{"title":"穿越:女性主义数字教学法与通识教育课堂的失败","authors":"Lauren M. Rosenblum, Laurel Harris","doi":"10.1353/tnf.2019.0002","DOIUrl":null,"url":null,"abstract":"abstract:In this article, we consider how a pedagogical approach that allows for failure can be at once valuable and fraught with consequences for marginalized students and faculty in general education classes. As feminist scholars and teachers, we embrace bell hooks's pedagogical ambition to \"restore the spirit of risk—to be fast, wild, to be able to … transform.\" In seeking the transformative possibilities of risk, we turned to digital pedagogy as a practice promoting what Katherine D. Harris calls \"productive failure.\" Experimental digital projects are often avoided in large general education classes due to the messiness of these projects and the demands on students and faculty to manageably navigate course requirements. 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引用次数: 2
摘要
在这篇文章中,我们考虑了一种允许失败的教学方法如何对普通教育课堂上的边缘化学生和教师既有价值又充满后果。作为女权主义学者和教师,我们拥护贝尔·胡克斯(bell hooks)的教学抱负,即“恢复冒险精神——快速、狂野、能够……转变”。在寻找风险的变革性可能性的过程中,我们将数字教学法作为一种实践,促进凯瑟琳·d·哈里斯(Katherine D. Harris)所说的“生产性失败”。在大型通识教育课程中,实验数字项目通常被避免,因为这些项目很混乱,而且学生和教师需要管理课程要求。然而,数字人文学科的实验可能性吸引了我们,作为一种重建通识教育文学课堂的手段,作为平等主义的、对话的和变革的空间,我们希望作为女权主义教育者来培养。因此,我们合作开发了奈拉·拉森1929年的小说《经过》的在线评论版本,分为两门大型的介绍性核心文学课程——一门在阿德尔菲大学(Adelphi University)秋季授课,另一门在莱德大学(Rider University)春季授课。这个项目创造了我们所寻求的社区氛围,但它没有像我们预期的那样具有包容性,也没有像我们需要的那样让学生的学习变得可见。我们的经验让我们质疑如何使用数字人文学科的方法来达到女权主义的目的。它进一步揭示了影响我们成功与失败的制度不平等。
Passing Through: Feminist Digital Pedagogy and Failure in the General Education Classroom
abstract:In this article, we consider how a pedagogical approach that allows for failure can be at once valuable and fraught with consequences for marginalized students and faculty in general education classes. As feminist scholars and teachers, we embrace bell hooks's pedagogical ambition to "restore the spirit of risk—to be fast, wild, to be able to … transform." In seeking the transformative possibilities of risk, we turned to digital pedagogy as a practice promoting what Katherine D. Harris calls "productive failure." Experimental digital projects are often avoided in large general education classes due to the messiness of these projects and the demands on students and faculty to manageably navigate course requirements. Nevertheless, the experimental possibilities of the digital humanities appealed to us as a means of reconstructing the general education literature classroom as the egalitarian, conversational, and transformative space we hope to foster as feminist educators. We thus collaborated on developing an online critical edition of Nella Larsen's 1929 novel Passing in two large, introductory core literature classes—one taught at Adelphi University in the fall and the other at Rider University in the spring. This project created the atmosphere of community we were seeking, but it failed to be as inclusive as we intended or to make student learning as visible as it needed to be. Our experience leads us to question how to use digital humanities approaches to feminist ends. It further sheds light on the institutional inequalities that shape our successes and failures.