Volume 8, Issue 2 — Infusing Pedogogy with Empathy, Social Action and Value through Popular Culture
Permanent URI for this collection
Browse
Browsing Volume 8, Issue 2 — Infusing Pedogogy with Empathy, Social Action and Value through Popular Culture by Issue Date
Now showing 1 - 3 of 3
Results Per Page
Sort Options
Item Open Access EXPERIMENTAL FORMS AND IDENTITY POLITICS IN 21ST CENTURY AMERICAN POETRY(Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 2021) Stephens, Ronnie“Experimental Forms and Identity Politics in 21st Century American Poetry” explores the function of form in American poetry and its proximity to whiteness. Through an analysis of experimental and nontraditional forms I argue that poets Fatimah Asghar, Jericho Brown, Franny Choi, Natalie Diaz, Ilya Kaminsky, and Danez Smith challenge traditional notions of what a poem is; these authors use graphics and co-opt familiar text objects to challenge larger assumptions about gender identity, ableism, and the immigrant experience. These experimental forms are grounded in a larger poetic tradition that alters traditional forms, such as the sonnet, to disrupt and further dialogue related to oppressive tactics in American poetry. They also signal an intentional departure from strict forms associated with colonialism and mark a shift in contemporary American poetry. For educators, including nontraditional and experimental form poems in the curriculum encourages students to engage poetry as a living genre. It also invites conversation about the implications of gatekeeping in both the publishing and education industries. The co-opting and evolution of form is not just a rebellion against classic American poetry but an opportunity for students of color to engage with the literary canon on their own terms. Keywords: Poetry, Counternarrative, #DisruptTexts, Decolonize, Technology, Sonnet, Cyborg, PedagogyItem Open Access CONCEPTUALIZING EMPATHY AND PROSOCIAL ACTION: TEACHING FILM WITHIN THELITERATURE CLASSROOM(Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 2021) Deka, MayuriThe experience of viewing a movie in the global era is multi-faceted. A viewer’s response to a cinematic experience as Carl Plantinga explains in Moving Viewers: American Film and the Spectator’s Experience is not only admiration for the aesthetics and techniques employed in the movie but also in the emotions aroused by the storyline. Audiences react to the story and characters presented with directed emotions by imagining either their mental lives and feelings or their situations. Empathy occurs within this framework of imagination where the audience engages with the story and character based on these directed emotions. The audience could not only empathize with the story or character by experiencing a similar emotion but also think about a similar situation they have experienced and attribute the emotion they experienced to the story or character. Watching a film such as How to Train Your Dragon (2010) would allow the instructor to help students sustain a coherent identity and find similarities with more and more diverse groups of people, leading to a reduction in prejudice while promoting an empathic identity. This facilitation of the development of complex identity-contents in the students based on universal affective states and life-conditions should result in them taking practical steps to alleviate the Other’s suffering and engage in social change through empathic reflection. Keywords: Film, literature, empathy, Self/Other, pedagogyItem Open Access WHAT WE OWE OUR STUDENTS: THE GOOD PLACE, PEDAGOGY, AND THE ARCHITECTURE OF ENGAGED LEARNING(Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 2021) Mills, Shala; Hamlin, DarrellPedagogy is the architecture of a learning environment. The discipline of philosophy has often operated according to a pedagogy of conversation, clarity, and reflection, certainly since the era of Socratic dialogue in the streets of Athens. We argue that The Good Place occupies that space, re-setting this pedagogy as an architecture of learning through entertainment associated with ultimate matters of eternal disposition. A critical character driving conversation, clarity, and reflection across four seasons of the story’s arc is a philosopher – doomed by their own indecisive flaws – who teaches deep understanding of ethical development through a variety of relevant philosophic problems originating from intellectual history. Confronted with the complexities of an intricately connected world and highly motivated by the weight of ultimate choices, the protagonists bring a sense of how a well-constructed “classroom” can prepare students to meet ordinary challenges, extraordinary obstacles, and even existential crises. The Good Place is a classroom with a purposeful syllabus and highly motivated participants, structured for viewers to extract ethical insights of the highest consequence — if they are willing to keep trying to get it right. By comparison, this article unpacks how the American Association of State Colleges and Universities’ Global Challenges blended model course is a valuable example of high impact teaching practices which, like The Good Place, engage students through content connected to issues that confront them personally and professionally, providing them with opportunities for repetition and mastery. Keywords: pedagogy, popular culture, wicked problems, Bloom’s taxonomy, high impact practices, global challenges, The Good Place