This book explores the generative power of vulnerabilities facing individuals who inhabit educational spaces. We argue that vulnerability can be an asset in developing understandings of others, and in interrogating the self. Explorations of vulnerability offer a path to building empathy and creating engaged generosity within a community of dissensus. This kind of self-examination is essential in a selfie society in which democratic participation often devolves into neoliberal silos of discourse and marginalization of others who look, think, and believe differently. By vulnerability we mean the experiences that have the potential to compromise our livelihood, beliefs, values, emotional and mental states, sense of self-worth, and positioning within the Habermasian system/lifeworld as teachers and learners. We can refer to this as microvulnerability—that is, those things humans encounter in daily life that make us aware of the illusion of control. The selfie becomes an analogy for the posturing of a particular self that reinforces how one hopes to be understood by others. What are the vulnerabilities teachers and learners face? And how can we joker, as Norris calls it, the various vulnerabilities that we inherently bring into teaching and learning spaces? In light of the divisive discourses around the politics of Ferguson, Charlie Hebdo, ISIS, Ebola, Surveillance, and Immigration; vulnerability offers an entry way into exhuming the humanity necessary for a participatory democracy that is often hijacked by a selfie mentality.
At the beach, bodies converge with the elements and strange treasures come to light. Departing from the conventional association of modernism with the city, this book makes a case for the coastal zone as a surprisingly generative setting for twentieth-century literature and art. An unruly and elusive confluence of human and more-than-human forces, the seashore is also a space of performance—a stage for loosely scripted, improvisatory forms of embodiment and togetherness. The beach, Hannah Freed-Thall argues, was to the modernist imagination what mountains were to Romanticism: a space not merely of anthropogenic conquest but of vital elemental and creaturely connection. With an eye to the peripheries of capitalist leisure, Freed-Thall recasts familiar seaside practices—including tide-pooling, beachcombing, gambling, and sunbathing—as radical experiments in perception and sociability. Close readings of works by Marcel Proust, Virginia Woolf, Claude McKay, Samuel Beckett, Rachel Carson, and Gordon Matta-Clark, among others, explore the modernist beach as a queer refuge, a precarious commons, a scene of collective exhaustion and endurance, and a visionary threshold at the end of the world. Interweaving environmental humanities, queer and feminist theory, and cultural history, Modernism at the Beach offers new ways of understanding twentieth-century literature and its relation to ecological thought.
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