This thesis is a study of the cultural politics of environmentalism in an era of climate change and the public curriculum that it generates. Scientists and the policy elite alone are unlikely to solve the ‘wicked problem’ of climate change, even in the unlikely scenario that consensus was reached and concerted international action was forthcoming. Increasingly, it is recognised that institutional learning through technocratic refinements of the status quo are inadequate. Although there is widespread belief that anthropogenic global warming is an urgent problem, political action has not followed scientific knowledge, because we have been slow to recognise the problem’s cultural implications. A range of voices within the environmental movement (broadly conceived) have increasingly challenged technocratic policy framing, with new ways of thinking. By widening the debate these critical voices increase the possibility of learning to react in new ways, which increase the capacity for collective agency. Based on this assessment, the aim of this thesis is to explore the ways in which the cultural politics of particular activist milieus generate public curriculum, through catalyzing the relationship between the cultural politics of civil society and the political culture of the state. From the 1960s onwards, the environmental movement has undergone a process of differentiation and specialisation, such that distinct cultural formations – oriented around direct action, relocalisation, and professional campaigning – emerged. Different ideal typical modes of “climate change communication” – agonistic pluralism, public participation, and social marketing (Carvalho & Peterson, 2012) – can be mapped onto the public pedagogies of these activist cultures. Political theorist Chantal Mouffe (2005, p. 20) uses the term agonistic pluralism to describe a situation where the “adversary” is understood in a productive sense to be “a crucial category for democratic politics”: where this is denied, we/they relations are understood to be “antagonistic” in the sense that conflicting parties do not recognise the legitimacy of one another. This view recognises the power play and affective commitments that determine modes of political association. On the other hand, “public participation” views politics as constituted through non-partisan rational deliberation in legitimate public fora. Finally, “social marketing” approaches discard the notion of people as rational decision makers, but also discard the principle of public participation in favour of the notion that political communication can be improved through expert evidence-based interventions. Cultures of direct climate action tend towards agonistic communicative styles, characterised by contestatory moments and a public pedagogy of “defining the enemy” (Newman, 1994). On the other hand, this approach has been perceived as problematic by movement intellectuals in relocalisation movements, who have argued that the non-politicised experimental practices of local communities, which engage optimistically with a sense of the possible, may in the long run, be more productive of the kind of mass cultural value shift required in order to tackle climate change. More recently, reflecting their own situated organisational structures and actor-networks, knowledge workers in the professional campaigning sector have increasingly applied insights from social psychology, behavioural economics, and cognitive science in order to find ways that engage tacit cultural values and norms in their public pedagogical efforts. In seeking to ascertain the ideal conditions for communication, the ENGO sector aligns most closely with a ‘social marketing approach’ to public pedagogy. Working with the ‘agonistic’ discourse theory of Chantal Mouffe and Ernesto Laclau, I believe that all cultures of activism necessarily engage in a contingent politics of articulation, at the heart of which lies antagonism and hegemonic struggle. In this thesis, I construct an intertextual research model, capable of exploring the contingent processes of articulation within cultures of climate change activism, between them, and between the movement at large, and the wider public, as they engage (implicitly or explicitly) in hegemonic struggles that provide moments of educative potential to activists, bystanders and politicians. I argue that the public pedagogies of these cultures of activism cohere around the articulation of what Laclau (2005) would call “empty signifiers”, which link particular claims, interests, and identities through creating a frontier separating them from an outside, which partially constitutes the inside’s identity.

Lesbian, gay, bisexual, transgender, and queer (LGBTQ) students, students of color, and students with disabilities are failing school and being pushed out at much higher rates that majority populations students while also experiencing high rates of bullying, harassment, and physical violence in school. This study explores efforts to reduce the violent experiences and academic disparities for these students through teacher practice at the classroom level. It examines public pedagogy and conflict pedagogy as curricular strategies in a preservice teacher education course over 5 years. The course aims to develop and support an advocate/activist teacher identity, a teacher identity that is not neutral and can challenge and disrupt the ideas and practices that have become normalized in our schools. This research draws on three theoretical frameworks to inform the design and analysis of this study on teacher identity: poststructuralism, feminist pragmatism, and queer theory. These theories provide a conceptual vocabulary for critically examining anti-oppressive teacher education curricula. Specifically, this work looks at the way public and conflict pedagogy can be used to achieve anti-oppressive curricular ends through the potential impact on preservice teacher identity.

This project adopts the framework of World Systems Analysis [WSA], formulated by global sociologist Immanuel Wallerstein, to take the entire world system as the unit of analysis. Drawing on the work of Paulo Freire, the seminal theorist of critical pedagogy, this project couples WSA with the analytic lens of public pedagogy to overcome the conceptual limitations of ideology and of various postmodern critiques. Primary media sources are used for purposes of critical political economy, to outline the contours of economic changes and class formations from the first world revolution. A detailed descriptive history of the revolutions that swept across Europe in 1848 recovers narratives from that critical juncture. I discuss prominent public pedagogies via analysis of primary print media sources like the London Times. Focusing on hegemonic shifts in the world system around 1848, I throw light on movement-media cracks in the British Empire, while also uncovering oft-ignored resistance, insurrections and utopian experiments in the Americas. Pedagogies of conspiracy theory and Manifest Destiny legitimated US aggression against Mexico as the former took initial steps toward becoming a world system superpower. Problems and pedagogies from 1848 are also updated and examined in light of the contemporary society-media context to consider cracks in the existing system and learn from the past new possible paths out of the world system’s terminal structural crisis.

On April 16, 2007, Virginia Tech became the site of the deadliest school shooting in U.S. history (Breed, 2007). Because of the tragedy at Virginia Tech, news reports all over the U.S. probed about what caused the perpetrator, Seung-Hui Cho, to kill 32 students and faculty members. As the mainstream media talked about the possible causes, they ultimately pointed out that Cho's silence should have been detected as a warning sign to his violent rampage. As a result, the media named Cho a "silent killer." Due to the U.S. media's construction of silence through Cho, I argue that the news coverage helped perpetuate the notion that silence is not only a negative attribute in education, but it is also a dangerous behavior that can pose a threat to people's safety. Therefore, I ask in this dissertation, how did the news coverage of Virginia Tech serve as a public pedagogy of silence? That is, I argue that the news coverage of Virginia Tech served as what Giroux (1994) calls "public pedagogy" in which the media educate and influence the public about how silence should be understood in the classroom. With the media's construction of silence through Cho, it is timely to address how the meaning of silence has changed pedagogically. Even though numerous scholars have written about silence, very few--if any--frame silence within the performance paradigm, specifically in pedagogy. In this dissertation, I introduce silence as a pedagogical performance by using critical communication pedagogy as a theoretical framework to deconstruct problematic media constructions of silence. Through the use of cultural criticism, I analyze 36 mainstream U.S. mediated texts (e.g., newspapers, magazines, and news transcripts) to understand how the media rhetorically defined and constructed silence as a dangerous behavior. I also use an interview as part of multi-methodological approach to cultural criticism, adding clarification on how the surveillance of student behaviors, bodies, and pedagogical practices that do not fit the image of safety affect students in university classrooms.

In this project, I theorize public pedagogy in rhetoric and composition by examining a series of case studies within the writing programs and departments of the University of Arizona, Syracuse University, and Oberlin College. This cross-institutional study employs comparative analysis of historical, pedagogical, and institutional documents, as well as interviews I conducted with 19 faculty, administrators, and graduate teaching assistants. First, I draw on archival data to construct institutional histories that trace "town and gown" relations and institutional commitments to equality, social justice, religious and moral education, and the ideals of a land-grant mission. Then, building on these histories, I identify administrative practices that offer sustainable models for long-term public pedagogies. This research employs stakeholder theory to examine what is at stake for students and instructors engaging in public pedagogies. More specifically, I use transformative learning theory to discuss the potential rewards for students who "go public" with their writing and experiences. Finally, I examine classroom practices of instructors and argue for a theory of public pedagogy that is rhetorical, transformative, and located. I offer a model that suggests how writing program administrators might locate public pedagogies within their institution, program, and/or classrooms. I also provide instructors of rhetoric and composition with a series of questions and a graphic for usage when developing public pedagogies within their courses. This study contributes to current scholarly conversations about public writing, community outreach, and civic engagement by examining how programs and pedagogies function across different institutional contexts.

abstract: This project explores television as the mediation of lived experience through a semiotic phenomenological lens. To do so, this thesis explores representations of gendered violence in self-identified feminist, Sally Wainwright's two shows: Last Tango in Halifax (2012) and Happy Valley (2014). By employing a phenomenological framework to Sally Wainwright's own relationships and experiences, I will seek to examine the semiotic codes embedded in the interactions between women in Happy Valley and Last Tango in Halifax. This will also provide a foundation for discussion on how and why the characters in her shows appear in ways that submit to and subvert the dominant 21st century understanding of 'feminine' on television. / Dissertation/Thesis / Masters Thesis Social and Cultural Pedagogy 2017

This study examines ethical decision-making processes as practiced by the cultural mythic hero of our time: the superhero. This study conducts a rhetorical narrative analysis of three key superhero films (The Dark Knight, Captain America: Civil War, Avengers: Infinity War) to locate moments when superhero characters make ethical decisions. The study evaluates their decision-making process using three ethical frameworks selected for their popularity in ethics courses as well as their relevance to the subject material; deontology, virtue ethics, and utilitarianism. Superheroes are famous for doing ‘the right thing’, and the purpose of this study is to determine to what degree these films function as an ethics education tool for the public which consumes them. In other words: do these films have a potential to instruct the viewer in answering ‘what is right’? This study looks closely at the ethical decision-making process in superhero films and determines the ways in which superhero films may indicate a potential for teaching ethical theory when these characters make the moral decisions for which they are famed. This study determined that utilitarianism and virtue ethics are both highly visible in superhero films, but rather than serving as a medium for learning, these films build and glorify a cult of personality. Ultimately, these films create messages which encourage the viewer to blindly accept ethical decisions made by the powerful, and to tolerate – and even crave – a tyrannical ruler. Because of the cultural impact these films have, a propagandistic message like this reaches millions of people, and it is vital to understand what the contents of that message are. / Media & Communication

The purpose of this study was to investigate the impact of popular culture, especially prime-time television, on women learner-viewers’ identity development. More specifically, this study explores one specific television show, the 1962-64 Cathy Gale episodes of The Avengers as a portal to adult learning. It further explores the ways in which television, as a form of public pedagogy, can help facilitate the formation of a critical or feminist identity among adult learner viewers. The research questions guiding this study were: 1) How and what did women learn from watching The Avengers? 2) How did women incorporate that learning into their lives and into their identities? and 3) How did women interpret and accommodate the feminist example of Cathy Gale? Data for this study was collected over a two-and-a-half year period. Data consisted of interviews with contemporaneous viewers of the Cathy Gale Avengers episodes, interviews with scriptwriters and the actor who played Cathy Gale, Honor Blackman, numerous documents from statistics obtained at the British Film Institute, fanzines, and newspaper articles of the period. Analysis revealed that in particular historical times and situations television viewing can become a form of public pedagogy, facilitating transformational learning in adult viewers that produces lasting, life-changing effects. The investigation revealed that not only did biologically-born women incorporate Cathy Gale’s feminist example into their identities and actions, but biologically born males whose core gender identity was female did also. This dissertation is written in article format. Each of the six sections has been designed as stand-alone pieces to aid accessibility and enhance readers’ engagement with the study.

The purpose of this study was to investigate the impact of popular culture, especially prime-time television, on women learner-viewers’ identity development. More specifically, this study explores one specific television show, the 1962-64 Cathy Gale episodes of The Avengers as a portal to adult learning. It further explores the ways in which television, as a form of public pedagogy, can help facilitate the formation of a critical or feminist identity among adult learner viewers. The research questions guiding this study were: 1) How and what did women learn from watching The Avengers? 2) How did women incorporate that learning into their lives and into their identities? and 3) How did women interpret and accommodate the feminist example of Cathy Gale? Data for this study was collected over a two-and-a-half year period. Data consisted of interviews with contemporaneous viewers of the Cathy Gale Avengers episodes, interviews with scriptwriters and the actor who played Cathy Gale, Honor Blackman, numerous documents from statistics obtained at the British Film Institute, fanzines, and newspaper articles of the period. Analysis revealed that in particular historical times and situations television viewing can become a form of public pedagogy, facilitating transformational learning in adult viewers that produces lasting, life-changing effects. The investigation revealed that not only did biologically-born women incorporate Cathy Gale’s feminist example into their identities and actions, but biologically born males whose core gender identity was female did also. This dissertation is written in article format. Each of the six sections has been designed as stand-alone pieces to aid accessibility and enhance readers’ engagement with the study.

Contemporary popular music is a ubiquitous social, cultural, and pedagogical force. Enabled by ever-evolving and -expanding technology, its songs and lyrics are transmitted into our most public and private spaces. For this study, I present the Billboard music charts as a functioning pedagogy and curriculum. Riffing on Richter’s denkbilder, Aoki’s curricular worlds of plan and lived experience, Giroux’s public pedagogy, and Giroux & Simon’s theorizing on youth culture, I sound out messages and motives embedded within the hit parade pedagogy. DJing a methodology of qualitative inquiry, autoethnography, and free association, I listen closely to chart-topping songs by Lady Gaga, Katy Perry, and P!nk that feature themes of marginalization, and consider the paradox presented by the juxtaposition of their popularity and subject matter. I suggest that this playlist legitimizes and perpetuates its listeners’ marginalization, running counter to its supposed intent to galvanize and inspire. Before signing off, I consider the implications for school-based educators and pedagogy in regard to engaging marginalization, particularly the notion of implementing a curriculum with which students may participate and sing along.