Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154442
Katherine Roseau, Kristen Bailey
In Dr Katherine Roseau’s spring 2020 course on Nazi-occupied France, students learned to trace memory and experience by reading letters and diaries, identifying authors’ identity trajectories and creating visual narratives with ArcGIS StoryMaps. As a Civilization course taught in French, the student learning objectives included establishing an understanding of the Occupation and the Holocaust, and analyzing and discussing primary sources in the target language. Students delved into the life writings of Jews and Resistance fighters to explore how World War II and the Holocaust shaped their memories of newly hostile places (as the authors were forbidden from them or the places were occupied by Nazi bodies), challenged their ideas of belonging, and led them to project themselves into imagined or future places. With these texts, the student learning objectives shifted from achieving a basic (and fact-based) understanding to evaluating the scope of impact on individual lives. We believe that the significance of life writing lies in its ability to tell us how events “were initially determined as they unfolded by the schematic ways in which they were apprehended, expressed, and then acted upon.”1 We coupled our study of life writing with an introduction to environmental-psychology theories on how people become affectively attached to places.2 We considered the authors’ expressions of self-identity with regard to place in light of Harold Proshansky’s definition of place identity: “those dimensions of self that define the individual’s personal identity in relation to the physical environment by means of a complex pattern of conscious and unconscious ideas, beliefs, preferences, feelings, values, goals, and behavioral tendencies and skills relevant to this environment.”3 Rather than only considering how Nazis changed the physical environment, we thought about how the authors and their places continually shaped each other. https://doi.org/10.1080/08989575.2022.2154442
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154446
Maria Rita Drumond Viana
Monolingual speakers of English are sometimes confused when I tell them that although I teach English literature, I did so in a Foreign Languages and Literature Department in my former university in the South of Brazil. In the four-year undergraduate degree system, all students in English, Spanish, French, German, and Italian are expected to complete a common core of classes in linguistics, translation studies, and literature for two years before progressing to the language-specific second half of their education. This division also impacts the language of instruction: until they become third-years, with the exception of language proficiency courses, everything is taught in Portuguese to students of all five languages as it is generally their first language and the country’s only official national language.1 The common-core course which I discuss in this contribution is a first-year Introduction to Narrative course; docents are expected to design syllabi which consider various narrative forms in translation from primarily but not exclusively the five languages the university offers as degrees. Before teaching the course for the first time, my informal survey of previous syllabi on the teachers’ resource page revealed that, historically, most choices, regardless of medium, could be classified as fiction; and so, I decided to introduce a new module to the course in which to explore my interest in life writing. Although specific to my context of teaching, my practice of having the students analyse the paratext of translated editions of life writing can be extrapolated to other processes and agents that shape students’ (and other readers’) reception of life writing and which I hope can be relevant to other contexts of teaching about life writing and mediation. In designing the activities in the module, I anchored my approach on the materiality of the books I chose to include in the syllabi. By centring my students’ reception on the printed books, I can combine insights https://doi.org/10.1080/08989575.2022.2154446
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154449
Beth Yahp
In this essay I would like to think through an uncomfortable moment in my experience of life-writing pedagogy and its aftermath. This moment was inflected by my own practice as a life writer, highlighting for me the pressures and desires that attend teaching life writing or sharing aspects of another’s story. I discuss visualization as a writing technique and describe facilitating life writing in a community space, outside of state or educational institutions, where such institutions are often perceived and experienced as predatory, and I revisit the importance of protocols to ensure participants’ safety, including gatekeeping of the material produced. I consider an alternative view by a participant about sharing her stories. In 2019, I was part of a collaborative project with Malaysia Design Archive, consisting of workshops that guided participants through visual analysis, the exploration of non-state and activist archives, the politics of knowledge production, and narrative-making using personal objects.1 Inspired by an earlier Malaysia Design Archive project, “Living Library: Stories of Strength and Resistance,”2 we proposed “Living Archives” as a way to re-imagine archives and archival practices with Malaysian activists, artists, curators, and researchers, many from minority communities. Interaction with personal objects (beads, pamphlets, family photographs, a feathered headdress) over two and a half days of intensive workshops encouraged the participants to explore what an archive could be (physical, embodied, or ephemeral), who gets to narrate an archive, and to imagine the alternative lives of objects or imaginary archives.3 In Malaysia, censorship of alternative narratives and interpretations of both contemporary and historical or archival material is used to control tightly an authoritarian-capitalist-religious narrative of nation.4 Our project aligned with Malaysia Design Archive’s mission as an independent community archive and site of “digital undercommons” that seeks to document Malaysia’s design history and foster an ethos of research and history from below.5 Situated in the creative enclave of the Zhongshan https://doi.org/10.1080/08989575.2022.2154449
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154445
Rebecca Roach
How should we use interviews in the classroom? The question perhaps initially sounds bland or irrelevant to many. It is a question for colleagues working in oral history or journalism, or those working with archives or drawing on social science methodologies. In fact, as I want to suggest here, posing this apparently simple, normative question—How “should” (not “do”) we use interviews?—challenges scholars of life writing to consider the ways in which we mediate knowledge to our students. The interview—conversation for the purposes of publication, however loosely defined—is a particularly suggestive case study in this regard. We live, as various scholars have noted, in an “interview society.”1 Interviews pervade contemporary culture, and scholars deploy them across a range of disciplines and sectors. As a method of data collection, they have become ubiquitous in the social sciences, medicine, and the law. As a form, they have proven extremely popular with journalists, readers, editors, and even critics. This prevalence is matched by a heterogeneity in the norms that shape their use across different disciplines. Should the subject remain anonymous or receive authorial recognition? Should the transcript remain sacrosanct or is it raw material to be edited? Does value inhere in the process or the product? Those colleagues mentioned above might have very different answers. For life writers contemplating the pedagogical import of working in an interdisciplinary field, the interview offers a familiar yet tricky example. But the interview is also suggestive in another way. Despite their prevalence, interviews are often sidelined within life writing. This is despite our keenness to catalogue and analyze forms: autobiography, diary, personal essay, letter, blog, graphic memoir—the list goes on. The interview is life writing’s forgotten form. Why? It is likely that their suspicious associations with gossip and—perhaps worse—data do not help in a field with strong ties to literary studies, a discipline long riven by hierarchical debates around genre and literary value and, since the late twentieth century, anxieties around its position in relation to the sciences. Similarly, with its structural reliance on collaboration and https://doi.org/10.1080/08989575.2022.2154445
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154454
C. Howes
However hard we may try to distinguish between what we teach, how we teach it, and why, paying close attention to pedagogy always results in adding, abandoning, blending, and adjusting as we respond and rededicate ourselves to all the task’s demands over time. As scholars, instructors, and students of life writing, addressing the three fundamental teaching questions poses further challenges, since our own lives, and the lives of others, are often quite literally at stake. In this afterword, I will offer some thoughts about what has happened to what we teach and how we teach it, then suggest in some detail why this collection of essays can inspire and direct us, largely because of the contributors’ shared commitment to life writing pedagogy as an important, and currently even necessary, concern.
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154441
Marina Deller
At age five, my favorite school activity was “show and tell.” The activity necessitated something to show (an object of some importance) and something to tell (an explanation of said importance). I combed through precious items of my young life—toys, books, trinkets, seashells collected with my grandma. Which items held a story? What was curious, bright, brimming with adventure ... and might appeal to my peers? “Show and tell” was a first stone in my future path to storytelling. When I started teaching objects and documents as forms of life narrative to undergraduates, the idea of “show and tell” emerged once more. As a practice-led researcher—led to research via, and viewing research through, creative production—I encourage my students to engage with object-based learning by diving into their personal archives and “sharing” their findings. In this essay, I will consider “show and tell” as an object-driven pedagogical approach in an undergraduate life-writing course at an Australian university. I will discuss a course unit of “personal-object-based learning” as a case study to examine some of the triumphs, risks, and possibilities of this approach. In particular, I will ruminate on the potential for “classroom intimacy”—a sense of community, collaboration, and reciprocity between students and their peers, and students and their educators. Intimacy is, of course, not without its perils, risks, and limitations. Overarchingly, I argue that educators should approach object-based classroom intimacy intentionally and with a student-focused approach.
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154450
Lisa Ortiz-Vilarelle
Teaching life writing in on-line platforms during two stages of the COVID-19 pandemic has been more effective in raising my awareness of the inequities elevated by face-to-face teaching than any IT training I received to prepare for it. When it led me to actively challenge and (I dare hope) silence, my own inner skeptic, I could see how administrative policy impacted my students’ sense of belonging in their virtual learning spaces. Pandemic-time transitions to online learning became the ideal case study for us as I spent much of the term considering the transactional nature of negotiating the disclosure of self-identifying information and prepared for an increasingly hybrid world rather than an assumedly in person one. Whether we know it or not, online teaching is a social justice practice and it continues to evolve as such as long as instructors and students become more aware of how the tools of remote learning alternately amplify and challenge biased teaching practices in the academy. Seeing and being seen in our private spaces, put into practice what we teach when we study life writing as acts of witness, testimony, and belonging. What it taught me---and what I am still learning---is to anticipate a future of teaching forever changed by the COVID-19 pandemic, a future in which instructors and students continue to be mindful that agency and access are always already issues of crisis for many students and instructors. During the first term of the 2020–2021 COVID-19 pandemic, faculty and students at my small liberal arts college were given a broad range of teaching and learning tools with which to build synchronous, remote learning communities. All were invited to training webinars that aided in adapting our pacing, use of audio|visual aids, and other syncretic ways of teaching and learning. Faculty were asked to understand, accept, and support a wider range of ways of being present for teaching and learning more than ever before. After all, so many in our community had already contracted COVID, were caring for loved ones, or mourning their loss. https://doi.org/10.1080/08989575.2022.2154450
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154448
Vicki S. Hallett
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Pub Date : 2022-09-02DOI: 10.1080/08989575.2022.2154437
Orly Lael Netzer, Amanda Spallacci
of autobiography in academic and community settings. The project fosters critically situated research on pedagogy to share teaching practices that are accessible and inclusive and that the research events where scholars develop these theories, methods, and practices are diverse and equitable. We join scholars of gender, sexuality, disability, critical race
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