Browsing by Subject "Privilege"
Now showing 1 - 3 of 3
Results Per Page
Sort Options
Item The (fe)male shifts shame : androgyny and transformation in Marie de France, Gerald of Wales, and the Volsungasaga(2013-05) Gutierrez-Neal, Paula Christina; Wojciehowski, Hannah Chapelle, 1957-; Blockley, MaryTransformation is inherently entwined with the transgression of borders; for male shifters, there is an acquittance of this transhuman breach, but not so for female shifters. Gerald of Wale's History and Topography of Ireland depicts two werewolves: the male's shapeshifting is all but disregarded, while the female's own transformation is depicted in detail and effectively shames her into silence. In addition, the Volsungasaga also contains werewolves: Sigmund and Sinfjotli don wolfskins, but soon regret their transformations. However, neither is shamed for the shapeshifting, and indeed, Sinfjotli successfully twists the experience to his advantage. The female werewolf, King Siggeir's mother, however, is killed and her identity as a "foul" witch exposed. There are also the human-to-human transformations of Signy/a witch and Sigurd/Gunnar. Signy expresses shame for the incident; Sigurd and Gunnar's plot is revealed, but neither is condemned: the tale passes over the shapeshifting in favor of the narrative drama. Furthermore, Marie de France's Bisclavret perpetuates the same pattern: the male werewolf is praised and exonerated for his transhuman nature while the wife's pseudo-shapeshifting is met with condemnation and shame. However, Marie de France's Yonec attempts to break this pattern, with the shapeshifter Muldumarec transgressing not only the animal/human binary but that of the male/female. His androgyny is conferred onto his beloved, who also undergoes transformations but is spared the shaming consequences via Muldumarec. While this sharing of androgyny breaks the pattern and keeps the beloved from condemnation, it ultimately fails in breaking the patriarchal underpinnings of the pattern itself.Item Practice what you teach : an exploration of the importance of critical reflection in the implementation of theory-based social justice education(2011-12) McKay, Katherine Chesham; Wetzel, Melissa; Bomer, RandyIn an effort to match the structure of this paper to its content, a commitment of linking theory and practice, I use a framework that is a hybrid of theories rooted in practice. Frire's (1970) theory of liberation through social justice education, Bourdieu’s (1977) theory of cultural, economic and symbolic capital, Bhabha’s (1994) and Gutiérrez’s (2008) work around hybridization and Third Space, and my own understanding of critical reflection each contribute to my attempt to address the following questions: What does it mean to link theory and practice in social justice education? What do models from research tell us about how to link theory and practice? What implications does this research have for educators and students of privilege? In order to address these questions I 1. Discuss the theory as I have to come to understand it over the last three years 2. Analyze instances of teachers' attempts to merge theory and practice,and 3. Develop the curriculum for a professional development opportunity, putting into practice the theories I develop over the course of this paper.Item Social design as violence(2015-05) Nasadowski, Rebecca Shannon; Gorman, Carma; Lee, Gloria; Gunn, JoshuaFaculty in art schools, colleges, and universities have increasingly begun institutionalizing and professionalizing "design for good" in their curricula. Students are currently being taught that social design is good--or at least preferable to working for large corporations--but are not being urged to question this feel-good assertion. When the trendy phrase "design for good" is used, for whom is it good? Though social design can result in powerful, laudable work, it often escapes critical scrutiny--particularly in educational settings--for two reasons: 1) by default, many consider non-commercial (broadly defined) work de facto virtuous and thus assume that any and all partnerships with non-profit organizations, for example, must be ethically commendable; and 2) many consider good intentions sufficient and do not inquire about actual effects and consequences. My thesis work proposes that social design is just as ethically fraught as other kinds of design, if not more so, as any unintended harmful consequences of projects lie unnoticed and unchallenged under the guise of "doing good." Social designers' analyses of sociopolitical dynamics and histories of conflict are often thin. In some instances, their projects may actually enact violence, maintaining imbalances of power and perpetuating the oppression of the very individuals and communities they try to serve. I argue that insights regarding power, state control, and privileges afforded by race, class, and gender should form a critical foundation for designers seeking to work in this field. If designers and design educators are serious about design providing a "social good," it is essential that they broaden their scope of analysis and critique to include the insights and strategies that activists and academics in other fields can offer.