The Touch of the Past: Remembrance, Learning, and Ethics 2005
DOI: 10.1007/978-1-137-11524-9_8
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Remembrance as Praxis and the Ethics of the Interhuman

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Cited by 11 publications
(12 citation statements)
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“…While a number of scholars (see Zembylas, 2014) explore what renders knowledge difficult in the context of museum studies (Simon, 2011); language and literacy (Tarc, 2011(Tarc, , 2015; and history education (Farley, 2009;Hoffman, 2000;Simon, DiPaolantonio & Clamen, 2002), Britzman's questions over difficult knowledge also hold direct relation to the workings of a social justice education. By many accounts, social justice teaching is premised on the notion that education has the social responsibility to address systems of oppression by cultivating praxis-oriented dispositions in students (Adams, Bell, & Griffin, 1997;Macrine, McLaren, & Hill, 2010;Oakes & Lipton, 2003).…”
Section: Difficult Knowledgementioning
confidence: 99%
“…While a number of scholars (see Zembylas, 2014) explore what renders knowledge difficult in the context of museum studies (Simon, 2011); language and literacy (Tarc, 2011(Tarc, , 2015; and history education (Farley, 2009;Hoffman, 2000;Simon, DiPaolantonio & Clamen, 2002), Britzman's questions over difficult knowledge also hold direct relation to the workings of a social justice education. By many accounts, social justice teaching is premised on the notion that education has the social responsibility to address systems of oppression by cultivating praxis-oriented dispositions in students (Adams, Bell, & Griffin, 1997;Macrine, McLaren, & Hill, 2010;Oakes & Lipton, 2003).…”
Section: Difficult Knowledgementioning
confidence: 99%
“…However, the closeness of pain that arises from personal grief cannot be confused with the distanced emotions that are generated through the consumption of spectacles of violence. As Simon, Di Paolantonio, and Clamen (2005) noted, spectacle "is not a thing, it is not an event or even a particular representation of an event.…Rather spectacle is a particular mode of attentiveness.…It is a way of entering the significations of social" (p. 143). Through this mode of attentiveness, we experience the narrative of violence while still maintaining a position of exteriority:…”
Section: March 2008mentioning
confidence: 99%
“…'The magic lantern was the obvious mechanical analogue for the human brain, in that it "made" illusory forms and projected them outward' (Castle, 1988: 58, see also ; Buck-Morss, 1991Cohen, 1993;Simon et al, 2002). Beyond the connection to magic lantern technology, phantasmagoria also recalls a kind of feverish state of mind evocative of the romantic period.…”
Section: Relating To the Other Phantasmagoricallymentioning
confidence: 99%