Laughing with the lecturer: The use of humour in shaping university teaching

This paper addresses the ways in which humour is used by university academics to shape teaching personas. Based upon the work of Mauss and Foucault, and employing semi-structured, in-depth interviews with a range of university teachers, this research suggests that most tertiary teachers deliberately fashion various kinds of teaching persona, which they then perform in lectures and tutorials. The use of humour is widely seen as an important component within this form of self-shaping, as it fits within dominant frameworks of expectation regarding contemporary models of “edutainment”. This research demonstrates that a wide range of practices of the self—including physical, verbal, and relational elements—are employed by academics as part of shaping various humorous teaching personas. Some boundaries exist limiting the use of these pedagogic characters; for example, arguments about natural ability with humour prefigure who is most likely to deploy humour as a practice of professional self-formation. Also, professional concerns regarding seniority and job security are also factored into decision-making regarding those humorous personas likely to be considered appropriate within particular tertiary teaching contexts.

Building personas of students accessing a peer-facilitated support for learning program

The modern student represents a change from the traditional learner. More than ever before, additional resources are available online and yet personalised learning and peer-assistance programs are becoming an essential part of tertiary education delivery. This paper presents the first stage in a user-centred design approach to the analysis of the completeness and efficacy of such a personalised, peer-based support for learning program. This approach used an iterative design methodology based on contextual interview, workshops and focus groups to develop personas representing students visiting the program. Initial uses of these developed personas have included training of new personnel as well as the evaluation of the program. Overall the use of this user-centred approach and iterative persona development methodology has yielded an invaluable resource for the design of support for learning programs across the higher education industry within Australia and beyond.

Can an Ecdysiast Fag speak the voice of transgender? Phoenix (un)rising and the assumptions in Re Kevin revisited

"Each night the men look so surprised I change my sex before their eyes Tell me if you can What makes a man a man" - Charles Aznavour, ‘What makes a man a man (Comme ils disent)’. In (the few) Western jurisdictions in which marriage remains a forensic artefact constructed on the basis of a man|woman binary, the anatomical and heteronormative assumptions which underlie the construction of marriage remain as artificial constructs which do not map well (if indeed at all) to current social, or even medical, approaches to gender. In Re Kevin (Validity of Marriage of Transsexual) [2001] FamCA 1074, Justice Chisolm sought to recast the forensic ascription of sex against a broader set of criteria, expanding the range of sexually dimorphic anatomy used to determine sex for the purposes of marriage in Australia and incorporating observations of psycho-social gender-differentiation as factors relevant to the ultimate question for the Court — ‘What makes a man a man?’ Yet neither expansion is unproblematic. This article explores this fundamental forensic question against the background of Aznavour’s ‘Comme ils dissent’, in which the persona of un(e) stripteaseuse travesti struggles to answer precisely the same question. It concludes that Re Kevin might offer no more sophisticated an analysis of the lived reality of trans than Aznavour’s ecdysiast fag — not trans, but un travesti: "I shop and cook and sew a bit Though mum does too, I must admit I do it better."

Journalistic branding on Twitter: A representative study of Australian journalists’ profile descriptions

While journalism scholarship on Twitter has expanded significantly in recent years, journalists’ use of the social networking platform for self-promotion and branding has only recently received attention. Yet, as Twitter is becoming important for journalists to build economic and social capital, journalistic branding is increasingly relevant to study. This article reports the results from a study of 4189 Australian journalists’ Twitter accounts to examine their approaches to self-presentation and branding in their profile information. We find that journalists self-identify primarily through professional characteristics, but a significant number also mix this with personal information. Yet, they are also wary of providing personal information, with one-third including a disclaimer that their views are their own. Whereas only small differences could be found along gender lines, more significant differences existed in terms of whether journalists worked in metropolitan or regional areas and the nature of their employers’ main platform of distribution.

Looking out of the void : Scaffolds to assist drama higher research degree students on the path to artist–scholar

In recent years, a number of Australian and international universities have offered the ability to complete postgraduate qualifications using the research frame known as creative practice as research. This has been particularly prevalent in the Drama discipline in the Creative Industries Faculty at Queensland University of Technology (QUT). There has been a noticeable shift away from students undertaking a traditional research Master of Arts (Research) or Doctor of Philosophy to a higher proportion of research higher degree students undertaking research through their creative work. The somewhat ephemeral nature of the theatre and performance practice can generate anxieties for students about how to best represent, analyse and discuss the creative practice within a theoretical frame. The argument in this paper is situated in the experience of two artist-scholars who undertook their studies at QUT while under principal supervision of the author and explores the research scaffolds that supervisors in Drama at QUT have developed to assist research higher degree students to navigate the tricky persona of artist–scholar.