric nature of organizational structure and LeChatelier’s Principle. Key success factors include CEO involvement, participation at multiple levels of the organization, and adherence to a carefully crafted set of design principles. Nicol also discusses the optimal structure for Fortune 500 companies and their international equivalents.


2020 ◽  
Vol 2 (3) ◽  
pp. 53-59

The California missions, whose original church spaces and visual programs were produced by Iberian, Mexican, and Native artisans between 1769 and 1823, occupy an ambiguous chronological, geographical, and political space. They occupy lands that have pertained to conflicting territorialities: from Native nations, to New Spain, to Mexico, to the modern multicultural California. The physical and visual landscapes of the missions have been sites of complex and often incongruous religious experiences; historical trauma and romantic vision; Indigenous genocide, exploitation, resistance, and survivance; state building and global enterprise. This Dialogues section brings together critical voices, including especially the voices of California Indian scholars, to interrogate received models for thinking about the art historical legacies of the California missions. Together, the contributing authors move beyond and across borders and promote new decolonial strategies that strive to be responsive to the experience of California Indian communities and nations. This conversation emerges from cross-disciplinary relationships established at a two-day conference, “‘American’ Art and the Legacy of Conquest: Art at California’s Missions in the Global 18th–20th Centuries,” sponsored by the Terra Foundation for American Art and held at the University of California, Los Angeles, in November 2019.


Author(s):  
Eunsong Kim

The Archive for New Poetry (ANP) at the University of California San Diego was founded with the specific intention of collecting alternative, small press publications and acquiring the manuscripts of contemporary new poets. The ANP’s stated collection development priority was to acquire alternative, non-mainstream, emerging, “experimental” poets as they were writing and alive, and to provide a space in which their papers could live, along with recordings of their poetry readings. In this article, I argue that through racialized understandings of innovation and new, whiteness positions the ANP’s collection development priority. I interrogate two main points in this article: 1) How does whiteness—though visible and open—remain unquestioned as an archival practice? and 2) How are white archives financed and managed? Utilizing the ANP’s financial proposals, internal administrative correspondences, and its manuscript appraisals and collections, I argue that the ANP’s collection development priority is racialized, and this prioritization is institutionally processed by literary scholarship that linked innovation to whiteness. Until very recently, US Experimental and “avant-garde” poetry has been indexed to whiteness. The indexing of whiteness to experimentation, or the “new” can be witnessed in the ANP’s collection development priorities, appraisals, and acquisitions. I argue that the structure of the manuscripts acquired by the ANP reflect literary scholarship that theorized new poetry as being written solely by white poets and conclude by examining the absences in the Archive for New Poetry.


2008 ◽  
pp. 131-133
Author(s):  
T. M. Lysenko ◽  
Yu. A. Semenishchenkov

22-26 March 2007 in Rome (Italy), in the Botanical garden of the University «La Sapienza» hosted the 16th meeting of the Working group «Review of the Vegetation of Europe» of the International Association of Vegetation Science (IAVS). These meetings are held every spring in one of the European countries and dedicated to various topics.


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