缝合(在)人类学课

Q1 Arts and Humanities
Lydia Maria Arantes
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引用次数: 0

摘要

作为一名在德语区文化人类学和欧洲民族学系(隶属于人文学院)任教的人类学家,我总是感到震惊的是,我们对化身在文化中的作用和对文化的作用了解得如此之多,而我们在教学中却很少利用这一点。出于这个原因,我决定扩展现有的高等教育教学法,把工艺(作为)实践放在我新开发的课程的中心,名为“危机时期及以后的DIY”。因此,我和我的学生们通过在课堂上练习刺绣来发展我们的思维,在此过程中穿插强制性阅读和(流行病)制作经验的叙述。借鉴以社区为基础的创意项目中的低门槛缝合方法,我们的共享和大多数新手缝合促进了正在进行的思想的表达,从而创造了一个空间,在这个空间中,关于社会(工艺)规范、可量化的生产力以及学术意义中心主义的主导观点可以暂时搁置,让位于体现智慧。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Stitching Together (in) Anthropology Class
As an anthropologist teaching at a German-speaking Cultural Anthropology and European Ethnology Department (pertaining to a Humanities Faculty), it always struck me how much we know about the role embodiment plays in and for culture and how little we make use of this in teaching. For this reason, I decided to expand established Higher Education pedagogy by putting craft (as a) practice at the centre of my newly developed course entitled DIY in Times of Crisis and Beyond. As a result, my students and I developed our thinking through and while practising embroidery in class, weaving in the mandatory readings and narrations of (pandemic) crafting experiences along the way. Borrowing from the low-threshold approach to stitching in community-based creativity projects, our shared and mostly novice stitching facilitated the articulation of thoughts-in-progress, thus creating a space in which dominant views regarding social (craft) norms, quantifiable productivity as well as academic logocentrism could be temporarily suspended, giving way to embodied wisdom.
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来源期刊
FormAkademisk
FormAkademisk Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.70
自引率
0.00%
发文量
11
审稿时长
15 weeks
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