{"title":"投机法案","authors":"Tess Grogan","doi":"10.1086/706524","DOIUrl":null,"url":null,"abstract":"This essay discusses some difficulties of teaching Renaissance engagements with race, class, and gender in diverse twenty-first-century classrooms and looks to contemporary romance—science fiction and fantasy—for examples of humane and reparative pedagogy. Ursula K. Le Guin’s feminist revisioning of her Earthsea trilogy in the late story “Dragonfly” both models the humility required to make change and stages a teaching practice that welcomes the disruptive and uncomfortable questions posed by a university’s first female student.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Speculative Bill\",\"authors\":\"Tess Grogan\",\"doi\":\"10.1086/706524\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This essay discusses some difficulties of teaching Renaissance engagements with race, class, and gender in diverse twenty-first-century classrooms and looks to contemporary romance—science fiction and fantasy—for examples of humane and reparative pedagogy. Ursula K. Le Guin’s feminist revisioning of her Earthsea trilogy in the late story “Dragonfly” both models the humility required to make change and stages a teaching practice that welcomes the disruptive and uncomfortable questions posed by a university’s first female student.\",\"PeriodicalId\":39606,\"journal\":{\"name\":\"Spenser Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Spenser Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1086/706524\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Spenser Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/706524","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
这篇文章讨论了在21世纪不同的教室里教授文艺复兴时期涉及种族、阶级和性别的课程的一些困难,并着眼于当代浪漫小说——科幻小说和幻想——寻找人道主义和修复性教学法的例子。厄休拉·k·勒奎恩(Ursula K. Le Guin)在后期的故事《蜻蜓》(Dragonfly)中对她的地海三部曲进行了女权主义的修订,既体现了做出改变所需的谦卑,又开展了一项教学实践,欢迎大学第一位女学生提出的破坏性和令人不安的问题。
This essay discusses some difficulties of teaching Renaissance engagements with race, class, and gender in diverse twenty-first-century classrooms and looks to contemporary romance—science fiction and fantasy—for examples of humane and reparative pedagogy. Ursula K. Le Guin’s feminist revisioning of her Earthsea trilogy in the late story “Dragonfly” both models the humility required to make change and stages a teaching practice that welcomes the disruptive and uncomfortable questions posed by a university’s first female student.