‘Did Ronald McDonald also tend to scare you as a child?’: working to emplace consumption, commodities, and citizen-students in a large classroom setting

So-called ‘radical’ and ‘critical’ pedagogy seems to be everywhere these days on the landscapes of geographical teaching praxis and theory. Part of the remit of radical/critical pedagogy involves a de-centring of the traditional ‘banking’ method of pedagogical praxis. Yet, how do we challenge this ‘banking’ model of knowledge transmission in both a large-class setting and around the topic of commodity geographies where the banking model of information transfer still holds sway? This paper presents a theoretically and pedagogically driven argument, as well as a series of practical teaching ‘techniques’ and tools—mind-mapping and group work—designed to promote ‘deep learning’ and a progressive political potential in a first-year large-scale geography course centred around lectures on the Geographies of Consumption and Material Culture. Here students are not only asked to place themselves within and without the academic materials and other media but are urged to make intimate connections between themselves and their own consumptive acts and the commodity networks in which they are enmeshed. Thus, perhaps pedagogy needs to be emplaced firmly within the realms of research practice rather than as simply the transference of research findings.

How to watch television? Pedagogy and paedocracy in Beckett’s television plays

This article responds to scholarship on Beckett’s television plays that regards them as positive interventions which encourage the viewer to reconsider the conventions of the medium, and that raise the cultural standards of television drama. In making claims about how the plays address and educate their viewers, critical approaches shift between conceptions of audience. This analysis of Beckett’s plays on British television reconsiders their aesthetic strategies, their relationship with television culture, and the dominant assumptions of critical writing about them by examining the parallel between conceptions of the audience and conceptions of the child in writing about television and Beckett’s television plays.