Situating preparedness education within public pedagogy

Both ‘disaster preparedness’ and ‘public pedagogy’ have been broadly defined and diversely utilised. Preparedness has been dealt within the disciplines such as civil engineering, sociology of disasters, public health and psychology, rather than education. Recently, inquiries into the learning and teaching of preparedness is increasing in the field of education, and some of them position preparedness education within the field of public pedagogy. However, conceptual discussion as to how and why the two fields are associated has been limited. The primary aim of this paper is to fill this gap by drawing on public pedagogy literature that conceptualises ‘publics’ and ‘pedagogies’. By doing so, the paper attempts to respond to Burdick et al’s call for Problematizing Public Pedagogy.

‘Why are there always three?’: The Gothic Occult in Dario Argento’s Three Mothers Trilogy

Thomas De Quincey’s essay ‘Levana and Our Ladies of Sorrow’ provided Dario Argento with the spark of an idea, which was further ignited by tales from his then wife, Daria Nicolodi, who told him of her grandmother’s stay at a music school which was run by a coven of witches. From these sources Argento came up with the mythology of The Three Mothers, which were to feature in three of his films: Suspiria (1977), Inferno (1980) and La terza madre/The Mother of Tears (2007). This article will examine the occult and esoteric sources of The Three Mothers trilogy, and explore how these references work to create a series of films that may superficially appear to use the supernatural and occult to create scares, but actually incorporate elements of Western Esotericism rather than traditional Christian images of evil. By doing this, these films transcend their apparent flaws (in terms of shallow plot and character development, a common complaint directed toward many Italian horror films) and instead imbue the mise-enscene itself with meaning, character and narrative. Although the films are situated within the Gothic genre, and in many respects follow traditional Gothic lines with witchcraft and the occult becoming synonymous with evil, I will argue that the films actually belong to the long tradition of art forms that have attempted to investigate the allure and the danger of occult exploration.