Whereas transformative pedagogy is a well researched subject, intersectional feminist pedagogy and specifically Transversal dialogue has not been used to ease conflict in Catalonia. This research examines the potential for intersectional feminist pedagogy to change oppressive behaviours in both students and teachers in a classroom conflict in a Catalan secondary school. Using ethnography, the thesis describes and analyses a five month research process, which involved participant observation, participatory action research and anti-oppressive sessions using Transversal dialogue. By concluding that changes in oppressive behaviours in both teacher and students can be empowering, the research challenges the idea put forward by Kevin Kumashiro about changes occurring through crisis. Rather, I argue that Edyta Just’s adaptation of Deleuzian philosophy to pedagogy offers a more flexible framework to understand these changes. This thesis aims to contribute to intersectional feminist pedagogy by first demonstrating that changes in oppressive behaviours can occur in empowering ways and second that theories of how to bring about those changes need to be flexible.

As fully online course offerings continue to grow at colleges and universities around the country, we are faced with the challenge of preserving what we value in first-year writing while making the affordances of online environments work for our students. This dissertation explores how the online writing instructor, guided by feminist pedagogy and civic rhetoric, can begin to shift the center of power within the course, allowing students to become co-teachers and promoting the social construction of knowledge central to first-year writing. Facilitated by computer-mediated communication technologies, this approach relies on online activities that invite ongoing contributions from students, promote interactivity within the course, and facilitate a collaborative learning environment that can foster student success in online distance learning. Having studied the effects of these feminist moves on two sections of online first-year research and writing courses, I examine in this text their impact on the development of community, students’ impressions of their place within the community, and the decentering of the virtual learning space. Specifically, I explore how students can write to shape and to change our online community and how students tie their work within the course to their development as writers and critical thinkers. Ultimately, in combining the goals of feminist pedagogy, first-year writing, and civic rhetoric in our design and delivery of online writing courses, we can begin to fulfill our vision for significant learning experiences for our students that will be as good as or better than their experiences in the traditional classroom.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

<p>Black women are inventing new epistemologies to better fit their own experience, and they are putting these new ways of knowing into action within their communities to generate collective change through art. Black women’s theories of their own lived experience publicly have been consistently limited by narrow definitions of what it means to create a “Theory.” In this thesis, I will analyze the work of three contemporary Black woman performance artists, Ntozake Shange, Jamila Woods, and Nitty Scott, to identify the ways in which Black women do indeed theorize within these public spaces in ways that are innovative and complex. I focus on these artists insights on three critical sites: home, school, and community. I read Shange’s <i>for colored girls who have considered suicide when the rainbow is enuf,</i> Woods’ <i>Legacy!Legacy!</i>, and Scott’s <i>Creature!</i> alongside Patricia Hill Collins’ <i>Black Feminist Thought</i> and bell hooks’ <i>Teaching to Transgress</i> to explore the innovative theoretical spaces Black women have created in their art. Ultimately, I argue that acknowledging this process of using popular culture as a space for theoretical discourse can provide innovative tools for expression for Black women who do not, cannot, or do not wish to participate in academic discourses. Understanding these tools can empower Black women to explore their humanity and to understand the contexts, which Collins refers to as “domains,” in which Black women can claim and expand their power.</p>

Circe (2018) by Madeline Miller is a retelling of The Odyssey from the perspective of the witch Circe. The novel challenges the previous portrayal of Circe as a vindictive seductress and provides insight into the narrative of a woman negotiating a man’s world, in which she is denied autonomy due to her gender. This essay focuses on how oppressive structures prevent the protagonist to psychologically develop towards their true potential in Circe. Jungian psychoanalytic theory of individuation and archetypes are applied to analyze the psychological process. In addition, the impact of hegemonic masculinity in Circe is examined as it stunts the protagonist’s progress in individuation. Furthermore, Circe can be a tool in the English as a Foreign Language (EFL) classroom in upper secondary school to enable discussions on gender oppression and unjust social structures. A feminist reading of the individuation process in Circe can provide new insight into the effects of gender oppression as it concerns the psychological impact of unjust treatment.

This qualitative study explored the experiences and insights of four alumnae from a girls’ after-school writing program and the program’s transformative impact on development of their literacy, their voice, and their confidence. The writing program, InkGirls (a pseudonym), was for girls of color ages 13 to 18 who lived in metropolitan Los Angeles. Participants attended high-density public schools located in low-income neighborhoods. Curriculum and instructional practices in such public schools have been critiqued as substandard, rote, and lacking opportunities for critical thinking and student voice (Darder, 2015). Gender bias in the classroom, and the lack of representation of women of color in instructional materials also have been legitimate concerns in U.S. public schooling (Sadker, Sadker, & Zittleman, 2009). Using a theoretical framework of critical pedagogy (Freire, 2000) and critical feminist pedagogy (Weiler, 1988), this qualitative study investigated practices of critical literacy (Christensen, 2009) in the writing program that promoted development of literacy and voice and elevated the critical consciousness and social agency of the participants. The program’s elements of critical literacy included studying relatable texts, reading from critical perspectives, writing personal narratives, and completing social action projects in public readings for a live audience. The findings from the program’s curriculum and public readings, and the perceptions of the former participants pointed to critical literacy as an effective approach to literacy instruction and development of voice and agency.

This thesis describes the use of feminist performance pedagogy in working toward a Theatre for Young Audiences (TYA) practice that engages youth in social justice. Drawing on feminist and pedagogical theories, this document explores the processes of writing, rehearsing, and touring a new social justice play for youth called 'And Then Came Tango.' The qualitative study outlined in this MFA thesis uses feminist research methodologies to analyze the engagement of the playwright, the artistic team working on the production of 'And Then Came Tango,' and the second and third grade audiences that participated in the touring production and post-show workshops. The author weaves personal story throughout the document in order to create new meaning around the research experiences as well as to illustrate the personal dimensions of engaging in the struggle around LGBTQ injustice. The discussion invites future artists, educators, and activists to imagine how theory, aesthetics, artists, and communities collaborate in order to work toward socially just and interactive TYA. / text

This dissertation examines the feminist intersections of composition studies, visual rhetoric, and comics studies in order to identify a rhetorically interdisciplinary approach to composition that moves beyond composition studies’ persistent separation of qualitative and quantitative research methodologies, rhetoric and ideology, and analysis and composition. Chapter one transgresses the qualitative/quantitative divide using keyword analysis and visualization of 2,573 dissertation and thesis abstracts published between 1979 – 2012 to engage in what composition studies scholar Derek Mueller terms a “distant reading” of the extent and contexts of composition studies’ self-identified interdisciplinarity. Complementing my more traditional literature review, the results of this analysis validate the necessity of my analytical and pedagogical interventions by suggesting that composition studies has not yet addressed comics through the feminist intersections of visual rhetoric and critical pedagogy. Chapters two and three develop a rhetorical analytical approach to comics that moves beyond comics studies’ persistent separation of rhetoric and ideology by positing conflict as an identifiable form of rhetorical persuasion in the Martha Washington comics. These comics were collaboratively created by Frank Miller and Dave Gibbons between 1989 – 2007. Following feminist rhetorician Susan Jarratt’s case for rhetorical conflict as a pedagogical tool and extending Chicana feminist Chela Sandoval’s conceptualization of meta-ideologizing in which oppressive ideologies are re-signified via recontextualizations that juxtapose ‘old’ and ‘new’ signs of ideological meaning, I explore the rhetorically persuasive conflict arising from visual, conceptual, and embodied juxtapositions of race, class, and gender made visible in these comics. Chapter four outlines a feminist, critical, visual rhetorical – what I call prismatic – approach to composition pedagogy that requires (1) contexts in which differences and conflicts can be identified and engaged, (2) explicable sites of intersection between ideological perspectives and rhetorical construction, and (3) models for the transition from ideological critique to (re)composition. This is not an add-pop-genre-and-stir approach to composition pedagogy; rather, it intentionally deploys comics’ inherent multimodality as a challenge to students’ often narrow definitions of rhetoric and composition.