Mapping the Affective Turn in Education 2020
DOI: 10.4324/9781003004219-2
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Cited by 36 publications
(27 citation statements)
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“…While sensory education and embodied learning have traditionally been suppressed (Thyssen and Grosvenor, 2019), more recently, increasing efforts have been made to enact learning and education while taking into account their sensory and sensuous aspects (Todd et al, 2021), often in relation to the affective turn (Dernikos et al, 2020b). The senses, the body, and the affect have been addressed in organization studies—either in a singular or in an entangled way—in critical reflection (Rigg, 2018) as well as in professional (Antonacopoulou and Taylor, 2019) and entrepreneurial practice (Vogt et al, 2021).…”
Section: “If a (Queer) Revolt Is To Come”mentioning
confidence: 99%
“…While sensory education and embodied learning have traditionally been suppressed (Thyssen and Grosvenor, 2019), more recently, increasing efforts have been made to enact learning and education while taking into account their sensory and sensuous aspects (Todd et al, 2021), often in relation to the affective turn (Dernikos et al, 2020b). The senses, the body, and the affect have been addressed in organization studies—either in a singular or in an entangled way—in critical reflection (Rigg, 2018) as well as in professional (Antonacopoulou and Taylor, 2019) and entrepreneurial practice (Vogt et al, 2021).…”
Section: “If a (Queer) Revolt Is To Come”mentioning
confidence: 99%
“…A visceral prompt' (p. 79). Dernikos et al (2020) depict affect as 'scratchings'the 'flickers and ruptures' (p. 4) that push bodily sensations in different (new) directions. Affects, for Seigworth and Gregg (2010), are the forces that arise 'in the midst of in-between-ness' (p. 1) while, for Stewart (2007), affects are simply ordinary -'things that happen' but, these 'things that happen' can be 'funny, perturbing or traumatic' (p. 2).…”
Section: Dillonmentioning
confidence: 99%
“…Our intent was to uplift the young people's expressions in order to (re)present their experiences through an affective medium. To do so, we engaged with recurring tensions, including the sense of competition juxtaposed with allyship, that were both normative and transformative (Dernikos et al, 2020;Faulkner, 2017). We played with fonts, spacing and text placement, remembering that formatting is key to this arts-based, experimental practice (Faulkner, 2017;Fitzpatrick, 2018;Glesne, 1997;Richardson, 2000).…”
Section: Poetic Inquiry and (Re)presentationmentioning
confidence: 99%
“…As noted previously, there was very little talk at all happening during the play, but there were lots of human and nonhuman bodies moving together. Likewise, always in the frame, but perhaps barely perceptible, were sounds—sounds extending into bodies and bodies extending into sounds (Dernikos et al, 2020), sounds that launched an alternative to the white supremacist world of Man. These sounds, entangled with fleshy bodies- blackness -costumes-cardboard swords/shields-superhero comics-air-dirt-capes (and so on), created intensities that fueled the boys’ play, enabling them to use their bodies to improvise, “re-mix” (Weheliye, 2005), and write stories.…”
Section: Swords and Shields: Re-turning To The Eventmentioning
confidence: 99%