Pub Date : 2020-07-01DOI: 10.1177/1474022219837879
David Hayes
In Excellent Sheep, William Deresiewicz describes ‘elite’ higher education as one in which students perform excellently, but only in a spirit of compliance with assigned tasks. The depth of this problem – which has a long pedigree in philosophy – is such that an advantage might be found in non-‘elite’ and even manifestly lame education. This advantage is illustrated through the story of a low point in my teaching career, in which affects of anger, shame and disappointment erupted into the classroom. Because these negative feelings can make it possible for us to discover that we actually do care, such experiences – precluded by excellent compliance – may be important ones in the course of a meaningful education.
{"title":"In praise of lameness: A response to William Deresiewicz’s Excellent Sheep","authors":"David Hayes","doi":"10.1177/1474022219837879","DOIUrl":"https://doi.org/10.1177/1474022219837879","url":null,"abstract":"In Excellent Sheep, William Deresiewicz describes ‘elite’ higher education as one in which students perform excellently, but only in a spirit of compliance with assigned tasks. The depth of this problem – which has a long pedigree in philosophy – is such that an advantage might be found in non-‘elite’ and even manifestly lame education. This advantage is illustrated through the story of a low point in my teaching career, in which affects of anger, shame and disappointment erupted into the classroom. Because these negative feelings can make it possible for us to discover that we actually do care, such experiences – precluded by excellent compliance – may be important ones in the course of a meaningful education.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"19 1","pages":"325 - 334"},"PeriodicalIF":1.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022219837879","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46844020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1177/1474022219833662
Nate Sleeter, K. Schrum, Amy K. Swan, Justin Broubalow
Abstract This article discusses authentic inquiry-based learning in a hybrid graduate course, Teaching Hidden History, taught in 2015 and 2016. Students in this course created online history learning modules based on their own scholarly research. They defined their intended audience and crafted modules tailored specifically for those learners. The authors draw on course assignments, student modules, interviews, and focus group data to present a model of how inquiry-based learning can be scaffolded to promote the benefits of student-centered inquiry – namely the intrinsic motivation associated with the creation of authentic projects and practical skill acquisition.
{"title":"“Reflective of my best work”: Promoting inquiry-based learning in a hybrid graduate history course","authors":"Nate Sleeter, K. Schrum, Amy K. Swan, Justin Broubalow","doi":"10.1177/1474022219833662","DOIUrl":"https://doi.org/10.1177/1474022219833662","url":null,"abstract":"Abstract This article discusses authentic inquiry-based learning in a hybrid graduate course, Teaching Hidden History, taught in 2015 and 2016. Students in this course created online history learning modules based on their own scholarly research. They defined their intended audience and crafted modules tailored specifically for those learners. The authors draw on course assignments, student modules, interviews, and focus group data to present a model of how inquiry-based learning can be scaffolded to promote the benefits of student-centered inquiry – namely the intrinsic motivation associated with the creation of authentic projects and practical skill acquisition.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"19 1","pages":"285 - 303"},"PeriodicalIF":1.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022219833662","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45906614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1177/1474022219833648
Kym Stevens, Rachel A. Pedro, S. Hanrahan
This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.
{"title":"Building an authentic cultural curriculum through tertiary cultural dance","authors":"Kym Stevens, Rachel A. Pedro, S. Hanrahan","doi":"10.1177/1474022219833648","DOIUrl":"https://doi.org/10.1177/1474022219833648","url":null,"abstract":"This study identified a range of pedagogies developed to promote global citizenship within a university Latin American dance unit. It implemented changes to teaching and learning approaches in the unit using the Biological Sciences Curriculum Study (BSCS) 5E Instructional Model, supporting learning that privileges transcultural connections to Latin America. The action research used a range of dance teaching pedagogies that were adapted, and evaluated, using the Structure of Observed Learning Outcomes (SOLO)Taxonomy, to support a culturally enriched student learning experience. The findings challenge traditional dance teaching pedagogies through meaningful engagements with the local Latin American dance community and a range of student and teacher reflective approaches.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"19 1","pages":"264 - 284"},"PeriodicalIF":1.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022219833648","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44311757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-01DOI: 10.1177/1474022219832453
A. Hale
First-year students’ literacy deficits are not the problem. They are emblematic of an overall skill set which can be scaffolded from the first year of university study. If we treat literacy deficits as contingent upon other items of motivation, and as an element of Academic Motivational Literacy, we can usually also see these deficits as ‘rich points’ (Agar (2000) Border lessons: linguistic “rich points” and evaluative understanding. New Directions for Evaluation 2000: 93–109.). That is, in many cases, students have a desire to succeed, and we can typically build from one or more literacies to greater motivation and success in other areas. Or, to put it another way, a deficit might be a problem, but it is also an opportunity. This concept, of targeting weaknesses to build overall confidence, underpins the approach taken in a first-year subject for a cohort of students who are particularly disadvantaged, diverse and underconfident. This paper will present examples of programs undertaken in this course over the space of six years which addressed each need as an opportunity, and it will provide evidence to show that success, in student retention, in overall grade distributions, and in student satisfaction, was the result.
{"title":"Not scraping the bottom of the barrel: Disadvantage, diversity and deficit as rich points","authors":"A. Hale","doi":"10.1177/1474022219832453","DOIUrl":"https://doi.org/10.1177/1474022219832453","url":null,"abstract":"First-year students’ literacy deficits are not the problem. They are emblematic of an overall skill set which can be scaffolded from the first year of university study. If we treat literacy deficits as contingent upon other items of motivation, and as an element of Academic Motivational Literacy, we can usually also see these deficits as ‘rich points’ (Agar (2000) Border lessons: linguistic “rich points” and evaluative understanding. New Directions for Evaluation 2000: 93–109.). That is, in many cases, students have a desire to succeed, and we can typically build from one or more literacies to greater motivation and success in other areas. Or, to put it another way, a deficit might be a problem, but it is also an opportunity. This concept, of targeting weaknesses to build overall confidence, underpins the approach taken in a first-year subject for a cohort of students who are particularly disadvantaged, diverse and underconfident. This paper will present examples of programs undertaken in this course over the space of six years which addressed each need as an opportunity, and it will provide evidence to show that success, in student retention, in overall grade distributions, and in student satisfaction, was the result.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"19 1","pages":"244 - 263"},"PeriodicalIF":1.1,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022219832453","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48289654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-05-06DOI: 10.1177/1474022220924286
S. Thurlow
This paper investigates how eight academic research supervisors working in a Faculty of Arts at a research-intensive Australian university understand the notion of creativity in doctoral writing; both in relation to what it is and where it is found. This question was investigated qualitatively through interviews focusing on reader reception to three, short doctoral texts. A framework of indexicality and orientation (Lillis, 2008) was then used to move beyond the text-level and focus on the contextual influences surrounding the writing as it was exposed to its critical readership. The findings reflect varying levels of awareness and receptivity to the presence of creativity in written doctoral work. The paper also explores the perceived location of creativity in these texts for academic readers; namely, whether it resides in the ideas (i.e., the creative thought/content) or whether it was more textually-based (i.e., the creative expression/form of the idea).
{"title":"Creativity is for poets and pop singers, isn’t it? Academic perspectives on creativity in doctoral writing","authors":"S. Thurlow","doi":"10.1177/1474022220924286","DOIUrl":"https://doi.org/10.1177/1474022220924286","url":null,"abstract":"This paper investigates how eight academic research supervisors working in a Faculty of Arts at a research-intensive Australian university understand the notion of creativity in doctoral writing; both in relation to what it is and where it is found. This question was investigated qualitatively through interviews focusing on reader reception to three, short doctoral texts. A framework of indexicality and orientation (Lillis, 2008) was then used to move beyond the text-level and focus on the contextual influences surrounding the writing as it was exposed to its critical readership. The findings reflect varying levels of awareness and receptivity to the presence of creativity in written doctoral work. The paper also explores the perceived location of creativity in these texts for academic readers; namely, whether it resides in the ideas (i.e., the creative thought/content) or whether it was more textually-based (i.e., the creative expression/form of the idea).","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"20 1","pages":"187 - 206"},"PeriodicalIF":1.1,"publicationDate":"2020-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022220924286","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46497631","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-29DOI: 10.1177/1474022220915128
Jeffrey Clapp, M. Decoursey, Sze Wah Sarah Lee, Krista Li
New social annotation practices have the potential to become a “signature pedagogy” for educators in literary studies, because social annotation encapsulates both the expected learning outcomes and the underlying value commitments of literature education. We give an account of a project conducted by colleagues at the Education University of Hong Kong, during which colleagues explored social annotation technologies in literary studies courses. After implementing social annotation in our courses, instructors held roundtable discussions, collected surveys and conducted focus group interviews. Basing our interpretation of these data on Louise Rosenblatt’s transactional theory of reading and writing, we propose that social annotation can help students engage with literary texts more effectively by showing them how to move toward an aesthetic mode of reading. Students participating in social annotation, moreover, understood its application to literary studies in ways that directly reproduced Rosenblatt’s account of literary interpretation.
{"title":"“Something fruitful for all of us”: Social annotation as a signature pedagogy for literature education","authors":"Jeffrey Clapp, M. Decoursey, Sze Wah Sarah Lee, Krista Li","doi":"10.1177/1474022220915128","DOIUrl":"https://doi.org/10.1177/1474022220915128","url":null,"abstract":"New social annotation practices have the potential to become a “signature pedagogy” for educators in literary studies, because social annotation encapsulates both the expected learning outcomes and the underlying value commitments of literature education. We give an account of a project conducted by colleagues at the Education University of Hong Kong, during which colleagues explored social annotation technologies in literary studies courses. After implementing social annotation in our courses, instructors held roundtable discussions, collected surveys and conducted focus group interviews. Basing our interpretation of these data on Louise Rosenblatt’s transactional theory of reading and writing, we propose that social annotation can help students engage with literary texts more effectively by showing them how to move toward an aesthetic mode of reading. Students participating in social annotation, moreover, understood its application to literary studies in ways that directly reproduced Rosenblatt’s account of literary interpretation.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"20 1","pages":"295 - 319"},"PeriodicalIF":1.1,"publicationDate":"2020-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022220915128","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46074577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-12DOI: 10.1177/1474022220910362
J. Riddell, S. Murray, L. Dickson
Attempting to teach theater in an English Literature course is a daunting prospect. A far cry from the highly individual experience of reading a novel or poem, theater is both a visual and communal kind of engagement. It is a challenge to capture this medium in a traditional lecture-based classroom and harder still to convey its three-dimensionality to undergraduate students. In this paper, we argue that experiential learning and team teaching are especially resonant in the exploration of Shakespearean studies because of the active and collaborative nature of his theater and plays. This paper draws out avenues for experiential learning in the humanities that should have broad applicability and interest a wide range of readers. Framing our design, implementation, and critical reflection in the relevant research, we provide an example of how to anchor experiential learning in the humanities in practice. The case study outlines a compact spring session course on Shakespeare’s plays and performance that includes in-class, online, and field study components. Our research reveals that this approach mirrors in several key ways the collaborative work at the heart of Shakespearean drama and of theater more generally: students are exposed to the plays on the page, on the stage, and behind the scenes; they are offered a model of collaborative knowledge-making both in the theater and in the team-based course design and delivery; and, with these examples before them, they are encouraged to take risks, to collaborate, and to form communities of their own in their learning. In the conclusion we devote attention to funding and the cost associated with experiential learning and field courses. This paper explores experiential learning and field-based immersive learning into the context of disciplinary-specific humanities classrooms with the goal of increasing interaction among students and enhancing students’ learning (Béchard and Pelletier, 2001).
{"title":"From Sherbrooke to Stratford and back again: Team teaching and experiential learning through “Shakesperience”","authors":"J. Riddell, S. Murray, L. Dickson","doi":"10.1177/1474022220910362","DOIUrl":"https://doi.org/10.1177/1474022220910362","url":null,"abstract":"Attempting to teach theater in an English Literature course is a daunting prospect. A far cry from the highly individual experience of reading a novel or poem, theater is both a visual and communal kind of engagement. It is a challenge to capture this medium in a traditional lecture-based classroom and harder still to convey its three-dimensionality to undergraduate students. In this paper, we argue that experiential learning and team teaching are especially resonant in the exploration of Shakespearean studies because of the active and collaborative nature of his theater and plays. This paper draws out avenues for experiential learning in the humanities that should have broad applicability and interest a wide range of readers. Framing our design, implementation, and critical reflection in the relevant research, we provide an example of how to anchor experiential learning in the humanities in practice. The case study outlines a compact spring session course on Shakespeare’s plays and performance that includes in-class, online, and field study components. Our research reveals that this approach mirrors in several key ways the collaborative work at the heart of Shakespearean drama and of theater more generally: students are exposed to the plays on the page, on the stage, and behind the scenes; they are offered a model of collaborative knowledge-making both in the theater and in the team-based course design and delivery; and, with these examples before them, they are encouraged to take risks, to collaborate, and to form communities of their own in their learning. In the conclusion we devote attention to funding and the cost associated with experiential learning and field courses. This paper explores experiential learning and field-based immersive learning into the context of disciplinary-specific humanities classrooms with the goal of increasing interaction among students and enhancing students’ learning (Béchard and Pelletier, 2001).","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"20 1","pages":"172 - 186"},"PeriodicalIF":1.1,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022220910362","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44059985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-03-04DOI: 10.1177/1474022220910368
J. Feldt, E. B. Petersen
In this article, we present a new perspective on how to combine inquiry-based, problem-oriented learning with practices in the Humanities. Our particular interest is how the initial phase of finding “the problem” can be undertaken in a conjoint way with students, that is in the form of inquiry-based learning where there are no pre-defined questions set by the teacher. Inspired by C. Wright Mills, we argue that “the imagination” is key to opening up inquiries into problems, for students and researchers alike. Through an outline of what we call “the Humanities imagination” we develop a set of heuristics for stimulating a turn from topics to problems in the context of the Humanities. We show how combining inquiry-based learning with the Humanities suggests both new pedagogical practices, new models (the teacher as interlocutor), and a new balancing of the ecology of the Humanities emphasizing its particular imaginary over its disciplines.
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Pub Date : 2020-02-23DOI: 10.1177/1474022220906393
Katja Fleischmann
The heart of design studio teaching is traditionally linked to one-on-one teaching activities and to the exchange of feedback prompting many design educators to think it does not lend itself to online delivery. This study explored how design educators can translate the essence of design studio pedagogy into a blended learning environment. The four-year study involving 119 first-year undergraduate design students reports on the development, implementation, and iteration of a blended learning experience in an introductory design subject. The subject followed a flipped classroom model where video lectures, software tutorials, and additional readings were delivered online through a Learning Management System; practical face-to-face tutorials allowed students to work on their projects, present their work, and engage in the dialogical learning process. Student and design instructor feedback was collected to evaluate the changes and overall effectiveness of the design of the blended learning experience, which proved to be effective.
{"title":"Hands-on versus virtual: Reshaping the design classroom with blended learning","authors":"Katja Fleischmann","doi":"10.1177/1474022220906393","DOIUrl":"https://doi.org/10.1177/1474022220906393","url":null,"abstract":"The heart of design studio teaching is traditionally linked to one-on-one teaching activities and to the exchange of feedback prompting many design educators to think it does not lend itself to online delivery. This study explored how design educators can translate the essence of design studio pedagogy into a blended learning environment. The four-year study involving 119 first-year undergraduate design students reports on the development, implementation, and iteration of a blended learning experience in an introductory design subject. The subject followed a flipped classroom model where video lectures, software tutorials, and additional readings were delivered online through a Learning Management System; practical face-to-face tutorials allowed students to work on their projects, present their work, and engage in the dialogical learning process. Student and design instructor feedback was collected to evaluate the changes and overall effectiveness of the design of the blended learning experience, which proved to be effective.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"20 1","pages":"87 - 112"},"PeriodicalIF":1.1,"publicationDate":"2020-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022220906393","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48691785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-05DOI: 10.1177/1474022220903444
Howard Riley
Whilst the faculties of literacy and numeracy are rightly recognised as worthy of pedagogical nurturing, this article champions a more venerable articulacy – visualcy – crucial to a healthy culture, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the contemporary artworld of a relational aesthetics is traced through a brief history of the relationships between visual artforms and their socio-political contexts. It is suggested that the shift of emphasis away from the perceptually intriguing is in part a consequence – perhaps unintended – of the neoliberal values permeating the UK Higher Education sector in the last decade. The article ends with a proposal for a visual arts pedagogy based on five key principles of visualcy explored through the medium of drawing, illustrated with work by the author and students.
{"title":"The case for the primacy of visualcy within a neoliberal Artschool curriculum","authors":"Howard Riley","doi":"10.1177/1474022220903444","DOIUrl":"https://doi.org/10.1177/1474022220903444","url":null,"abstract":"Whilst the faculties of literacy and numeracy are rightly recognised as worthy of pedagogical nurturing, this article champions a more venerable articulacy – visualcy – crucial to a healthy culture, arguing that the one domain of human inquiry which distinguishes the visual arts from other disciplines is surely that surrounding the faculty of vision. The ascendency within the contemporary artworld of a relational aesthetics is traced through a brief history of the relationships between visual artforms and their socio-political contexts. It is suggested that the shift of emphasis away from the perceptually intriguing is in part a consequence – perhaps unintended – of the neoliberal values permeating the UK Higher Education sector in the last decade. The article ends with a proposal for a visual arts pedagogy based on five key principles of visualcy explored through the medium of drawing, illustrated with work by the author and students.","PeriodicalId":45787,"journal":{"name":"Arts and Humanities in Higher Education","volume":"20 1","pages":"133 - 154"},"PeriodicalIF":1.1,"publicationDate":"2020-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1474022220903444","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42429549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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