Self‐Reflexivity and the Creative Voice: Issues of Transgression Identified with Participant Ethnographic Research in Art and Design Education

This article shares my experience as a doctoral student researching within the domain of art and design education. This is a professional doctorate bringing together my experience as an educator and that of researcher where boundaries between education and social science research disciplines cross. My research paradigm is situated within critical theory. It is an interpretive hermeneutic study where I am cast as a participant ethnographer. At the time of writing I wanted to make known the issues and tensions that I encountered with research protocols, such as permissions mechanisms and ethical gatekeepers. These tensions I still perceive as confining, but more significantly, I realise that knowing and understanding research methodology is key to achieving creative and unpredictable research practice. This article is, therefore, focused on my journey to discover a research methodology that enables me to use a creative voice. By this I mean a method by which I can develop a writing style that articulates my practice that enables me in the construction and reporting of my research analysis to fully capitalise on my reflexive self. I have referenced papers produced by others at the time of writing their doctoral thesis and have found this enlightening. This is my contribution.     

Index To Chinese Education,Vol. VI (Spring 1973-Winter 1973-74)

I'm a graduate from a professional high school and started to work just last year. Introspective by nature, I like to spend my time listening to music and reading books, and have had little contact with boys. I hadn't met any I liked even after I reached twenty-two. I didn't feel there was anything wrong in that, but my parents got worried and found a boyfriend for me. He's a college graduate, works as a dispatcher, and is of medium stature. At first I was happy to go to the movies with him and walk in the streets. But after a month or so, I felt as though I were with a colleague. He is quite knowledgeable in his own profession, but he doesn't know much about life. I often found his company uninteresting and unexciting. So I wanted to part with him. When I talked to my parents, they strongly disagreed and kept saying how much better his conditions were as compared to mine. I realized how much concern they felt for me, so I didn't insist. But all my subsequent efforts only brought me pain, and I simply couldn't feel the least bit of love for him. During this impasse, his father fell ill and had to have an operation. Before the operation, he had a discussion with my father and requested that our relationship be confirmed. I had a quarrel with my father, but finally gave in and, with a heavy heart, accepted money and a pair of earrings.     

Guess Who's Coming to Dinner? Resetting the Table of Modernist Art

Racism has often been expressed in the form of physical violations of human rights, soul destroying emotional taunts and deliberate policies of social exclusion. Many educators who oppose such an approach would be horrified to find racist origins embedded in the aesthetic discourses which they have taken up as their own. In this paper I trace racist imagery and ideology in my own childhood, early schooling and adult art learning, and connect this with the persistent silencing of the black ‘other’ in the story of modernist art. As an educator of future art teachers the deconstruction of racist discourses is as essential as it is for pre‐service students in their own emergent art pedagogy.     

Lost and Found in Translation: An Education in Narrative in Fieldwork and the Classroom

One of the most important questions I ask as both a cultural anthropologist and a university teacher is: How do people come to know what they think they know? In this article, I adopt a narrative approach to processes of learning and discovery in two very different locales, an indigenous society in the South Pacific, and a senior seminar on contemporary anthropological theory in a Canadian university. I show how I developed an exercise to “bring the field into the classroom” and how my students helped me to take what we learned in the classroom back to the field. In my conclusions, I discuss lessons I and my students learned about the link between experience and understanding, about the nature of interpretation, and about the role of reflexivity in the construction of meaning.     

The rain

I used to be a boy deeply loving the rain.Running in the rain without my beautiful umbrella was once one of my favorite things.However,as time went by,I was not even the half the one I had been.The rain would bring me some convenience,like no P.E.class that day.In another way,it made me depressed.Loneliness came to bother me all day.Facing the crowded bus,I felt somewhat complicated.Though it took me more time and strength,I still enjoyed walking home.At least I didn't have to stay out of breath on the hot wet bus...     

长城之旅

“老外在中国”——当我的一个朋友问我是否能够以此为主题为某杂志写一篇文章．讲述我在中国的经历．这让我感觉有些奇怪．却也很真实。为什么会有这种奇怪的感觉？原因是我的中国背景，我的母语是广东话．但我直到20岁才来到中国。我的背景与众不同。我的父母出生在越南．而我出生在以色列。我在八岁的时候移民到澳大利亚．因此也就没有强烈的中国或西方的文化或信仰。     

The Revolutions in English Philosophy and Philosophy of Education

Abstract

This article was first published in 1982 in Educational Analysis (4, 75–91) and republished in 1998 (Hirst, P. H., & White, P. (Eds.), Philosophy of education: Major themes in the analytic tradition, Vol. 1, Philosophy and education, Part 1, pp. 61–78. London: Routledge). I was then a lecturer in philosophy of education at Sheffield University teaching the subject to Master’s students on both full- and part-time programmes. My first degree was in philosophy, read under D. W. Hamlyn and David Cooper and, given their interests, inevitably emphasized the philosophy of language, in particular the work of Wittgenstein in this field. When I subsequently turned my attention to the philosophy of education it seemed obvious to me that there were serious problems with Professor Peters’ approach to language, and I had particular difficulties with his approach to criteria, meaning theory and what seemed an odd interpretation of a transcendental argument. This article thus set out to show that the then dominant form of philosophy of education seemed not to take account of developments in the philosophy of language that preceded Professor Peters’ early work by at least a decade and which cast serious doubt on the enterprise as it was then understood. As the articles in the 1998 collection indicate, I was not alone in thinking there was something amiss, although at the time I seemed to be ploughing a somewhat lonely furrow. In revisiting this early article some 30 years after it was first published I have found to my surprise that there is little I would now change, although I have been forcibly reminded of the very lively discussions Professor Peters and I had over these issues. The fact that there is little I would now add to, or subtract from, my critique is in itself a telling comment on the enduring and influential legacy of the approach to the philosophy of education that Professor Peters championed so powerfully.     

Adapting the boundaries in primary physical education: an account of my learning,my educational influence and improved practice

In this paper I explore how I have come to theorise my work as a critical emancipatory practice as a lecturer in primary physical education (PE). I give an account of what I understand to be the epistemological foundations and practices of practitioner research and my potential educational influence in my own and other practitioner-researchers’ learning. I explain how I have generated my living educational theory of practice and discuss the changes in my learning from a propositional approach towards a dynamic epistemology of practice that is grounded in inclusional and dialogical ways of knowing. Within my paper I position myself as a professional educator and researcher, and share the exciting and transformational experiences of teaching and learning in evolving action research cycles of practice. I view my learning to date as an active act, working with the novice teachers I support to offer improvement and change in our future practice. I celebrate my reconceptualised view of education as a learner from within my practice and explain my move from knowledge transfer to knowledge co-creation. I make an original contribution to educational knowledge by explaining how I try to inspire others to research their practice and contribute to a new scholarship of educational enquiry.     

so的用法一二

Last Sunday was mybirthday,I was just fourteen.It was a fine day,I got upvery early in the morningand put on the newclothes that my parents bought me as my birthday presents.I felt happy,     

Horse Riding 101: The role of experience in reframing teacher education practices

For this self-study of my teacher education practice, I positioned myself as a novice in the unfamiliar context of learning to ride a horse. This gave me an opportunity to re-experience being an authentic learner and thereby to deepen my understanding of how an individual learns to teach. I recorded my experiences in an electronic journal and analysed what happened over many months of weekly horse-riding lessons. Central to my learning process was feeding key ideas, insights and tentative analyses into discussions with my students and critical friends. As I analysed their responses further, two themes emerged through pattern analysis. First, being a neophyte in horse riding allowed me to empathise strongly with my students' novice status. Second, permitting them to see the development of my expertise through horse riding was helpful to my students. Re-positioning myself as a learner challenged my view of myself as a teacher educator and transformed my teacher education practice.     

The Intertextual Method for Art Education Applied in Japanese Paper Theatre—a Study on Discovering Intercultural Differences

In art education we need methods for studying works of art and visual culture interculturally because there are many multicultural art classes and little consensus as to how to interpret art in different cultures. In this article my central aim was to apply the intertextual method that I developed in my doctoral thesis for Western art education to explore whether the method would also work from a non‐Western point of view. My hypothesis was that it is possible to find local and global differences that arise from selected texts and study them interculturally. As postmodernism calls attention to marginal areas, I applied my method to a form of visual culture that is not well known in the European art education context, the Japanese kamishibai which can be translated as Japanese paper theatre. Based on the results, my study will propose a method for understanding visual culture and the multiple relations ‐ local and global ‐ between different cultures. Japanese paper theatre also offers an interesting potential for using visual and verbal stories in the theory and practice of art education.     

Using appreciative inquiry to explore the professional practice of a midwife lecturer

This paper reports on an exploration into the professional practice of a lecturer using the appreciative inquiry (AI) approach. This facilitated inquiry intentionally sought to apply the AI approach to the practice of an individual, an application that is different to its predominant usage with groups. The context for this research was the professional practice of a lecturer within an innovative narrative curriculum for midwifery. Evidence was gathered through the re-telling of moments of peak performance. The AI process starts from actual practice and returns to the implications for practice. In the process, the inquiry explores questions such as, when am I at my ‘best’ as a lecturer? What patterns and themes exist across the stories of peak performance? How can my future practice be influenced by these themes. An important aspect of this research was the facilitation of the process which supported the movement of the research process and the critical reflection that is integral to such an inquiry. Such facilitation is particularly critical to the development of provocative propositions and an action plan for future practice. The experience and findings of this research suggest that the AI approach is well suited to a holistic consideration of an individual's professional practice.     

Facilitating reflection in theological education: some reflections

Over time my teaching role has evolved into one of facilitating adult learning. Recent studies that I have undertaken in higher education have met a felt need for further critical reflection on this approach. The discovery, through discussion and reading, of a language that enables me to conceptualise and investigate issues in teaching and learning has been a major part of this process, as has peer supervision. Engaging in this process in turn has encouraged continuing reflection in and on my practice.

My teaching area is theology, which involves critical reflection on experience and practice, and this has deeply influenced the way in which my teaching role has developed. Shared reflection in class interrelates with personal reflection, and has the potential to promote ongoing or lifelong learning. The facilitator's role in this setting combines caring and challenge, with the possibility of conflict management as well. It is hoped that aspects of my experience and practice in facilitating reflection in theology will be seen to have relevance to other areas of teaching.     

Cultivating the Critical Mind in Art

This article raises the problem of how to teach and research the critical and historical study on an A level art course. I have recently completed my doctoral study on this area of the art curriculum, which was conducted during the period of change to all post sixteen qualifications after the 1996 Dearing report. In this article I show how personal and critical knowledge was a necessary part of the practical investigation and helped to foster inquiry learning among my two research groups of sixth form students. The experience has given me renewed hope that students are able to problematise meaning in art and communicate what values and positions they adopt in the course of their investigations into the work of others.     

A Warm Light

原文 The story was set in the winter of 20051.I intended to pay a visit to my uncle by train.Unfortunately,as the train arrived at the small town where my uncle UvedI it Was deep into night2 and what impressed me most was the chilling and penetrating wind Confronted with this new environment at such special time3,I felt lonely and a little frightened.Worse still,I Was told to wait for haft an hour,because the terrible weather had prevented my uncle from picking me up on time,I was overcome with fear when the sound of the travelers'footsteps faded away and the last lightwas turned off.Nothing lay ahead of me but the dark,and my heart leapt quickly,my legs trembled,especially when I thought of the fact that gangs,drug addicts,murders,thieves lurked everywhere4.     

A personal inquiry into an experience of adult learning on-line

In this paper, I offer a reflection on mypersonal experience of networked learning usingthe approach of personal inquiry. I addressthe issue of identity and my experience ofpresenting myself on-line; my experience ofparticipating in the formation of the learninggroup; and what I describe as the `weight ofthe words', my experience of using this newmedium of communication. I follow this with atheoretical exploration which attempts tounderstand these aspects of my experience. Iargue that in the networked learningenvironment, the taken-for-granted processes ofidentity work and group formation aredisturbed. The unease provoked by this requiresgreater effort towards the establishment ofidentity and group, whilst at the same timeopening up the possibility for more fluidityand openness to the other. In my experienceas a learner, the newness and uncertainty ofthe experience compelled me towards seekingcertainty and closure. I was not able to makebest use of the opportunity for the greaterfluidity and openness offered by the networkedlearning environment. I close the paper bysuggesting how teachers may be able to supportthe conditions that would enable learners tomake best use of this opportunity. I argue thatthe learning community has to be seen asfundamentally an ethical one based onresponsibility to the other and that thisrequires the opening up of conversationsbetween learners and teachers for the sharingand negotiation of experiences and ways ofworking.     

当有家人患癌症

去年,我接受了前列腺癌的治疗,这个过程让我感觉如同一座房子的分崩离析。而且,很长一段时间,我能否康复都不甚明朗。但是在这个我逼视自己内心的过程中,我认识到了最重要的一件事情——不光是我一个人,而是我的整个家庭都因为这个病而发生变化。     

A Never‐Ending Painting: The Generosity of Time Spent Making and Learning with Others through Artistic Research

This article examines the role of spending time with others in and through artistic research and practice. I draw from my doctoral work which took me on a cross‐Canada journey visiting 125 artists in their studios. Following the studio visits, I made a series of paintings of artists’ studios, however a year later these same paintings were cut up and rearranged to create collaborative studio assemblages on the walls of the Tate Exchange Gallery in Liverpool. Drawing on the metaphor of a never‐ending‐painting to examine never‐ending pedagogies, this article examines the evolution of this project through three iterations of the studio paintings. With each iteration, I explore different ways of knowing others through making thus proposing the performative and relational qualities of artistic research. The first iteration allowed me to spend time with artists even in their absence, as I engaged with our conversations through painting their studios, thus blurring the lines between solitary and social art practices. The second iteration allowed me to give up my art to others through asking them to create collages with fragments of my studio paintings. And the third iteration allowed my work to merge with other arts‐based researchers. Through this process, I propose that making art allows for multiple conversations to emerge through spending time getting to know others through art making.     

Book review

Summary Teaching is a highly intellectual process that involves numerous decisions before, during, and after classroom instruction. These decisions are made as the teacher thinks about and engages in the entire process of teaching. The more clearly and deeply teachers think about instruction, the greater the possibility that student learning will be enhanced. Cognitive coaching offers a practical approach to achieving that end.As a partitioner in public elementary and secondary education, I found Drs. Costa and Garmston's book very interesting and helpful. The book was interesting because it stimulated my thinking about the need to redesign productive systems for teachers' growth. The book was helpful in that it gave me tangible/practical material for starting the process of redesign.