ABSTRACT:The principle that emergent writing is supported by talk, and that an appropriate pedagogy for writing should include planned opportunities for talk is well researched and well understood. However, the process by which talk becomes text is less clear. The term ‘oral rehearsal’ is now commonplace in English classrooms and curriculum policy documents, yet as a concept it is not well theorised. Indeed, there is relatively little reference to the concept of oral rehearsal in the international (...) literature, and what references do exist propose differing interpretations of the concept. At its most liberal, the term is used loosely as a synonym for talk; more precise definitions frame oral rehearsal, for example, as a strategy for reducing cognitive load during writing; for post-hoc reviewing of text; for helping writers to ‘hear’ their own writing; or for practising sentences aloud as a preliminary to writing them down. Drawing on a systematic review of the literature and video data from an empirical study, the paper will offer a theoretical conceptualisation of oral rehearsal, drawing on existing understanding of writing processes and will illustrate the ways in which young writers use oral rehearsal before and during writing. (shrink)

In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix (...) -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of juxtapositions and (...) comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature as Sheltering the HumanJohn Durham PetersLiterature as Sheltering the Human, by Frederic Will; 203 pp. Lewiston, Maine: Edwin Mellen Press, 1993, $69.95.This volume contains thirteen essays by Frederic Will, poet, critic, ex-professor of literature, autobiographer, translator, man of letters. All concern the peculiar powers of literature to offer spiritual comfort and protection against the storms of life.A cluster of four theoretical essays begins the collection. The first (...) surveys Husserl’s intellectual offspring, Merleau-Ponty, Sartre, and Heidegger, and seeks in their philosophies of language a grounding for literature’s uniqueness. The second essay argues that everyday language is always on the verge of entropy, but at its best, can be sublimated into literature. The third essay is a fiction of a crazed lit professor trying to master “the whole of literature” (p. 41). The eternally elusive object of “literature” turns out to evoke erotic-aggressive energies. The fourth essay on “Influencing the Past” rehearses some Benjaminian and Borgesian themes about literary influence being not causality, but intertextual resonance.The next set of five essays—which Will calls a “testimony” (p. 133) or “hit and run theology” (p. 138)—forms the core of the book. They treat “sheltering the human” in Homer, the Bible, Sappho, the Bhagavad Gita, and the epistles of St. Paul. Each ponders an enclosure—a retreat from battle, a womb, an act of translation, an inward wrestle of conscience, the blood of Christ—made of words. To my mind, this is the best part of the book: a steady meditation, graced with poetic lines and steeped in wide learning, on the proposition that “poetically man dwells.” Here Will performs the humane survey of world-literature he elsewhere extolls.The concluding section explores the relation of literature to the other arts. There is an essay on the gradual discovery of the oral core of Greek literature, largely through German scholarship, and one on literature’s relation to the other arts, which argues for its unique centrality among human expressive forms, thanks to its alleged continuity with the essential human possession, language. The penultimate essay meditates on Adorno’s aesthetics of music (concluding on an affirmative note not quite in tune with Adorno’s gloomy musings on capitalism), and the grand finale muses on the relation of art to life, via the dubious conceit of “art” as a great resort hotel.The book is remarkable for an intense and bald aestheticism that is exceedingly rare today. Will calls literature “the ripest offspring of language” (p. 1) and is happy to speak of masterpieces, genius, revelation, the autonomy of art, classics, humanism, values lodged in the structure of the universe (p. 125), universal validity (p. 131), “texts high in redemptive claim” (p. 147), the continuing necessity of the classical tradition (p. 190), and the artist as all but a different species (p. 200). The faith in a totality called “literature” is, to put it lightly, out of season in the academy today. As Will, a confirmed foe of [End Page 387] academic politics and pedantry, might well suggest, this may speak in its favor. Though Will’s aestheticism may refresh, I cannot help but wonder with Adorno whether some forms of expression and faith are objectively impossible in certain eras. Can “literature” sustain credulity today as anything more than one among many remarkable human practices?There is something, if I may say it, sheltered about these essays. If, as J. S. Mill said, eloquence is heard but poetry is overheard, this work is more poetry than eloquence. It features repeated and unannounced autobiographical intrusions. The self-reflexive quality supplies ready phrases to the reviewer: Will calls himself a “fallen contemporary classicist,” praises “high-minded eclecticism” and favors those thinkers who “sensualize knowing.” These traits make for a rare voice singing in the cornfields of Iowa.John Durham PetersUniversity of IowaCopyright © 1995 The Johns Hopkins University Press... (shrink)

In their defence of the school Jan Masschelein and Maarten Simons define it as a source of ‘free time.’ Drawing on Catherine Malabou's compelling reading of Heidegger in her The Heidegger Change, I aim to provide a strong ontological justification for the claims made on behalf of the school concerning free time, common goods, and renewing (changing) the world: the school provides free time; it transforms knowledge and skills into common goods; and it has the potential to give everyone the (...) time and space to renew the world. The paper enquires into what ‘free time as non-productive time,’ ‘common goods,’ and ‘changing the world’ mean on an ontological register, and why therefore the school is so precious and warrants our utmost care in the face of its conservative and progressive critics alike. I discern a single underlying notion, the notion of essence as mutability, constituting the link connecting free time, common goods, and renewal of the world. (shrink)

In this paper, an account of two novel ontologies is given to point to the need to revise the status of facts in school curriculum. It is argued that schooling is in dire need of re-enchantment. The way to re-enchant schooling is to re-enliven the world we inhabit. We need to fall head over heels in love with the world again. In order to do that, we need to shake up our conception of “the hard and cold facts of the (...) world” to make the latter come alive radiating vibrancy and luminosity out into the world. Facts have to be liberated from their “cold and hard” status and become things that captivate us with their uniqueness and dynamism. To the extent that facts enchant (instead of merely re/present the world), working with them leads to educative experience. To work out how to let the facts do that, two thinkers and two ways to reconceptualize ‘facts’ are discussed: Graham Harman and his objects, and Ken Wilber and his holons. (shrink)

In this paper, I intend to discuss what I would like to call “the ideal of teaching as consummatory experience” in relation to John Dewey’s concept of “experience,” as the latter was elucidated in his later works, especially Art as Experience. What I have in mind with the phrase “the ideal of teaching as consummatory experience” basically points to what it means to be fully alive as a teacher and what happens when teaching is experienced in such a manner. In (...) other words, what is the relationship between teaching that is truly fulfilling for the teacher and experience that is truly educative for the student(s)? There is no doubt in my mind that the two are intimately connected. Truly fulfilling teaching and truly .. (shrink)

This article is about a pedagogical movement I discern in Quentin Meillassoux’s ontology. The goal of the essay is to introduce his approach to reality in outline form and offer it as a possible route to conceptualize education as the practice of keeping the bodymind attentive and agile against its unsound ossification by way of providing a unified heightened sense of meaning, that is, consummatory experience, in a radically open and contingent world. Meillassoux offers a new conception of necessity and (...) contingency based on the Badioun principle that ‘nothing is inaccessible to reason.’ This move helps Meillassoux to claim that reason can access the absolute for there is no inaccessible necessary transcendence by providing an intriguing critique of the principle of sufficient reason. As a result, Meillassoux’s argument leads to the conclusion that the only necessity is contingency itself. By excluding any necessary being, but also maintaining the absolute necessity of contingency itself, Meillassoux establishes what he calls the “factial.” Meillassoux’s factiality induce pedagogical interventions that lead to acquiring a new point of view whereby ossification of bodymind is staved off and a state of mind that is endlessly fascinated by the immanence, or the most radical becoming, of the world is achieved. (shrink)

Bu çalışmanın temel amacı, Murray Bookchin’in “toplumsal ekoloji” anlayışını açıklamaktır. Bu amaç doğrultusunda okuyucuya öncelikle ekolojik sorunlar ve ekoloji hareketinin tarihsel gelişimi hakkında genel bir içgörü kazandırmak adına açıklamalar sunacağız. Daha sonra Bookchin’in, ekoloji hareketini oluşturan farklı yaklaşımlara, Marksizm’e ve anarşizme yönelik ortaya koyduğu eleştirilerini, diyalektik doğalcılık öğretisini, hiyerarşi ve sınıf olgusu hakkında gerçekleştirdiği çözümlemelerini ve komünalist ideolojisini inceleyeceğiz. Devamında toplumsal ekolojiye yöneltilmiş olan eleştirileri aktaracak ve çalışmamızın ikincil amacını gerçekleştirmeye geçeceğiz. Bu amaç, Bookchin’in hiyerarşi olgusu hakkındaki çözümlemelerinin teorik zemininin (...) yetersizliğine dikkat çekmektir. Kanaatime göre Bookchin hiyerarşiyi tarihsel, antropolojik, ekonomik, sosyal, biyolojik, psikolojik ve politik bir kategori olarak ele almış ancak hiyerarşinin metafiziksel temelleri hakkında bir açıklama sunamamıştır. Bu durum Bookchin’in hiyerarşi ve devlet karşıtlığının dolayısıyla komünalist ideolojisinin açıklamaya muhtaç sorularla yüz yüze olduğu anlamına gelmektedir. Söz konusu sorular cevaplanmadığı takdirde toplumsal ekoloji anlayışını savunmanın sürdürülemez olduğunu iddia edeceğim. (shrink)

An intriguing interresonance plays out between various forms of Mahayana Buddhist ontology and Žižek’s dialectical materialism. His disdainful critique of Buddhism is well-known. As a cultural critic, Žižek might be onto something in his contention that Western Buddhism functions as the perfect ideology for late capitalism. As an ontologist, however, he seems to be ambivalent regarding the parallels between the Buddhist Void, to which the Western Buddhists supposedly withdraw, and his elaboration of a new foundation of dialectical materialism. Žižek is (...) one of the few contemporary continental philosophers who do not hesitate to engage Buddhism. My claim is that, notwithstanding his criticism, Žižek is much closer to Mahayana than he thinks. My aim therefore is to demonstrate how this is so. To do this, I will mainly focus on the following forms of Mahayana thought: śūnyatā in the context of Nāgārjuna's the Two-Truth doctrine, Tiantai School of Chinese Buddhist concept of li, and Nishida Kitarō’s philosophy of basho, which was heavily influenced by the Japanese Zen/Pure Land Buddhism. After going through some of the preliminary affinities among Mahayana forms and Žižek in its absolute contradiction, and materialism as the contradictory/paradoxical field conceived as an atheistic religious field, and so on), I will analyse each school of Mahayana mentioned above and point out the parallels between these and Žižek’s own thought. (shrink)

We are no longer in a position to attribute a positive essence to humanity and its presumed centrality. What it means to be human cannot be ascertained once and for all or in any a priori fashion....

In this paper, I argue that Dewey’s pragmatist aesthetics, and in particular, his concept of consummatory experience, should be engaged anew to rethink the merits of the Philosophy for Children programme, which arose in the 1970s in the US as an innovative educational programme that aims to use philosophy to help school children improve their ability to become more conscious of and make judgments about the aspects of their experience that have ethical, aesthetic, political, logical, or even metaphysical meaning. Although (...) an international success, the PFC programme has attracted many criticisms from a variety of directions. I claim that Deweyan concept of consummatory aesthetic experience is broad and flexible enough to provide a robust framework to make sense of the pedagogical horizon of PFC and therefore fruitfully engage the various critics of the movement coming from religious and social conservatives, educational psychologists, critical theorists, postmodernists/posthumanists, and professional philosophers themselves. The goal of this paper is to offer in a preliminary fashion the basic elements of Deweyan pragmatist aesthetics, which was principally elucidated in his Art as Experience, to defend PFC as a viable pedagogy. (shrink)

In this article, it is argued that the inordinate amount of time and attention given to the use of textbooks in education inadvertently leads to deadening miseducative experiences and creates a learning environment where what Dewey calls ‘consummatory experience’ is thwarted. In order to unpack this thesis, Dewey’s pragmatist aesthetics is engaged, and in particular, his concept of consummatory experience is defined and its temporal nature is elucidated by referring to two modes of time: chronological and phenomenological. Subsequently, the relation (...) between teaching and consummatory experience is elucidated to uncover the reason why using textbooks is counterproductive. (shrink)

This paper discusses the repercussions of a new metaphysics—speculative/weird realism—for education and pedagogy. A historic shift is taking place in present-day continental philosophy, which involves an explicit and renewed call for realism. One of the most salient features of this development is a revitalised interest in ontological questions. As part of this overall trend towards realist and materialist ontologies in current continental thinking, the paper particularly focuses on Graham Harman’s object-oriented ontology, which claims that aesthetics is first philosophy. Harman’s object-oriented (...) philosophy is an approach to metaphysics and ontology that is enamored by the experience of the vibrant yet inscrutable autonomous reality of objects. In order to come to terms with this new approach to reality, I suggest education be conceived as the cultivation of an aesthetic attitude understood as the ability to uphold the tension between relational and non-relational aspects of objects understood in the Harmanian idiom. (shrink)

Many political and economic forces are driven by the desire to eliminate democratic plurality in today’s political juncture. Democratic republicanism itself in its contemporary forms has failed to address many of the daunting moral, political, economic, social, technological, and ecological challenges we face today. It is argued that to fulfill its essence of egalitarian freedom and social justice, democratic republicanism must first decouple from the global neoliberal capitalist regime and secondly embrace some form of postcapitalist and posthumanist orientation guided by (...) a new attractor, a teleological approach anchored in a new telos of superhumanity. Democracy without a telos of superhumanity is a democracy in name only. It is time to lay our teleophobia aside and propose a strong teleological account in the vein of a Buddhist no-self doctrine at the heart of the onto-politico-economy. (shrink)

This book presents an original exploration of philosophical questions pertaining to the ways we grasp the Absolute by bringing together the Buddhist notion of interpermeation of all phenomena into contemporary strains of thought in continental philosophy. This text introduces an ontological concept, granularity, deploying it to probe questions concerning the intersection of ontology, ethics, and education. A wide range of issues in metaphysics are covered—including being, nothingness, unity, plurality, truth, change, transformation, subjectivity, contradiction, coherence, potentiality—from the perspective of thinkers such (...) as Hegel, Heidegger, Badiou, Meillassoux, Malabou, Žižek, and Harman. The text deploys granularity in arguing for an ethics of unconditional hospitality within education. This volume is intended for students and researchers working in the areas of philosophy of education, philosophy of religion, and continental philosophy. (shrink)

Marianna PapastephanouUniversity of CyprusSince Plato’s allegory of the cave two educational-philosophical critical modes have stood out: the descriptive (reality as it is) and the normative (reali...

Social confrontation is a particular kind of communication episode which may be initiated when one actor signals another actor that his or her behavior has violated (or is violating) a rule or expectation for appropriate conduct within the relationship or situation (Newell & Stutman, 1988). This paper explores the decision, structure and process of rehearsing for confrontation. Intensive interviews with 75 actors followed by a questionnaire administered to 99 others revealed that confronters maintain two strands of confrontative goals: strategic and (...) performance goals. Strategic goals for confronters include (a) influence, (b) catharsis, (c) relational maintenance, (d) retribution, and (e) enhanced understanding of the other. While these goals lead to different tactical outcomes, actors also hold intentions related to performance goals. Two performance goals are of central concern to some actors: (a) the desire to be argumentatively complete, and (b) the desire to maintain the position of the confronter rather than the confrontee. An analysis of the data revealed that differences in goal configurations guided both the decision to rehearse and the process of this rehearsal. (shrink)

Social epistemology has paid little attention to oral historiography as a source of expert insight into the credibility of testimony. One extant suggestion, however, is that oral historians treat testimony with a default trust reflecting a standing warrant for accepting testimony. The view that there is such a standing warrant is sometimes known as the Acceptance Principle for Testimony. I argue that the practices of oral historians do not count in support of APT, all in all. Experts (...) have commonly described oral traditions as oriented towards political, cultural and entertainment ends, and not only—or not even—towards an accurate depiction of past events. Even when accuracy is the emphasis, many historians of oral tradition do not trust such testimony as APT would suggest; the importance of gathering supporting evidence is a consistent emphasis. Yet oral historiography, both of traditions and more generally, does hold out lessons for the epistemology of testimony, implicating a wider range of social.. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of (...) participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

In the current research, using methods of oral history of philosophy, oral communication (in particular, interviews) is considered only as a technical phase in preparing the final text. The author claims that the primary audio or video recordings of such an interview, an "oral draft," should be considered independent material. After all, the written text does not reflect the interlocutors' intonations; comparing the source material and the final text may become important for future researchers. After the transcribed (...) and agreed text of the interview took its final shape, it should be analyzed by the interlocutors and supplemented with a commentary. This commentary aims to (1) clarify vague points of the text and (2) record the further opinions of the interviewer and interviewee. Therefore, the purpose of an interview that uses an oral history of philosophy should be an audio/video recording, a final text, and a commentary. (shrink)

Imagery Rehearsal Therapy is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy. The (...) added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research. (shrink)

Natalia Reva's interview with Amina Khelufi, devoted to the status of the oral history of philosophy, modern research in this field and prospects for its development. This interview is an Appendix to Natalia Reva's article published in this issue of Sententiae.

This article investigates the identity constructions of a former hooligan in two repeated narratives, obtained through interviews with a time lapse of six years. In both narratives, the interviewee constructs a similar heroic identity and opposes it to other categories such as cowards and followers. However, when relating how he became a hooligan, the interviewee presents himself as a follower. This contradiction with the heroic identity shows his struggle with group membership and that ‘identity work’ is an ongoing process. On (...) the other hand, the striking similarity between the identity constructions in both interviews supports the thesis of a rehearsed self in big stories, but I argue that this is also due to other reasons, namely the role of the same interviewer who co-constructs the interview but who is also an outsider, and the influence of previous ‘rehearsals’ of the story, both within the group of hooligans and in real life. (shrink)

Esta conferencia formó parte del encuentro “Archivos Sonoros y cultura popular” realizado el 17 de septiembre de 2019 en el marco del Coloquio sobre Memorias Populares organizado por Doctorado en Historia y la Maestría en Historia y Memoria de la FaHCE junto a la presencia del historiador italiano Alessandro Portelli. En dicha conferencia, las autoras presentaron el archivo oral “Memorias encontradas” de la Comisión por la Memoria (CPM). Por un lado, relataron la historia de la producción y recolección de (...) entrevistas surgidas a partir de los distintos trabajos de la CPM y, por el otro, reflexionaron sobre algunas particularidades de la serie “El archivo y el testigo”: el contexto de producción, el diálogo entre el relato oficial/policial y la voz de las y los testigos, los distintos modos de narrar, de contar. (shrink)

Often understood as synonymous with “oral history” in Indigenous title and rights cases in Canada, “oral tradition” as theorized by Jan Vansina is complexly imbricated in the European genealogy of “scientific history” and the archival science of Diplomatics with roots in the development of property law and memory from the time of Justinian. Focusing on Tsilhqot’in Nation v. British Columbia, which resulted in the first declaration of Aboriginal title in Canada, this paper will discuss Tsilhqot’in law in the (...) context of the court’s deployment of Vansina’s theory and its genealogy, and conclude that “oral tradition” functions as a legal fiction enabling the court to remain in the familiar archive of its own historiography while claiming to listen to the Elders. (shrink)

A scholarly edition of Rehearsal Transpros'd by Donal Ian Brice Smith. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Oral health is a critical part of overall health. The current COVID-19 pandemic has highlighted the importance of oral health. In this article, we describe how dental practice has been impacted by COVID-19, identify the public health response to COVID-19, and explain the gradual resumption of dental care after the initial disruption due to the pandemic. Finally, we discuss how long-standing health disparities in oral health have been exacerbated by the current pandemic.

Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped (...) professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging. (shrink)

The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of (...) women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s imagination aligns with the character’s situation. This is the creation of a character’s ‘living story’. Similarly, for all of us, this is akin to self knowledge. When women and sexual minorities tell their stories and listen to each others’ self knowledge, they are reading their bodies as texts. And worlds split open. (shrink)

This is a study of the Ugandan poet and cultural critic Okot p'Bitek. In his poems and critical essays, Okot engages with the oral traditions of his people—the songs, dances, funeral dirges, and so forth—seeing them as manifestations of the people's philosophy of life. Imbo's book aims to make explicit the philosophical questions raised in Okot's work, placing them within the wider picture of contemporary African philosophy as a whole.

The indigenous people of sub-Saharan Africa approach their Supreme Being and express their reverence in diverse ways, as depicted in the different local names that describe this supernatural being. The African cultural worldview foregrounds that virtuous rapport with the Supreme Being provides wisdom and facilitates good cohabitation among humans. It is argued in this article that teachings from the Christian Bible contribute negatively to the disintegration, fragmentation and death of indigenous knowledge systems, which include African cultural values, memory and (...) class='Hi'>oral traditions. Recently, some African scholars have begun to create awareness of some of Africa’s lost treasures. However, such contributions are disappointingly few. This study argues that memory and orality among Africans should be promoted and supported through various platforms, such as academic writing. This article will discuss memory, orality and ‘God-talk’ in terms of the following: teachings on moral values (e.g. relationships, marriage, humaneness [ubuntu or hunhu]) and the preservation of cultural heritage. The discussion uses qualitative analysis of secondary data and personal observation.Contribution: Firstly, the present study will provide for the readership in general, and academia in particular, a new perspective on African customs and indigenous belief systems about a Supreme Being. For example, Musiki as a Shona local dialect name for ‘God’ was already in use before the emergence of Christianity in Southern Africa. Secondly, previous contributions have not sufficiently explored memory and orality. This investigation serves as a resource or starting point for further research on memory and orality. (shrink)