Trigger Warning Example
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Trigger Warnings
Author: Emily J. M. Knox
language: en
Publisher: Bloomsbury Publishing PLC
Release Date: 2017-05-23
With “triggered” as Google’s most searched word of 2016, trigger warnings have become a prevalent yet controversial concept in American higher education and society. As the debate over the value and place of triggering material continues, Trigger Warnings: History, Theory, Context provides the historical context and theoretical analysis of the use of trigger and content warnings in academia. This important edited collection examines the history, theories, and ethics of trigger warnings and presents case studies from instructors and students describing instances when trigger warnings were and were not used. By exploring the issue through several scholarly lenses and providing examples of when trigger warnings may or may not be used effectively, Trigger Warnings provides rigorous analysis of the controversy
Deep Reading
This book helps readers develop practices that will result in deep, formative, and faithful reading so they can contribute to the flourishing of their communities and cultivate their own spiritual and intellectual depth. The authors present reading as a remedy for three prevalent cultural vices--distraction, hostility, and consumerism--that impact the possibility of formative reading. Informed by James K. A. Smith's work on "the spiritual power of habit," Deep Reading provides resources for engaging in formative and culturally subversive reading practices that teach readers how to resist vices, love virtue, and desire the good. Rather than emphasizing the spiritual benefits of reading specific texts such as Dante's Divine Comedy or Adventures of Huckleberry Finn, the authors focus on the practice of reading itself. They examine practices many teachers, students, and avid readers employ--such as reading lists, reading logs, and discussion--and demonstrate how such practices can be more effectively and intentionally harnessed to result in deep reading. The practices apply to any work that is meant to be read deeply.
A Monster with a Thousand Hands
Author: Amy J. Rodgers
language: en
Publisher: University of Pennsylvania Press
Release Date: 2018-09-06
A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation. While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.