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6 pages
1 file
2020
This dissertation is a narrative autobiographical story of my lived experience as an educator, and the ideas that have emerged to inform my pedagogical passions, philosophy, and practice. Beginning with the early years of my life, and moving through to the present day, I have attempted to uncover how it is I came to be the educator I am, or perhaps, aspire to be. This dissertation is a weaving of poetry, prose, artwork, short stories, and acknowledgments of others whose ideas have enriched my teaching. It is organized into six parts. Part One, The Forward, provides an overview and explores the writing of this dissertation, my methodology, and authors of significance to my inquiry. Part Two, Family and Schooling: In Search of Belonging, briefly describes the story of my childhood, and segues to stories of my elementary and high-school experiences. Part Three, The Later Years: Education, offers select recollections, and reflections from my post-secondary education, and illuminates connections to my current educational philosophy, and practice. Part Four, Just One Day, is a detailed narration of one day in my life as an educator, and highlights the influence of other educators, scholars, and writers on my practice. Part Five, A Legacy of Love: Foundations of Instruction, contains the curriculum that was developed for a faculty workshop in hopes of inspiring faculty to create welcoming, respectful, inclusive, and caring spaces of possibility for learning. Part Six: Pausing, includes reflections on the journey of writing this dissertation, thoughts for others considering a similar methodology, and finally, considerations for future inquiries. Evident from narrating my personal journey of family, schooling, higher education and my varied roles as an educator are sensitivities and sensibilities of significance to me, and my teaching including creating welcoming, inclusive and caring classrooms. My application to the Department of Educational Studies for a Doctorate of Education, Leadership and Policy is inspired by a triumvirate of intentions: to again engage in scholarly discourse with a cohort of similarly engaged colleagues to enable me to continue to critically reflect on, evaluate and enhance my praxis; to research the practices of post-secondary institutions that inhibit and prohibit the participation and engagement of mature adult learners, both first generation and returning, with the intention of contributing to the scholarship on post-secondary education and effecting change in the policies and practices at post-secondary institutions with which I am affiliated; to assume a senior leadership position in a post-secondary institution which will allow me enhance the access, participation, engagement and success of those mature members of our communities who aspire to higher education. However, my interest in continuing my studies and pursuing my doctorate is less about what I learned and more about what I did not, what I want to learn about, and what I don't yet know I don't know. There it is. The beginning of this dissertation as an intention, written on my application, nearly ten years ago now, "to continue to critically reflect on, evaluate, and enhance my praxis." That was the intention that came to fruition on these pages: to understand how the experiences of my life, and more specifically, my experiences of schooling, and of education, have informed who I am as a teacher, and how I teach. This dissertation does not follow a common structure often seen in the academy which includes chapters denoting a research question, the literature review, methodology, findings, implications and recommendations (Corbin & Strauss, 2015). Rather, this dissertation, through a weaving of prose, poetry, figures, and art, reflects on what Leggo (2012) described as "research as searching" (p.10). The writing follows the trajectory of my journey in education, beginning with my beginnings as a wee one in New Zealand, and winding forward to the present day, and my role as an administrator in higher education. Of course, it is neither feasible, desirable, nor necessary, to elucidate the entirety of my more than 50 years on these pages thus, what is observed on the following pages is selections of events, some of those from a very long time ago indeed, and yet, all of which connect, some tightly, others more tenuously, to my praxis. The dissertation is organized into six parts which I list briefly here and explain further below. Part One: The Foreward, provides the reader with an overview, and explores how I 4 found my way to the writing of this dissertation, a discussion of my methodology, and the authors whose ideas have significantly informed my inquiry. Part Two: Family and Schooling: In Search of Belonging, describes a little bit about the story of my childhood, and segues to stories of my elementary and high school experiences. Part Three: The Later Years: Education, is comprised of select recollections, and reflections, from my post secondary education, and illuminates' connections to my current educational philosophy, and practice. Part Four: Just One Day, provides a detailed account of one day in my life as an educator, and highlights the influence of other educators, scholars, and writers on my practice. Part Five: A Legacy of Love, offers a culmination of the preceding parts which contains the curriculum that was developed for a faculty workshop in hopes of inspiring faculty to create welcoming, respectful, inclusive, caring spaces of possibility for learning. Part Six: The Pause, concludes the dissertation with reflections on the journey of writing this dissertation, including thoughts for others considering a similar methodology, and finally, considerations for future inquiries. Finding the writer within The Continental Conversation I want to find a way, the way, anyway, to write this thing! I have absolutely no idea how I am supposed to do this. The red headed sage who so fiercely assures me I can, has me believing in the moment. But then we part, and she takes my courage with her. And I am left behind. Shrivelled, I sit in Café Continental with doubts, insecurities, unknowingness, uncertainties, seated at my table. I try to tell them they are not welcome here. They are interfering with my intention. But they peer haughtily at me over the rim of their cups, and cackle. I despair. Soon it engulfs me and I wonder what exactly I am supposed to do.
2015
Environment: Science and Policy for Sustainable Development, 2020
2014
Uisge Beatha as a metaphor: the water of life 2-2 Extract from original birth certificate 2-3 Extract from the front page of 'Bulletin' 2-4 Labels used in Auschwitz 2-5 Tattoos used to label prisoners, Auschwitz 2-6 Writing as research: A reflective process 5-1 Indigenous research and teaching approach 5-2 Dinawan Dreaming by Donna Moodie 10-1 First layout (A4 canvas size on Photoshop CS5) 10-2 Simplified layout 10-3 Diagonal panel creates a more dynamic feel 10-4 The map 10-5 The character ageing 10-6 Reversing stereotypes-8 year old student's writing 10-7 Year 2 student's poem FOREWORD At the heart of all imaginative writingand all writing makes demands on the imagination to a certain extentis a mystery: whatever it is that the writer is trying to reach or touch in herself/himself in the process of writing. One way of naming this mystery is to call it 'voice'the voice of the writer that is making itself heard in the world, or is already a powerful presence, or whose small utterances are all but stifled, or are audible mostly as the echoes of other voices; but nonetheless possessing the idiosyncratic rhythms and timbre of its owner-maker, what the poet and novelist Helen Dunmore calls each writer's 'linguistic register', more vital in establishing his or her distinctiveness than content (Dunmore 2012).Think how a baby's cry, devoid of any words, is instantly recognisable to the baby's mother. Writers, unlike other artists, Dunmore reminds us, use the common or garden medium of language, a doughty work-horse of an instrument, pressed into service by everybody for everything from shopping lists to car manuals, news bulletins, protestations of love, of rage. Despite the instantaneousness of digital communication, ours remains a text-based, in the old sense, societyin our education systems, credentials are still awarded on the basis of discursive text in forms like the one-hour essay composed under examination conditions or a doctoral thesis painstakingly put together over several years. For those employed in higher education, in the civil service and in most professions, the authored textjournal article, ministerial speech, application for grant-funding, end-of-project report, edited book, counsel's brief, detailed lesson plancontinues to serve as a principal marker of status attained or credibility sought. Because such discourses are by and large instrumental, people may experience writing within them as imposed, performative, straitening, even as they become adept at (re)producing the desired texts, and even as they undoubtedly take pleasure in doing so. They are joining a club, learning to speak the language; they are becoming authors, acquiring authority. Perhaps inevitably, then, people often assume that it is only in 'personal' or 'creative' writing that one's own voice can be truly, authentically expressedthe still small voice above the thunder of the crowd, the chatter of the club. Myself, I've comeover many years of writing for academic and policy audiences, as well writing poetry,
2006
Becoming a college professor brings both the feeling of self-accomplishment and discernment regarding this prestigious achievement. Most doctoral candidates are practitioners in the eld of public education and will hopefully transition from a principalship to the oce of a college professor. While this journey is lled with personal attainment, some of the doctoral graduates experience a variety of struggles along the way to their positions in higher education. This study examined this journey for some of those who have made the move. The questions posed to the participants centered on the benets, disadvantages, and suggestions on ways to assist fellow completers who have decided to take a position in higher education. Four primary struggles were identied as a result of the study: (1) struggle with the role, (2) struggle with self, (3) cultural struggle, and (4) future struggles. Through a narrative approach, the participants addressed their feelings regarding the move to a professorship, struggles they faced along the way and the impact the professional change had on their lives. *
Feminist Formations, 2016
ARTMargins
Following from a series of conversations that have been taking place sporadically between us 1 in the past years, the current contribution serves as another opportunity to address ways of living multiple institutional lives. In our respective contexts, these pertain to different types of institutions, ranging from art school/academy, to university, to art or cultural organization/collective. Here we explore ways of traversing the boundaries and frictions between radical classroom practices and the institutional processes and frameworks that we speak and act within and against in the context of European higher arts education; all these environments are deeply entrenched in coloniality. We are drawn to radical classroom practices that experiment with forms of sociality that go beyond the dominant, modern-colonial model of meritocracy that dictates our lives in the academy and the labor market. We are interested in un/learning from accounts of educational practices in the lineage of pedagogues including Paulo Freire, bell hooks, Ivan Illich, Sandy Grande, Eve Tuck, Gesturing Towards Decolonial Futures, Gayatri Spivak, and Fred Moten/Stefano Harney. All these thinkers and practitioners share a perspective on education not as the solution to a problem but as a part of the problem (while still they engage in educational-institutional practices themselves). This 1 For more information, see the Contributor bios.
Reflective Practice
The higher education landscape has been amidst change over recent years. At the time of writing this paper, the pandemic outbreak has had a substantial impact on the higher education sector. This was our last year as early career researchers, but the prospect of promotion was replaced with managing unpredicted short-term job insecurity. In writing this article, we engage with collaborative diffractive autobiographical writing, remembering , reconnecting and re-experiencing our autobiographical accounts, written at the beginning of our transition into academia. Through diffractive analysis, we shifted from positivistic approaches that assume a rigid separation between observer and the observed, to engage in an ongoing (re)pattering and (re)(con)figuring of our identities during this transition. In an intentional disruption of binary, we engage in writing as an event of interaction with texts, allowing ourselves to be affected by and experience these propositions in their mutual entanglements.
Mujeres migrantes y reescrituras autobiograficas Migrant Women and Autobiographical Rewriting, 2024
Бидер И.Г. Формальная модель русской морфологии I / И.Г. Бидер, И.А. Большаков, Н.А. Еськова ; Отв. ред. В.Ю. Розенцвейг. – М., 1978. – 48 с. – (Предварительные публикации / Институт русского языка АН СССР ; Проблемная группа по экспериментальной и прикладной лингвистике. Выпуск 111).
2022
Annales historiques de la Révolution française 2017/4 (n° 390), pp. 155 – 174., 2017
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