教育工作者與邊緣青少年的相遇：互動分析及教師的反身之知 顧瑜君(Yu-Chun Ku); 吳明鴻(Ming-Hung Wu)
Taiwan jiao yu she hui xue yan jiu = Taiwan journal of sociology of education,
201912, Volume:
19, Issue:
2
Journal Article
Peer reviewed
本研究以教育工作者與低社經處境中邊緣青少年的相遇為題，分析不易察覺的先天條件、互動方式及教育關係。本案例研究將分析互動雙方如何陷入常見的「陷阱」，更共構出耐人尋味的「竊案」。最後，針對如何讓社會正義落實於偏鄉教育的課題，提出本研究對教育工作者的啟發。本研究運用多元且跨學科的研究成果，並以「舞臺／表演隱喻」分析師生互動中的文化腳本。結論指出，為更能理解行為偏差青少年的行為與需求，教師需懸置已知、轉換為一種陌生人之眼，更敏銳覺察日常互動中師生共構的現象，發揮師者在教育現場的正面效應, This study explored educators’ encounters with marginalized students from disadvantaged socioeconomic backgrounds, in order to examine intangible predetermined factors, interactions and teacher-student relationships. Using a case study, it looked into how the two parties may fall into common “traps” that lead to a case of “theft” that may not be as it seems. Finally, some findings from the paper are offered that may serve as inspiration for working teachers on how to achieve social justice in the realm of rural education. We apply multiple and trans-disciplinary research results and use a “stage/performance metaphor” to analyze the cultural scripts hidden in the dynamics of teacher-student interactions. The paper concludes that educators have to suspend the known, and swit
PurposeThis paper explores employment discrimination against gender diverse job applicants and employees in Western Australia (WA).Design/methodology/approachUsing grounded theory, this study draws ...on semi-structured interviews with respondents (n = 20) who identified as trans women, trans men, nonbinary or agender. Thematic analysis focused on the multiple dimensions of disadvantage experienced by respondents, including subtle, not so subtle and overt types of employment discrimination.FindingsThe authors’ results point to several reasons why gender diverse individuals (GDIs) may fear the labor market, including difficulties in concealing their stigma and acquiescence to discrimination. On the other hand, our results also point to sources of organizational support, including encouragement from direct line managers and colleagues who are also Allies.Practical implicationsThe results of the research have important implications for sociological frameworks surrounding dramaturgy, stigma, aesthetic labor, organizational silence and social identity. Practical implications for employers, employees, human resource (HR) professionals and trade unions are also articulated.Originality/valueWhereas previous studies have prioritized the discriminatory experiences of GDIs in the US and European labor markets, this study reports on gender diverse voices in WA. Furthermore, recent work on this topic has been experimental and largely quantitative, whereas the present study offers a compelling set of profound narratives, thereby addressing calls for qualitative research that foregrounds the complexities and nuances of lived experience for GDIs and renders their voices heard.
By considering theater as one of the many scenic manifestations of humanity, this textual digression intends to denaturalize its universalization by placing it in the historical and cultural context ...of the Brazilian colonization process. Based on studies on epistemic racism and aesthetic racism, it is questioned the excluding centrality of white-western theater used in the reading of the multiple manifestations of scenic character of African matrix gestated and produced in the Brazilian diaspora.
The article analyzes one of the key ideas of Prof. Atanas Natev in his attempt to create a systematic theory of drama, namely his theory of "intermission" as a basic constructive principle for ...building dramatic action and the specific way in which drama affects the perceiver. The theory of "intermission" is compared with the ideas of the emerging at the same time literary discipline "narratology", the work of the structuralist trend in literary studies. This is necessary because narratology has given other explanations to some of the key ideas in the theory of "intermission". The main question that is asked in the article is whether in the seemingly devoid of the figure of the mediator dramatic composition, such does not exist, albeit only implicitly. Because drama, as well as the other two genres - lyric and epic -, need the fictional figure of the subject, which turns the amorphous structure of the "flow of life" into "history", and then into a carefully composed plot for the viewer to recreate in his mind during the performance, as the theory of the "intermission" states.
Ao considerar o teatro como uma das diversas manifestações cênicas da humanidade, pretende-se, com esta digressão textual, desnaturalizar a sua universalização, situando-a no contexto histórico e ...cultural do processo colonizador brasileiro. A centralidade excludente do teatro branco-ocidental promove o racismo epistêmico e, proveniente deste, o racismo estético que se apresenta em diversos espaços de poder, incluindo as universidades brasileiras. Os estudos acerca da decolonialidade oferecem um amparo teórico, aqui usado por meio da revisão de literatura sobre o tema, assim como a análise de documento curricular de cursos de graduação em Teatro.
O artigo evoca o arcano A Torre como alegoria para discorrer sobre táticas de desmoronamento na pesquisa-montagem de A Vagabunda, Revista de uma mulher só, desenvolvida em tempos pandêmicos com ...produção do grupo Xama Teatro (Brasil – MA). O texto revela possíveis alternativas para uma escrita conjugada do texto e da cena, baseada em experiências de vulnerabilidade, acolhendo o desmoronamento como tática para gerar um processo que se retroalimenta a todo instante. Como procedimentos, se destacam: a prática de improvisação em ateliê; a escolha de referências e mapeamento de temáticas; a exploração de problemas e experimentação de programas como modos de insistir e de sobreviver à pandemia de covid-19.
RESUMO O objetivo deste artigo é apresentar reflexões que buscam uma sistematização de princípios negro-brasileiros de atuação cênica e encenação. Os estudos apresentados visam demonstrar a ...necessidade de pensamentos teóricopráticos nas artes da cena direcionados para uma perspectiva anticolonial, em oposição a uma visão hegemônica eurorreferenciada. Problematiza-se o conceito de dramaturgia como parte de um dispositivo colonial de controle das subjetividades. Os argumentos suleadores deste texto foram sistematizados a partir de estudos teóricos e de experimentos cênicos contra-hegemônicos investigados em oficinas, cursos e aulas nos quais foram desenvolvidos processos criativos que não separam as linguagens: dança, teatro e performance.
RÉSUMÉ L'objectif de cet article est de présenter des réflexions qui cherchent une systématisation des principes afro-brésiliens de représentation scénique et de la mise en scène. Les études présentées visent à démontrer la nécessité d'une réflexion théorique et pratique dans les arts de la scène orientée vers une perspective anticoloniale, par opposition à une vision hégémonique euro-référencée. Ainsi, le concept de dramaturgie est problématisé comme faisant partie d'un dispositif colonial de contrôle des subjectivités. Les études théoriques et pratiques et les arguments sous-jacents de ce texte ont été systématisés sur la base d'expériences scéniques contre-hégémoniques étudiées dans des ateliers, des cours et des classes dans lesquels des processus créatifs ont été développés, qui ne séparent pas les langages de la danse, du théâtre et de la performance.
ABSTRACT The purpose of this article is to present reflections that seek to system Black- Brazilian principles of dramatic performance and staging. The studies presented aim to demonstrate the need for theoretical-practical thinking in the performing arts focused on an anti-colonial perspective, as opposed to a hegemonic Euro-referenced vision. Thus, the concept of dramaturgy is problematized as part of a colonial device to control subjectivities. The theoretical-practical studies and the underlying arguments of this text were systematized with a basis in counter-hegemonic scenic experiments investigated in workshops, courses, and classes in which creative processes were developed, which do not separate the languages of dance, theater and performance.
This article evokes The Tower tarot card as an allegory to discuss collapse tactics within a specific performing arts project: the research staging process of the play The Vagabond, a One-Woman ...Music-Hall Show, developed during the Covid-19 global pandemic and produced by the Xama Teatro group (Maranhão state, Brazil). It reveals possible alternatives for a combined writing process of both script and staging, based on experiences of vulnerability and drawing on collapse as a tactic to provoke a process that constantly feeds back into itself. The procedures that stand out in the process are: improvising in an atelier environment; choosing references and mapping thematic fields; exploring problems; and experimenting with performative programs as a means to insist on surviving the Covid 19 global pandemic.
The purpose of this article is to place dance at the center of the historical analysis of Athenian tragedy of the 5th century BC. To do so, a trajectory is proposed that begins with the culture of ...performance, passes through the culture of festivals, the dance of the chorus and the teaching of the old drunken satyr, and then reviews the concepts of opsis and psuchagôgia in Aristotle’s Poetics. Thus, the objective is to understand how the ritual-civic performance of the ancient Greek actors-singers-dancers, based on the creation of figures of movement, was also an act of evoking souls in the context of a public festivity.
This article reflects on the ethics and process of writing and performing the play This Is Us with a group of rejected asylum seekers from Deportation Centre Sjælsmark in Denmark. Positioned within ...larger frameworks of political and media hostility, the group pushed for a more radical approach of 'not just theatre', but called instead for solidarity within and beyond moments of collective writing. From this process, 'dramaturgical ethics' arose as an aesthetic and ethical practice, which can support thinking through responsibilities and relationalities involved in research, theatre making and entering into the world together.
