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time discussing deconstructionist film theory”. It is a polarizing frame of mind that within the film school community accepts the ‘obvious’ divide between practice and theory (the latter stereotyped as “deconstructionist”). We recognize, then, how the use of metaphors impact on educational attitudes that lead to action. It is clear for example how property and spatial metaphors from John Locke’s “tabula rasa”, Paulo Freire’s “banking system”, Jerome Bruner’s “scaffolding”, George W. Bush’s “No Child Left Behind” and even Burke’s “rungs” create and goad orientations

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–6. Fox, Christopher, Brougham, Henrietta and Pace, Ian (eds) (1997), Uncommon Ground: The Music of Michael Finnissy , Aldershot: Ashgate. ← 361 | 362 → Freire, P. (1972), Cultural Action for Freedom , Harmondsworth: Penguin Books. Freire, P. (1998), Pedagogy of Freedom , Lanham: Rowman and Littlefield. Freud, Sigmund (1949), The Unconscious , Collected papers No. 4, London: The Hogarth Press. Freud, Sigmund (1970), Creative Writers and Daydreaming (1908). In Vernon P.E. (ed.), Creativity , Harmondsworth, Penguin, pp. 126–35. Froebel, F., trans Barnard, H.H. (1879

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. Remembering the experience, she said ‘it was the first different thing I did in my career’. She still remembers the box-office success of the production. […] In 1960, there was a new rush on the box-office in Rio de Janeiro. The motive was the staging of Mrs Warren’s Profession , and was caused by a formidable cast made up of Fernanda Montenegro, Olga Navarro, Ítalo Rossi, Renato Consorte, Sérgio Britto and Napoleão Moniz Freire, directed by Gianni Ratto, who was also responsible for the set design. The four-act play was translated by Cláudio Mello e Souza and

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(dir.), Los ingenieros militares… , op. cit. , p. 216. 6 M. Novoa, « La obra pública… », art. cit., p. 198. 7 J. A. Calderón Quijano, « Noticias de los ingenieros militares… », art. cit., p. 41. 8 Pedro Cruz Freire, « El ingeniero militar Ignacio Sala, gobernador y comandante general de Cartagena de Indias. Noticias de su pase a Indias y de su labor en las defensas de la ciudad », Laboratorio de Arte , n° 25, 2013, p. 473. 9 J. A. Calderón Quijano, « Noticias de los ingenieros militares… », art. cit., p. 42. 10 Heinrich Berlin, « El Ingeniero Luis

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process representations can be created that allow those marginalised to speak rather than to be silenced, countering the ‘culture of silence’ that dominant truths create (Freire 1970). 10 These techniques helped to enable the young people to reclaim ownership over the evolving lifecycles from which they are normally disconnected and excluded by being treated as passive recipients of things that happen to and around them. Over time leaving videos and presentations to mark the moving on of young people and staff, became an integral part of the cultures within the homes. I

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our society is forming a relationship with the different ‘Other’ without attempting to make the Other the same as ourselves. This is what Sacks (J. Sacks 2000) calls ‘the dignity of difference’. The Brazilian pedagogue Paulo Freire identified how the ‘oppressed’ have to reclaim their ability to ‘name the world’ and not accept the labels put upon it by the rich and powerful: This is not a matter of conventional revolution and counter-revolution in the struggle to control the master-narrative but rather the search for an alternative to the power games of yester year

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rebuild lives, and advocate training in film production as a form of therapy. Many republican prisoners in Northern Ireland felt an affinity with Boal’s work, particularly his first book, Theatre of the Oppressed (1979), which was inspired by Paulo Freire’s Pedagogy of the Oppressed (1972). Magill states that Boal’s text had ‘the status of a Bible on the republican wings of Long Kesh’. 29 The first stage of Magill’s process with prisoners is the swapping of personal stories, including his own, in order to build trust. When working with republicans in H-block 4 of

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bueno, trabajador y honrado. Su reconciliación es imposible. (…) Pero los hijos, que se aman, Próspero, el criollo hecho dueño del porvenir por el trabajo redentor, y Victoria, la gringa nacida en esta tierra, tienden un puente entre las dos razas al parecer irreconciliables. »), G IUSTI , R., Florencio Sánchez, su vida, su obra , Buenos Aires, Agencia Sudamericana, 1920, p. 100-101. 59   Tabaré Freire déclare : « Porque toda la conducta de La Tigra descansa en el sentimiento : el amor por su hija la lleva a la prostitución, porque “con la costura no sacaría para

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giving even my impossible narcissism” ( Copy 32). Benoît Peeters describes a photo shoot Derrida agreed to do with Carlos Freire for an article in Le Magazine littéraire in 1991: The Brazilian photographer showed him at home, in his office, in his attic; we can see his collection of pipes, his little Citroën; we meet him in a café on the boulevard Raspail, just before his seminar at the École de Hautes Études, in the lecture hall with students, then in a salon of the Hôtel Lutétia. In spite of all his friendliness towards the photographer, Derrida lent himself

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and does not truly correspond to Shaw. The poet Marchbanks, whom Adriano Reys sought to portray, is a post-war poet, who suffers in his hypersensitivity all the ferocity of the bombardment of London. Or there are even those who think worse, that he is an idiot, a madman with lucid moments. Just like Napoleão Moniz Freire in Agatha Christie’s Mousetrap , who, without direction, turned the character inside out. We feel that Adriano Reys sometimes tries to play Marchbanks, makes a useless effort, but at least he tries. But what is the reason for his failure