This paper provides a critical examination of inclusion as a pedagogic principle through a practicebased interrogation of contemporary 'good practice' strategies for encouraging inclusion in smallgroup teaching. The analysis emerges from our experiences of delivering four classroom exercises that are frequently proposed as strategies for increasing inclusion, and borrows insight from critical intersectional feminist pedagogy to interrogate normative discourses of inclusion in HE. We argue that both the terms of inclusion, and the assumption that (verbal) participation is itself a straightforward sign of improving inclusion in classroom spaces, require interrogation. This article thus responds to the proliferation of inclusion discourses in contemporary UK HE, by identifying some of the potential pitfalls of viewing inclusion through the limited lens of participation.
This article offers a reading of Ken Loach’s 2016 film I, Daniel Blake, a fictionalised account of experiences of the UK welfare system in conditions of austerity. We consider, firstly, the significant challenge the film poses to dominant figurations of welfare recipients under austerity, through a focus on vulnerability to state processes. We follow with a reading of some of the film’s interventions in relation to reciprocity, drawing on the important trajectories of care, community and resistance that the film renders visible through the collective stories of the major characters. Finally, we conclude with reflections on citizenship, subject narratives and alternative imaginaries of ‘deservingness’. Our article offers an ‘against the grain’ reading (hooks, 1996; Wearing, 2013) of the film, highlighting some of the radical possibilities of the more minor moments, character arcs and subject positionalities within the film’s central narrative of Daniel’s experiences in the shadow of the steadily crumbling welfare state.
Ann Cvetkovich begins Depression: A Public Feeling with The Depression Journals-thirty pages on her experiences of stagnation, isolation and despair that occurred alongside the development of her academic career. Like the memoir genre to which Depression: A Public Feeling often responds, these passages are individual stories of personal struggle with, and later treatment for, depression. However, the short memoir also introduces the political questions through which Cvetkovich considers these moments of despair, and as such, the contribution that her descriptive approach to depression offers feminist studies.
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