ABSTRACT In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedago... more ABSTRACT In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedagogy within ongoing communication research interrogating voice, argumentation, race, and power. We also offer a description of how we work to make sense of some of the relationships among sound, pedagogy, and social contexts. We encourage you to engage playfully with our work and with the scholarly pieces, oral/aural and written, included in this issue. We provide an audio clip of recorded sounds that we developed for this Introduction in the spirit of playful engagement, and we outline the artistic constraints we adopted in developing this clip. We also briefly frame the scholarly pieces that constitute this issue, which, notably, is the first issue of a National Communication Association journal to feature audio works.
This response, in the form of performative writing, to Chris McRae's performance Miles Away f... more This response, in the form of performative writing, to Chris McRae's performance Miles Away from “The Cool” explores the performer's integration of music, architecture, and performance theory. I especially emphasize my subjective experience of these elements as an audience member. I address social class and race in the context of performance instruction in the college classroom.
In this paper we call into question the ontological assumptions within prominent, foundational cr... more In this paper we call into question the ontological assumptions within prominent, foundational critical pedagogy literature – particularly the work of Paulo Freire. We suggest that these ontological assumptions may limit critical educational efforts within multicultural communities, because they tacitly reduce our complex, contested classroom interactions to preparatory or subsidiary events within transformative pedagogy. We contend that ongoing classroom communication can itself become an important locus of transformation, if we approach such communication from the perspective of what John Stewart labels a 'one-world,' rather than a 'two-worlds', ontology.
... They also highlight the linkage of 'Bob Dylan' with American history, myth,... more ... They also highlight the linkage of 'Bob Dylan' with American history, myth, geography, and song, as Mark Ford observes.62 Mark Ford, 'Trust Yourself: Emerson and Dylan', in Do You, Mr. Jones? Bob Dylan with the Poets and ...
Journal of International and Intercultural Communication, 2014
The closing dialogue of “Navigating with the Stars: Critical Qualitative Methodological Constella... more The closing dialogue of “Navigating with the Stars: Critical Qualitative Methodological Constellations for Critical Intercultural Communication Research” invokes “the final hues of pink, orange and yellow” spreading around the authors as they move toward a park, soon to “climb up over this barrier.” (p. 28) From its introduction through to this conclusion, the essay’s figurative foundations are grounded in these twin tropes of light and motion—light and motion, tangible apprehensions of time and space as they course through our bodies. The guiding metaphor of the constellation, then, is apposite with respect to the authors’ conceptual yearning for methodologies that “serve and orienting function, helping us to navigate.” (p. 4) But this metaphor leads us to something more as well: Constellations, which are orienting guides but also exemplars of our efforts to articulate the inarticulable and make the world matter through our words, provide an outstanding point of departure for these authors’ stated journey, to find scholarship that “shows us how to locate ourselves amidst the diversity of CIC research methodologies.” (p. 3) For more than mere mythically named icons of sailors’ night-time star charts, constellations are stunning instances of diverse approaches to questions, instances of human art and science interweaving as they reflect the imagemaking of the poet/artist conjoined with the sense-making of the astronomer/ mathematician. As we studied the stars, we named them, linking them to images here on earth—they became cups, chariots, crabs. We wanted them to be ours. We were striving to bring these extraordinary, mysterious parts of our world under the rule of explanation, whether through patterns of math or of language. We have passionately needed both art and science to create the constellation. We needed both of these ways of knowing because stars themselves are prime examples of the sublime, of experiences we strive to grasp but which ever elude our perceptions and conceptions. We also needed both ways because stars’ very urgency, their refusal to be hidden or unseen, even in their calm repose, have stirred in us a willingness to do our best work to try, however failingly, to grasp them; stars have inspired artists to create chapel ceilings and scientists to create calculus systems, and so have taken us as far from failure as human lives have gone.
ABSTRACT In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedago... more ABSTRACT In this Introduction, the Guest Editors situate this themed issue on (Re)Sounding Pedagogy within ongoing communication research interrogating voice, argumentation, race, and power. We also offer a description of how we work to make sense of some of the relationships among sound, pedagogy, and social contexts. We encourage you to engage playfully with our work and with the scholarly pieces, oral/aural and written, included in this issue. We provide an audio clip of recorded sounds that we developed for this Introduction in the spirit of playful engagement, and we outline the artistic constraints we adopted in developing this clip. We also briefly frame the scholarly pieces that constitute this issue, which, notably, is the first issue of a National Communication Association journal to feature audio works.
This response, in the form of performative writing, to Chris McRae's performance Miles Away f... more This response, in the form of performative writing, to Chris McRae's performance Miles Away from “The Cool” explores the performer's integration of music, architecture, and performance theory. I especially emphasize my subjective experience of these elements as an audience member. I address social class and race in the context of performance instruction in the college classroom.
In this paper we call into question the ontological assumptions within prominent, foundational cr... more In this paper we call into question the ontological assumptions within prominent, foundational critical pedagogy literature – particularly the work of Paulo Freire. We suggest that these ontological assumptions may limit critical educational efforts within multicultural communities, because they tacitly reduce our complex, contested classroom interactions to preparatory or subsidiary events within transformative pedagogy. We contend that ongoing classroom communication can itself become an important locus of transformation, if we approach such communication from the perspective of what John Stewart labels a 'one-world,' rather than a 'two-worlds', ontology.
... They also highlight the linkage of 'Bob Dylan' with American history, myth,... more ... They also highlight the linkage of 'Bob Dylan' with American history, myth, geography, and song, as Mark Ford observes.62 Mark Ford, 'Trust Yourself: Emerson and Dylan', in Do You, Mr. Jones? Bob Dylan with the Poets and ...
Journal of International and Intercultural Communication, 2014
The closing dialogue of “Navigating with the Stars: Critical Qualitative Methodological Constella... more The closing dialogue of “Navigating with the Stars: Critical Qualitative Methodological Constellations for Critical Intercultural Communication Research” invokes “the final hues of pink, orange and yellow” spreading around the authors as they move toward a park, soon to “climb up over this barrier.” (p. 28) From its introduction through to this conclusion, the essay’s figurative foundations are grounded in these twin tropes of light and motion—light and motion, tangible apprehensions of time and space as they course through our bodies. The guiding metaphor of the constellation, then, is apposite with respect to the authors’ conceptual yearning for methodologies that “serve and orienting function, helping us to navigate.” (p. 4) But this metaphor leads us to something more as well: Constellations, which are orienting guides but also exemplars of our efforts to articulate the inarticulable and make the world matter through our words, provide an outstanding point of departure for these authors’ stated journey, to find scholarship that “shows us how to locate ourselves amidst the diversity of CIC research methodologies.” (p. 3) For more than mere mythically named icons of sailors’ night-time star charts, constellations are stunning instances of diverse approaches to questions, instances of human art and science interweaving as they reflect the imagemaking of the poet/artist conjoined with the sense-making of the astronomer/ mathematician. As we studied the stars, we named them, linking them to images here on earth—they became cups, chariots, crabs. We wanted them to be ours. We were striving to bring these extraordinary, mysterious parts of our world under the rule of explanation, whether through patterns of math or of language. We have passionately needed both art and science to create the constellation. We needed both of these ways of knowing because stars themselves are prime examples of the sublime, of experiences we strive to grasp but which ever elude our perceptions and conceptions. We also needed both ways because stars’ very urgency, their refusal to be hidden or unseen, even in their calm repose, have stirred in us a willingness to do our best work to try, however failingly, to grasp them; stars have inspired artists to create chapel ceilings and scientists to create calculus systems, and so have taken us as far from failure as human lives have gone.
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