In this submission I explore the role played by discourse in the development of pupils' understanding of school-subject knowledge in secondary school classrooms in England, following changes to GCSE (General Certificate of Secondary Education) specifications in 2015. Changes to the structure, the subject content, and the assessment of GCSEs were made in an effort to focus on 'powerful knowledge' during the Key Stage (KS) 4 curriculum (for pupils aged 14 - 16 years old) and in order to promote an emphasis on knowledge that is based on academic disciplines. My research looks at the concept of powerful knowledge, based in a critical realist epistemology and a social realist theory of knowledge, and the extent to which all young people are likely to access knowledge that is powerful in the classroom. I argue that access for all pupils to the means by which to judge knowledge claims and thereby challenge and change society - the transformational power of knowledge - underpins a social justice agenda. My research explores a less-developed aspect of the social realist debate on powerful knowledge, a pedagogic discourse to enable a move away from merely teaching factual or content knowledge. I propose that for knowledge to be powerful teachers and pupils need to be 'epistemologically aware'. My case-study research contributes new empirical findings to the literature on pedagogic discourse for a powerful knowledge curriculum. I discuss the learning trajectories of 15 pupils (including five from socio-economically disadvantaged backgrounds) from two Year 10 'case' classes observed over a 12-week period, during which they studied a novel as part of their GCSE English literature course. 'Thinking notes' and concept mapping were introduced as innovative data-gathering and analytical tools with which to gain a unique and detailed analysis of pupils' learning over the series of lessons given during the 12-week period. I discuss the teachers' conceptual framing of their discipline and the role that this, together with pupils' experiences and backgrounds, has in the re-contextualisation of discipline-based knowledge in the classroom. I conclude that pedagogic discourse that makes the epistemic logic and related concepts of a subject explicit - an epistemological awareness - may enable pupils from both disadvantaged and non-disadvantaged socio-economic backgrounds to build systems of meaning that transcend their everyday understanding of the world and the context in which they view it to access powerful knowledge. I present a conceptualisation of a powerful knowledge pedagogic discourse for the study of a novel in the KS4 English literature classroom.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Sociology, 2005. / Includes bibliographical references.

Indiana University-Purdue University Indianapolis (IUPUI) / For women in patriarchal societies, life is stitched with silence and violence. This is especially true for women of color. In a world that has cast women as invisible and voiceless, to create from the margins is to demand to be seen and heard. Thus, women’s art has never had the privilege of being art for art’s sake and instead is necessarily involved in the work of articulating and (re)writing female experience. When women seek, through their work and art, to feel deeply and connect with other women, they tap into what Audre Lorde has famously termed “the power of the erotic.” Lorde suggests that to acknowledge and trust those deepest feelings within our bodies is a subversive power that spurs social change. In the following work, novels by Kate Chopin, Gayl Jones, and Edwidge Danticat are linked by their female characters who seek the erotic via their art of choice and, in doing so, resist disempowerment and explore the life-giving nature of female connection. Furthermore, because the authors themselves are engaged in rendering the female experience visible, the novels discussed actively converse with their respective waves of feminism and propel social activism and feminist discourse. Hence, this project provides both a close reading of The Awakening, Corregidora, and The Dew Breaker, and a broader contention on the role of women’s literature in social justice.

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

Indiana University-Purdue University Indianapolis (IUPUI) / My thesis examines the ways in which female performance poets deliver their messages and how those messages inspire, affirm, and encourage their audiences. From the traditions of outsider art—Beat poetry, feminist poetry, jazz, folk, punk, and rap—feminist performance poets choose the public sphere as a platform to witness to social injustices. In naming inequality, these poets challenge patriarchal foundations of gender roles, question academia’s criteria as to what constitutes “good” poetry, and expose social injustices. In this thesis, I examine the work of feminist performance poets Ani Difranco, Alix Olson, Andrea Gibson, Ursula Rucker, and Jessica Care Moore as examples of a new way of reading. Their work is significant in that they continue the tradition of feminist poetry by challenging the patriarchal status quo through a re-socializing and accessible style. Their work allows audiences to commune together in shared experience and promotes social change by demystifying cultural norms and gender codes in order to expose the exclusivity in patriarchal ideologies. These poets draw on a woman-centered spirituality, subvert misogynistic feminine archetypes, pay homage to ancestors and foremothers, and address issues of the body—naming oppression yet making room for pleasure.

Within the last three decades, contemporary North America came to reinvent a socially focused genre of literary personal narratives. These new editorial and writing projects, published in the form of collections of personal narratives, emerged as a tool for the socially voiceless to secure some measure of agency in their contemporary social and cultural situation. Projects such as the Freedom Writers’ Diary or volumes of the Voice of Witness book series fit in the process that is currently labeled social empowerment. Witnesses express a deep urge to share their story in the hope to denounce their experience of an enduring social injustice. The written word, primary a means for self-disclosure, serves to exorcise the suffering associated to this specific predicament. The narrators engage in a powerful self-investigative gesture oriented towards resilience and renewed enfranchisement in regaining control over their life and environment. At the moment of publication, however, these testimonies come to be validated as authentic examples of the injustices they disclose. These examples serve an educational purpose: raising the audience’s awareness and opening deliberative fora for these issues to be discussed and for solutions to be hammered out and eventually implemented. <p>The purpose of this dissertation is to propose a theoretical model for the subgenre of testimonials of social empowerment. With the concept of empowerment as groundwork, the model develops a textual approach framed in a psychosocial structure. I argue that testimonials may be described as examples of Jürgen Habermas’s communicative action. As speech acts aimed at reaching understanding, testimonials capitalize both on the binding and bonding aspects of illocutionary force in the hope to secure with their audience an ongoing dialogue over issues of social justice. The volumes, as unofficial public spheres, mobilize the normative and practical dynamics at work in social movements. These dynamics express as two narrative guiding threads: an aesthetic based on impact, and an ethics based on responsibility. The texts’ aesthetic develops a form of perlocutionary realism instantiating a sense of authenticity and sincerity embodied in the narrators’ voices. The resulting impact is coupled to moral concerns based on a polysemic understanding of social responsibility, on which narrators seek to build their narratives’ ethical potential. A series of case studies allowed to demonstrate that both narrative threads are realized as an appropriation of four paradigmatic forms of rhetorical ethos, each based on a specific realm of the social world: intimacy, justice, spirituality and activism.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished