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Before Joyce became famous as writer, he supported himself through his other language work: English-language teaching in Pola, Trieste, and Rome. The importance of James Joyce's teaching, however, has been underestimated until now. The very playfulness and unconventionality that made him a popular and successful teacher has led his pedagogy to be underrated, and the connections between his teaching and his writing have been largely neglected. James Joyce's Teaching Life and Methods reveals the importance in A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake of pedagogy and the understanding of language Joyce gained teaching English as a Foreign Language in Berlitz schools and elsewhere.
Before Joyce became famous as writer, he supported himself through his other language work: English-language teaching in Pola, Trieste, and Rome. The importance of James Joyce's teaching, however, has been underestimated until now. The very playfulness and unconventionality that made him a popular and successful teacher has led his pedagogy to be underrated, and the connections between his teaching and his writing have been largely neglected. James Joyce's Teaching Life and Methods reveals the importance in A Portrait of the Artist as a Young Man, Ulysses, and Finnegans Wake of pedagogy and the understanding of language Joyce gained teaching English as a Foreign Language in Berlitz schools and elsewhere.
James Joyce and Education is the first full-length study of education across the Joyce oeuvre. A new account of how the politics and aesthetics of the Joyce text is informed by historical contexts, it is the latest contribution to the growing contemporary debate about education, late modernism and literary innovation. This highly original account reads Dubliners, A Portrait of the Artist as a Young Man, Ulysses and Finnegans Wake in new and challenging ways. It produces the Joyce text as a complex and comic devotion to the representation of schooled education — an exemplification of the elitism that state schooling was historically designed to reproduce and a devastating undoing of the epistemologies it was designed to sustain. Chapters explore a range of themes, including Joyce and radical education, the impact of Nietzsche’s writing on Joyce and women and education. The book will appeal to researchers, scholars and postgraduate students in the fields of literature in education, pedagogy, Joyce scholarship and modernism.
All Future Plunges to the Past explores how Russian writers from the mid-1920s on have read and responded to Joyce's work. Through contextually rich close readings, José Vergara uncovers the many roles Joyce has occupied in Russia over the last century, demonstrating how the writers Yury Olesha, Vladimir Nabokov, Andrei Bitov, Sasha Sokolov, and Mikhail Shishkin draw from Joyce's texts, particularly Ulysses and Finnegans Wake, to address the volatile questions of lineages in their respective Soviet, émigré, and post-Soviet contexts. Interviews with contemporary Russian writers, critics, and readers of Joyce extend the conversation to the present day, showing how the debates regarding the Irish writer's place in the Russian pantheon are no less settled one hundred years after Ulysses. The creative reworkings, or "translations," of Joycean themes, ideas, characters, plots, and styles made by the five writers Vergara examines speak to shifting cultural norms, understandings of intertextuality, and the polarity between Russia and the West. Vergara illuminates how Russian writers have used Joyce's ideas as a critical lens to shape, prod, and constantly redefine their own place in literary history. All Future Plunges to the Past offers one overarching approach to the general narrative of Joyce's reception in Russian literature. While each of the writers examined responded to Joyce in an individual manner, the sum of their methods reveals common concerns. This subject raises the issue of cultural values and, more importantly, how they changed throughout the twentieth century in the Soviet Union, Russian emigration, and the post-Soviet Russian environment.
Winner: AAIS First Book Prize Old Schools marks out a modernist countertradition. The book makes sense of an apparent anachronism in twentieth-century literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in progressive pedagogical theories. Advocates of progressive education turned against Latin in particular. The dead language—taught through time-tested means including memorization, recitation, copying out, and other forms of repetition and recall—needed to be updated or eliminated, reformers argued, so that students could breathe free and become modern, achieving a break with convention and constraint. Yet McGlazer’s remarkable book reminds us that progressive education was championed not only by political progressives, but also by Fascists in Italy, where it was an object of Gramsci’s critique. Building on Gramsci’s pages on the Latin class, McGlazer shows how figures in various cultural vanguards, from Victorian Britain to 1970s Brazil, returned to and reimagined the old school. Strikingly, the works that McGlazer considers valorize this school’s outmoded techniques even at their most cumbersome and conventional. Like the Latin class to which they return, these works produce constraints that feel limiting but that, by virtue of that limitation, invite valuable resistance. As they turn grammar drills into verse and repetitious lectures into voiceovers, they find unlikely resources for critique in the very practices that progressive reformers sought to clear away. Registering the past’s persistence even while they respond to the mounting pressures of modernization, writers and filmmakers from Pater to Joyce to Pasolini retain what might look like retrograde attachments—to tradition, transmission, scholastic rites, and repetitive forms. But the counter-progressive pedagogies that they devise repeat the past to increasingly radical effect. Old Schools teaches us that this kind of repetition can enable the change that it might seem to impede.
The eminent Harvard educationalist Howard Garner writes a preface to the Place Model within his Good Project Blog which provides a preface to this timely book. Professional is a slippery term, open to willful abuse, misuse and misunderstanding – as evidenced by the ways in which this chameleon term can be used as both a compliment and an insult. In this book academics from a range of professional fields deconstruct ‘professional’ and reimagine professionals in an age of rapid change where professionals are both increasingly in demand and frequently under threat. Several deploy the lens of Clarke’s Place Model to examine professions including teaching, midwifery, social work, journalism, and optometry. Some papers are empirical and some are based around using the Place Model as a thought experiment. All turn a critical eye on professionals and all find them to be, like all humans, neither devils nor divines (Maya Angelou), but at their best a combination of two indispensable characteristics, trustworthiness and expertise.
In this second volume of the successful Exemplars of Assessment in Higher Education, editors Souza and Rose share examples of assessment practice from over fifteen distinct and diverse Higher Education Institutions, including international contributions. Building upon the work of the first volume, the case studies in this book reflect the changes in assessment and higher education in the post-Covid education environment. The institutions that appear in this book were chosen for having an effective assessment approach in one or more of the following areas: career readiness; distance education; diversity, equity, and inclusion; or general education. Each part of the book discusses one of these four areas, with chapters that feature real-life examples from the educators who teach at the college or university. Featuring a Foreword by AAC&U President Lynn Pasquerella, the work highlighted in this book is also aligned with AAC&U’s Valid Assessment of Learning in Undergraduate Education (VALUE) initiative to help educators make the best decisions about measuring student learning. This book is ideal for university educators and assessment practitioners looking to diversify and enhance their assessment practices.
Winner of the D.H. Lawrence Society of North America’s Biennial Award for a Newly Published Scholar in Lawrence Studies Though the differences in style and politics between Virginia Woolf (1882-1941) and D.H. Lawrence (1885-1930) are many, they both had formative experiences as teachers. Between 1905 and 1907, Woolf taught history and composition courses at Morley College while Lawrence spent nearly a decade in the field of elementary education between 1902 and 1912. The Sensuous Pedagogies of Virginia Woolf and D.H. Lawrence reframes Woolf and Lawrence’s later experiments in fiction, life-writing, and literary criticism as the works of former teachers, of writers (that is) still preoccupied with pedagogy. More specifically, the book argues that across their respective writing careers they conceptualize problems of teaching and learning as problems of sensation, emotion, or intensity. But the “sensuous pedagogies” Woolf and Lawrence depict and enact are not limited to classroom spaces or strategies; rather, they pertain to non-institutional relationships, developmental narratives, spaces, and needs. Friendships and other intimate relationships in Lawrence’s fiction, for instance, often take on a pedagogical shape or texture (one person playing the student; the other, the teacher) while Woolf’s literary criticism models a novel approach to taste-training that prioritizes the individual freedom of common readers (who must learn to attend to books that give them pleasure). In addition, Sensuous Pedagogies reads Lawrence’s literary criticism as reparative, Woolf’s fiction as sustained feminist pedagogy, and their respective theories of life and love as fundamentally entangled with pedagogical concerns.
The ever-popular "Whedonverse" television shows--Buffy the Vampire Slayer, Angel, Firefly and Dollhouse--have inspired hundreds of articles and dozens of books. Curiously, the focus of much of the scholarship invokes philosophical, ethical, metaphysical and other cerebral perspectives. Yet, these shows are action-adventure shows, telling stories through physical bodies of many varied and unique forms. Characters fight and die, suffer grave injuries and traumas, and are physically transformed. Their bodies bear the brunt of their battles against evil, corruption and injustice. Through 17 insightful and captivating essays, this collection centers the physical spectacle of these televisual series. Chapters examine how both disabled and super-powered individuals navigate their differing levels of ability; how the practice of medicine and medical practitioners are represented; and how wellness is understood and depicted, both physically and mentally. Other essays focus on storylines involving specific body parts, the intersection of literal and metaphorical trauma and the processes of recovery from injury, illness and impairment. Each author offers a unique and thought-provoking analysis in an area previously under-explored or altogether missing from existing scholarship on the Whedonverse.
Stephen, an elbow rested on the jagged granite, leaned his palm against his brow and gazed at the fraying edge of his shiny black coat-sleeve. Pain, that was not yet the pain of love, fretted his heart. Silently, in a dream she had come to him after her death, her wasted body within its loose brown graveclothes giving off an odour of wax and rosewood, her breath, that had bent upon him, mute, reproachful, a faint odour of wetted ashes. Across the threadbare cuffedge he saw the sea hailed as a great sweet mother by the wellfed voice beside him. The ring of bay and skyline held a dull green mass of liquid. A bowl of white china had stood beside her deathbed holding the green sluggish bile which she had torn up from her rotting liver by fits of loud groaning vomiting. Buck Mulligan wiped again his razorblade. —Ah, poor dogsbody! he said in a kind voice. I must give you a shirt and a few noserags. How are the secondhand breeks? —They fit well enough, Stephen answered. Buck Mulligan attacked the hollow beneath his underlip. —The mockery of it, he said contentedly. Secondleg they should be. God knows what poxy bowsy left them off. I have a lovely pair with a hair stripe, grey. You’ll look spiffing in them. I’m not joking, Kinch. You look damn well when you’re dressed. —Thanks, Stephen said. I can’t wear them if they are grey …