The concept ‘silence’ has diametrically opposed meanings; it connotes peace and contemplation as well as death and oblivion. Silence can also be considered a practice. There is keeping the rule of silence to still the mind and find inner truth, as well as forcibly silencing in the sense of subjugating another to one's own purposes. The concept of teaching runs the gamut between these extremes, from respectfully leading students to search and discover, to relentlessly bending them to one's own will. (...) This article examines contradictory connotations and practices of silence and teachers’ ambivalent perceptions of it in order to conceptualize a positive practice of silence for teacher education. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A person’s (...) actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

This article reveals that the original owner of a first edition copy of John Calvin’s Commentarii in Isaiam Prophetam in the collection of the John Rylands Library was not the unknown David Forrest of Carluke, Lanarkshire as asserted and recorded by Alexander Gordon, Principal of the Unitarian Home Missionary College, Manchester, from whom the library acquired the book, but was the recognised Scottish Reformer and compatriot of John Knox, David Forrest of Haddington. An investigation into Forrest’s background, gleaned mainly from (...) contemporary documents, provides biographical details and an insight into the role this reformer played during the Scottish Reformation and demonstrates that Forrest’s ownership of the Calvin Commentary is historically noteworthy. A comparison of Forrest’s signature in the book with one made in a document during his position as General of the Scottish Mint proves his ownership beyond doubt. (shrink)

In this paper we reflect upon our multi-year reading group as a site of decolonial feminist praxis that motivates reading in a different register from how we were trained to read as academics in the humanities. In collaborative study we willingly open ourselves to change, to being worked on by one another and by the texts we read. Our reading together has initiated the undoing of settler colonial academic subjectivity and the co-creation of new forms of scholarly subjectivity grounded in (...) relations of care, openness to transformation, and a growing commitment to epistemic justice. In giving an account of our group history and process we reflect on our complicities with settler-colonialism in the university and consider the ways that reading together has cultivated our capacities to listen to counter-narratives, formulate institutional and self critique, and engage in epistemic reparations. (shrink)

In this paper we reflect upon our multi-year reading group as a site of decolonial feminist praxis that motivates reading in a different register from how we were trained to read as academics in the humanities. In collaborative study we willingly open ourselves to change, to being worked on by one another and by the texts we read. Our reading together has initiated the undoing of settler colonial academic subjectivity and the co-creation of new forms of scholarly subjectivity grounded in (...) relations of care, openness to transformation, and a growing commitment to epistemic justice. In giving an account of our group history and process we reflect on our complicities with settler-colonialism in the university and consider the ways that reading together has cultivated our capacities to listen to counter-narratives, formulate institutional and self critique, and engage in epistemic reparations. (shrink)

This paper revisits how late 20th-century attempts to account for conceptual and other difficult art-work by defining the concept ‘art’ have failed to offer a useful strategy for educators seeking a non-instrumental justification for teaching the arts. It is suggested that this theoretical ground is nonetheless instructive and provides useful background in searching for a viable approach to justification. It is claimed that, though definition may fail and grand theories not coalesce, one would be wise to emulate Passmore (1954, 1990) (...) who argues for an aesthetic approach to works of art and who proceeds like the fox, from a specific work that becomes more complex through analysis. His approach is employed in describing a performance series by the Cellist of Sarajevo, which raises further questions regarding what it means to start from a specific art-work and how doing so exemplifies Fleming’s (2006) suggestion that in justifying the arts we connect them to our ethical lives. Passmore’s strategy is then extended to the aesthetic experience of reading this essay and the paper concludes with the author’s personal anecdote in response to Higgins’ (2008) call for genuinely aesthetic defences of aesthetic education. (shrink)