The Pedagogical Possibilities Of Witnessing And Testimonies
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The Pedagogical Possibilities of Witnessing and Testimonies
This book explores the pedagogical possibilities of testimony and witnessing. Drawing on the work of Giorgio Agamben, this book highlights the ultimate impossibility of witnessing and testimony: testimonies do not stand outside language, history, politics, or capitalist systems. Through analysis of different aspects of representation, subjectivity and emotions, this book illustrates how testimonies can be used as a way to control student emotions, perceptions and understandings. Testimonies used within teaching can work as a way to reproduce stereotypes of suffering, and can thus consolidate and reinforce exisiting power structures and identities. By exploring these difficulties, the author argues for the value of teaching historical testimonies of suffering that recognize both the impossibilities and possibilities of witnessing and testimony. “Marie Hållander has provided an indispensable guide to re-thinking the pedagogical possibilities of witnessing and testimonies, essential reading for anyone interested in how to approach these topics both critically and pedagogically. Through a lucid theoretical synthesis, this book re-inscribes a dynamic pedagogical dimension into the topics of witnessing and testimony, which have been dominated by historians, psychologists and literary critics. Thinking through the theoretical challenges of witnessing and testimony yet using powerful examples from teaching, Hållander develops a forceful analysis that shows the profound implications of these topics for pedagogical practice.” —Michalinos Zembylas, Open University of Cyprus, Cyprus “Timely and topical, this fascinating book complicates approaches to witnessing, suffering and testimony without diminishing the pedagogical, historical and political significance of sharing, or harkening to, one’s experience. It is a powerful, original and valuable contribution in its field, not only because it weaves its themes in a diligent, reflective and critical manner, but also because it has its own, unique perspective and sensibilities, as these emerge from erudite combination of narrative, pedagogy and philosophy.” —Marianna Papastephanou, University of Cyprus, Cyprus
Between Witness and Testimony
Author: Michael Bernard-Donals
language: en
Publisher: State University of New York Press
Release Date: 2012-02-01
The Holocaust presents an immense challenge to those who would represent it or teach it through fiction, film, or historical accounts. Even the testimonies of those who were there provide only a glimpse of the disaster to those who were not. Between Witness and Testimony investigates the difficulties inherent in the obligation to bear witness to events that seem not just unspeakable but also unthinkable. The authors examine films, fictional narratives, survivor testimonies, and the museums at Yad Vashem and the United States Holocaust Memorial Museum in order to establish an ethics of Holocaust representation. Traversing the disciplines of history, philosophy, religious studies, and literary and cultural theory, the authors suggest that while no account adequately provides access to what Adorno called "the extremity that eludes the concept," we are still obliged to testify, to put into language what history cannot contain.
Performing Pedagogy
Author: Charles R. Garoian
language: en
Publisher: State University of New York Press
Release Date: 1999-09-30
Performing Pedagogy examines the theory and practice of performance art as an art of politics. It discusses the different ways in which performance artists use memory and cultural history to critique dominant cultural assumptions, to construct identity, and to attain political agency. In doing so, Garoian argues, performance artists like Rachel Rosenthal, Guillermo Gómez-Peña, Robbie McCauley, Suzanne Lacy, and the performance art collective Goat Island engage in the practice of critical citizenship and radical forms of democracy that have significant implications for teaching in the schools. Finally, Garoian contextualizes performance art pedagogy within his own cultural work to illustrate how his own memory and cultural history have informed his production of performance art works and his classroom teaching practices.