Allowing ourselves to follow our bodies: Cultivating student curiosity via sensorily-oriented modes of teaching

2021 ◽  
Vol 10 (2) ◽  
pp. 233-247 ◽  
Author(s):  
Ian Bruff
Keyword(s):  
Popular Culture ◽  
International Relations ◽  
Teaching Practice ◽  
Ways Of Knowing ◽  
The Other ◽  
Pedagogical Practice ◽  
Special Issue ◽  
Metal Music ◽  
The World ◽  
Extreme Metal

This article addresses the themes animating the Special Issue from the other side of the coin, namely the notion of aestheticizing political pedagogies. This reflects the direction of travel in some sections of politics and international relations scholarship, where there has been an upsurge of interest in aesthetics and especially popular culture. While there have been valuable contributions on teaching within such work, there has been a lack of sustained reflection on how, for example, a more aesthetically informed pedagogical practice can help us encourage students to think critically in creative ways. There has also been a rather bloodless account of aesthetics, diverting attention away from its visceral essence. Taking inspiration from the writings of Matt Davies on aesthetics, Jennifer Mason on the sensory and Cynthia Enloe on curiosity and surprise, the article explores the potential for aestheticizing political pedagogies to be mobilized in purposeful, strategic ways for enhancing the capacity of students to think critically and creatively. More specifically, I discuss how sensorily-oriented modes of teaching can disrupt entanglements between students’ ways of knowing and experiencing the world and their ‘objective’ understandings of politics, society, culture and so on. Three examples from my own teaching practice are discussed, all rooted in my utilization of extreme metal music with the aim of cultivating curiosity among students about their topics.

scholarly journals Chopping the world into bits: Africa, the World Bank, and the good governance norm

2014 ◽  
Vol 6 (2) ◽  
pp. 332-349 ◽  
Author(s):  
Julia Gallagher
Keyword(s):  
International Relations ◽  
World Bank ◽  
International Organizations ◽  
Good Governance ◽  
The Other ◽  
Special Issue ◽  
The World Bank ◽  
The World

This article explores norms as idealizations, in an attempt to grasp their significance as projects for international organizations. We can think about norms as ‘standards of proper behaviour’. In this sense they are somehow natural, things to be taken for granted, noticed only really when they are absent. We can also think about norms as ‘understandings about what is good and appropriate’. In this sense, norms embody a stronger sense of virtue and an ability to enable progress or improvement. Norms become ideal when they are able to conflate what is good with what is appropriate, standard, or proper. It is when the good becomes ‘natural’ that a norm appears immanent and non-contestable, and so acquires an idealized form.45Along with the other articles in this special issue, I will attempt to challenge some of the complacency surrounding the apparent naturalness and universality of norms employed in international relations.

scholarly journals Militarism and security: Dialogue, possibilities and limits

2017 ◽  
Vol 49 (1-2) ◽  
pp. 3-18 ◽  
Author(s):  
Anna Stavrianakis ◽  
Maria Stern
Keyword(s):  
International Relations ◽  
The Other ◽  
Special Issue ◽  
Political Work ◽  
The World ◽  
And Shifts ◽  
Analytical Tools ◽  
The Relationship

While attention to security has grown exponentially over the last few decades, militarism – the preparation for and normalization and legitimation of war – has not received the widespread and sustained focus it warrants in mainstream or critical circles. Rather than stake a claim for one concept over the other, however, this article – and the special issue to which it serves as an introduction – asks how we are to understand the relationship between security and militarism, both as analytical tools and as objects of analysis. We examine, first, what analytical and political work militarism and security do as concepts, and how they can be mobilized methodologically; second, what the possibilities are of fruitful exchange between knowledges produced about these concepts or practices; and, third, what the limits are of militarism and security. In the process, we address the shifts in the world that international relations and its related subfields study; shifts in the institutional framing and materiality of fields and subfields of research; and shifts in how international relations studies the world. Read together, the contributions to the special issue make the case for a reinvigorated focus on the mutual co-constitution of militarism and security.

scholarly journals Don't Play the Visual, Play the Emotion!

2014 ◽  
Vol VIII (2) ◽  
pp. 124-126
Author(s):  
Nataliia Dzhyma
Keyword(s):  
International Relations ◽  
The Other ◽  
Pedagogical Practice ◽  
Teaching Concept ◽  
Film Clips ◽  
The World ◽  
National University ◽  
Training Programmes ◽  
Do So

This contribution aims to introduce SCENARIO readers to my pedagogical practice at the Institute of International Relations, Taras Shevchenko National University of Kiev, which specializes in the training of future Ukrainian diplomats. In order to do so I have opted for the medium of film to give interested colleagues a vivid impression of how I propose to put empathy at the centre of diplomacy-related training programmes. Since prehistoric times empathy has been understood to be a pillar of diplomacy. For Fliess (1942: 212), empathy is the ability "to step into another's shoes", for Etchefoyen (1996: 271) "to feel and understand what another feels", for Stover (2005: 209) "to take the role of the other and to view the world from different perspectives participating in the values, feelings and perceptions of another”. Drama Pedagogy, within the protective space of the imagination, offers many ways of “living through” the lives of others. It therefore seems ideally suited to play a key role in empathy-focused training programmes. Sharing the well-known idea that being in public position is like being on stage but without a script, I developed a teaching concept which blends the diplomatic with the theatrical by using selected film clips in ...

scholarly journals Laws and Emerging Technologies

Laws ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 46
Author(s):  
Esther Salmerón-Manzano
Keyword(s):  
Information Technologies ◽  
New Technologies ◽  
Legal Issues ◽  
The Other ◽  
Special Issue ◽  
Legal Challenges ◽  
The World ◽  
Huge Impact ◽  
New Challenges ◽  
The Way

New technologies and so-called communication and information technologies are transforming our society, the way in which we relate to each other, and the way we understand the world. By a wider extension, they are also influencing the world of law. That is why technologies will have a huge impact on society in the coming years and will bring new challenges and legal challenges to the legal sector worldwide. On the other hand, the new communications era also brings many new legal issues such as those derived from e-commerce and payment services, intellectual property, or the problems derived from the use of new technologies by young people. This will undoubtedly affect the development, evolution, and understanding of law. This Special Issue has become this window into the new challenges of law in relation to new technologies.

scholarly journals Methodological Issues in Macro Comparative Research: An Introduction

2009 ◽  
pp. 1-2 ◽  
Author(s):  
Jeffrey Kentor
Keyword(s):  
Political Economy ◽  
Comparative Research ◽  
World System ◽  
The Other ◽  
Special Issue ◽  
Methodological Issues ◽  
The World

This special issue of JWSR is the offspring of an ASA Political Economy of the World System session that I organized in 2007. My thanks to Andrew Jorgenson, co-editor of JWSR, who moderated the session and proposed that I put together a special issue on this topic. In turn, I asked Timothy Moran to join me as co-editor of this issue. Tim is one of the foremost quantitative macro-comparative sociologists in the country, and was the discussant on the PEWS panel. Tim provides a summary and discussion of the contributions in the conclusion. As it turns out, only two of the panel presentations are included in this issue. The other two were submitted in response to a general call for papers. All four manuscripts were peer reviewed.

CDIO Standards and Quality Assurance

2012 ◽  
Vol 2 (2) ◽  
pp. 1-8 ◽  
Author(s):  
Peter J. Gray
Keyword(s):  
Quality Assurance ◽  
Engineering Education ◽  
Case Studies ◽  
The Other ◽  
Special Issue ◽  
Self Evaluation ◽  
The World ◽  
External Stakeholders ◽  
Certification And Accreditation

With Conceive-Design-Implement-Operate (CDIO) approach collaborating institutions and programs in many countries and regions of the world, it is essential that the International CDIO Leadership Council promulgate processes to assure internal and external stakeholders that member institutions and programs are adhering to the 12 CDIO Standards. The Standards are what make CDIO a unique initiative in that they provide a vehicle for realizing the CDIO vision to transform the culture of engineering education. Therefore, the CDIO Council has developed five quality assurance processes that begin with the application to become a CDIO Collaborator and include self-evaluation, certification, and accreditation based on the CDIO Standards. This article discusses the CDIO quality assurance processes and the other articles in this special issue provide case studies and other examples related to the use of the processes by CDIO collaborators.

The Nature of Op Art: Bridget Riley and the Art of Nonrepresentation

10.1068/d54j ◽  
2005 ◽  
Vol 23 (3) ◽  
pp. 351-371 ◽  
Author(s):  
Simon Rycroft
Keyword(s):  
Recent Work ◽  
Ways Of Knowing ◽  
The Other ◽  
Postwar Period ◽  
Representational Practices ◽  
The World ◽  
Representational Practice ◽  
The 1960S ◽  
Media Practices ◽  
Critical Writings

The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number of experimental arts and media practices of the 1960s, were characterised by a drift away from traditional representational techniques towards what are now described as nonrepresentational practices. The dynamics of the Op Art aesthetic and the critical writings that surround it bear striking similarities to much recent work on nonrepresentational thought. Based upon an engagement with Riley's early work, and specifically with the perception and understanding of nature it engendered, an argument can be made that suggests that, despite claims to the contrary, Riley was engaged in a form of representational practice that rendered a new and fashionable understanding of cosmic nature. The multidimensional nature evoked in her aesthetic was designed to be experienced by the viewer in a precognitive, embodied fashion. In this there are strong echoes with the call made by nonrepresentational theorists who operationalise the same kind of cosmology to develop an evocative, creative account of the world. Both Op Art and nonrepresentational thought seem to build upon a shift in the representational register that occurred during the immediate postwar period, one which prompted representational practices which attempted to subjectify rather than objectify, to evoke instability and multidimensionality, and to exercise not only visual, oral, and cognitive ways of knowing, but also the precognitive and the haptic. The complex corelations between representation and nonrepresentation are apparent here, suggesting that it is problematic to emphasise one side of the duality over the other.

Strangers of Popular Culture – The Verbal and Pictorial Aesthetics of Mythological Metal Music

2017 ◽  
Vol 4 (1) ◽  
pp. 37-60
Author(s):  
János Fejes
Keyword(s):  
Popular Culture ◽  
Old Testament ◽  
Religious Movements ◽  
Reception Theory ◽  
New Religious Movements ◽  
Metal Music ◽  
History Of ◽  
Extreme Metal ◽  
Northrop Frye ◽  
Wolfgang Iser

AbstractExtreme metal music is held to be a destructive genre of popular culture, treated as a pariah for many. Being a seriously misunderstood genre, I would like to highlight that metal music is a result of conscious work process that cannot only be noticed on the level of the music but on the level of verbal and pictorial expressions too. In my paper, I would like to show the working mechanisms of the so-called “(neo)pagan/mythological metal” movement, focusing on the rhetoric side of its mentioned expressions, searching for the ways these bands rewrite ancient myths and legends.For my research, I will use three main threads: 1) history of religion (looking for the connections of the reception of ancient topics in contemporary society, e.g. New Age Cults and New Religious Movements); 2) reception theory, as the thoughts of Northrop Frye, Wolfgang Iser (1972), and John Fiske (2011) all should help to understand the general processes behind reading and producing texts; 3) subculture studies – e.g. the works of Richard Schusterman and Deena Weinstein (2002) to have a deeper insight to the genres standing on the edge of mass and high culture.After a general introduction, I would like to demonstrate the above mentioned through some case studies. The chosen mythological cultures are going to be the world of the ancient Middle East (Mesopotamia, Egypt, and the Old Testament), the classical Roman world, and the Viking Era, also showing some Hungarian and Romanian examples in the last section. In each section, the following issues should be examined: band and stage names connected to the topic, album titles, lyrics, and album covers. All these together will show us many clear patterns from romantic nostalgia to allegoric concepts, all revolving around the essence of metal music: being a Stranger in a familiar society.

Notation and identity in contemporary popular music

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 215-234 ◽  
Author(s):  
H. Stith Bennett
Keyword(s):  
Popular Culture ◽  
Popular Music ◽  
Classical Music ◽  
The Other ◽  
Other Hand ◽  
The World ◽  
Long Term Changes ◽  
Western European ◽  
Rock N Roll

Popular music, like all manifestations of popular culture, lives on in spite of recurring criticisms that cast it as somehow inauthentic. In fact, defences against this discounting are built into popular music (for example, the Rolling Stones' classic: ‘It's only rock 'n' roll but I like it’) and built in, as well, to the identities of those who make the music a part of their lives, be they players, producers, consumers or critics. On the other hand, so-called classical music, not unlike other manifestations of Western European art culture, lives on in spite of popular music and provides the touchstone of authenticity that creates the defensive popular response. The ideas I am advancing here are intended to allow the players in this authenticity contest to be recognised as evidence of unique historical circumstances: recognised, that is, not only as stock dramatists of ethnocentrism, but as indicators of long-term changes in music cultures in all parts of the world.

Sign in / Sign up

Export Citation Format

Share Document