Marxist state theory and state autonomy theory: the case of ‘race’ education in initial teacher education

Abstract

In recent times, there have been a number of critiques of Marxist and neo‐Marxist analyses of the state and education policy. These have drawn on postmodernist, ‘quasi‐postmodernist’ and state autonomy perspectives. While the postmodernist and ‘quasi‐postmodernist’ approaches have attracted critical response, to date, the state autonomy perspective has, to our knowledge, gone unchallenged. To address this theoretical lacuna, this paper analyses one writer's attempt, via an historical case study, to uphold state autonomy theory by detailing the ongoing relationship between one quasi‐state agency and the practice of ‘race’ education in initial teacher education. We argue that there are serious conceptual weaknesses in this latest attempt to apply state autonomy theory to educational policy analysis. The arguments in the case study under consideration are seriously compromised by a basically flawed hypothesis, a misrepresentation of contemporary (neo‐) Marxist education policy analysis and by a failure to look at ‘the big picture’.     

Making Sense in Art Lessons

Meaning in the arts has been explained in terms of the ‘linguistic/cognitive’ metaphor, that is as a product of a framework of conventions, rules and symbols, of shared conceptualisations with a clearly defined ‘conceptual space’. Sense in a work of art is dependent upon this framework and only by conventionalising pupils into it will they be able to communicate meaning. The problem is that the arts take their audience beyond the framework, beyond the boundaries of sense. The question then becomes how the arts continue to have meaning, paradoxically, to continue to make sense even though they have exceeded its boundaries. The solution to this problem, it is argued, lies in the way that the arts appeal directly to our uniquely human ability to reflect on commonly experienced feelings and to consequently transcend particular frameworks of meaning. Rather than meaning being subject to frameworks within which experience and artistic intention are seen to be made possible, I argue that experience has an autonomous presence in art, a presence that enables meaning to be communicated with spontaneity and immediacy.     

The StartwithXML Project: Understand the Point and Path to a Digital Workflow

To pursue emerging revenue opportunities in the most cost-efficient way (or sometimes to be able to pursue them at all), book publishers are going to have to adopt a StartwithXML workflow. That means their content needs to live in an XML-structured document from the earliest possible moment, which could be “inception”, and carry within it metadata about the document structure, the content itself, and the rights to all components. The tools exist to do this, but the organizational challenges of changing workflows and inventing new procedures are daunting. This project explores the business case and the implementation challenges, including case studies of companies who have already begun to work this way.     

Satisfying psychological needs on the high seas: explaining increases self-esteem following an Adventure Education Programme

A number of recent studies have revealed that taking part in a sail-training-based Adventure Education Programme elevates youths’ self-esteem. Across two studies, we sought to examine the extent to which youths’ sense of belonging contributed to this increase in self-esteem. Study 1 revealed that participants who completed the voyage showed an increase in self-esteem from the first to the last day of the voyage. Partial correlation revealed that group belonging made a unique contribution to this change. Study 2 replicated Study 1 and, further, demonstrated that the relationship between group belonging and self-esteem was not a function of self-efficacy or group esteem. Such findings suggest that an important contributing factor to the benefits of sail-training interventions is their potential to satisfy psychological needs, in this case the need to belong.     

Changes in body mass,stature and BMI in South African elite U18 Rugby players from different racial groups from 2002–2012

The purpose of this study was to determine whether there are differences between racial groups for body mass, stature and body mass index (BMI) in South African elite U18 rugby players and whether there were significant changes in these measurements between 2002 and 2012. Self-reported body mass and stature were obtained from U18 players (n = 4007) who attended the national tournament during this period. BMI was calculated for each player.White players were 9.8 kg heavier than black players, who were 2.3 kg heavier than coloured players (P < 0.0001). The body mass of all groups increased from 2002 to 2012 (P < 0.0001). White players were 7.0 cm taller than black players who were 0.5 cm taller than coloured players (P < 0.0001). Players’ stature measurements did not change significantly during the study period. The average BMI of white players was 0.9 kg·m^?2 greater than black players who were on average 0.7 kg·m^?2 greater than coloured players (P < 0.0001). The BMI of all groups changed similarly over the study period. The body mass, stature and BMI of elite under-18 rugby players in South Africa were significantly different between racial groups. This has implications for transforming the game to make it representative of the South African population.     

The ‘reel’ Jesse Owens: visual rhetoric and the Berlin Olympics

The story of Jesse Owens has become one of the dominant sports narratives of the twentieth century. The compelling visual record of his performance at the 1936 Berlin Olympics has been used to argue for a number of political and social causes. What is particularly fascinating about the images of Owens’s win is the ways in which it functioned for diametrically opposing ideological viewpoints. The story behind the footage reveals an interesting confluence of history and visual rhetoric. This essay considers how the Owens footage was put to work as both an example of American exceptionalism in one case and a transcendent appeal designed to mitigate the stigma of Nazi ideology in another. The principles of visual rhetoric elucidate the ways in which imagery like the Owens footage is purposefully packaged to portray these types of messages.