Working the iceberg : a staffroom morality play

This play comes from a research project about how teachers understand and sustain their work in challenging secondary school classrooms. The research asked “How DO teachers work in these classrooms?” not “How SHOULD they?” In the play you meet three teachers who speak candidly about their principles, priorities and vulnerabilities to a pre-service teacher as they move between classes and staffroom. These are real people, real quotes and real feelings taken from real interview data, not idealised guidelines for ‘best practice’. Rather than templates for practice, the play offers a variety of models, issues and food for thought to discuss in teacher education programs. The project was interested in the moral dynamics of classrooms created under the Council of Australian Governments’ 2009 Compact with Young Australians, a policy move that required students to be ‘earning or learning till 17’ across all Australian states. By removing the unemployment benefit for this age group, and tying school attendance to family welfare entitlements, these policies effectively raised the minimum school-leaving age. The risk in this well-intended policy move is that a lack of suitable job opportunities will keep young people at school longer than they want to be there. The effects of this ‘earning or learning’ policy will impact some communities, schools and classrooms much harder than others. The title uses the metaphor of an iceberg to refer to the complex community-school relations that lie below classroom interactions. The idea of a morality play in the play’s title refers back to a medieval form of popular play that used characters to instruct the audience in virtues and values. In the same way, this play seeks to bring to the surface and embody the different moral principles that can inform teacher’s work. The research involved classroom ethnographies of classes for 16 to 17 years olds in non-academic pathways. Eight different teacher/ class combinations were sampled across 2 high schools, 2 TAFE colleges and I hybrid TAFE/school program in three towns experiencing chronic youth unemployment. Their timetabled lessons were observed across 3 to 4 weeks and the teachers and some students were interviewed in each site. The project was funded by an ARC Discovery Early Career Award, 2012-214.

Reflections on the Research Students' 2015 Art Exhibition and Operetta/morality play "The Trial of Homo Economicus: The dollar hunting animal"

The paper outlines the process of organising research student participants and creating a public musical performance at QUT. The theme of the Operetta/Morality play is the clash between economic values of humans necessitating growth and the basic needs of the other life on planet earth. The one act play is set in a court room presided over by a judge who adjudicates the court proceedings.Homo economicus is in the dock and victims(various animals and birds) raise their grievances.

On the path of the child; a morality play in one act ...

Mode of access: Internet.

A Christmas morality play,

Mode of access: Internet.

Experience; a morality play of today,

Mode of access: Internet.

Something rotten in the state of Minnesota: or the morality of backwoodsmen: 'A Simple Plan'

'A Simple Plan' is a deceptively complex and multilayered film, combining elements of Celtic mythology with the morality play and the windfall fantasy gone disastrously wrong. Despite its blending of realism and heavyhanded symbolism, and its abundant trans-textual gestures, 'A Simple Plan' is in many ways defiantly not a 90s movie: its leading characters are fashionably flawed, but they are neither sensitive, nor honourable, nor heroic; there are no startling special effects or intricate timeshifts; and it desperately gives the impression of depth, of being emphatically more than mere superficial excess. At a stretch it almost appears to be a throwback to the 1930s Production Code emphasis on the role of cinema in moral instruction; while good hardly triumphs over evil, venality is painfully and emphatically punished. But in other ways it is a quintessential late 90s film: an American/British/Japanese/German/French co-production, 'A Simple Plan' acts most palpably as a commentary on the moral, economic and social condition of the United States at the end of the American century.

Home Is Where the Self Is: Monodrama, Journey-Play Structure, and the Modernist Fairy Tale

The first decade of the twentieth century witnessed the creation of two of the most beloved works of children’s literature ever produced. L. Frank Baum’s 1900 novel The Wizard of Oz and Maurice Maeterlinck’s 1908 play each gave rise to many adaptations, including, well beloved film versions, and both have become a deeply ingrained part of the cultural memory and construction of childhood in both Europe and the United States. And while these works are deeply original in content and detail, the structure of these works harkens back to the form of the journey play (traceable, on some level, back to the medieval morality play Everyman), a form that had undergone a considerable revival in the second half of the nineteenth century in the work of writers such as Henrik Ibsen and August Strindberg. This article explores the structural and conceptual links between Baum and Maeterlinck’s children’s classics, Ibsen’s Norwegian folk play Peer Gynt, and August Strindberg’s Lucky Per’s Journey and The Road to Damascus, Part I. In these works, the protagonists, disenchanted with their homes or current situations, set out on an epic journey in which they come upon characters and situations that act as commentary upon their situations before the journey. Ultimately, the characters return to where they started, with the journey seeming to have been a dream or merely a pointless excursion. But in these journeys of self-discovery, the protagonist that emerges at the end has undergone a significant transformation, a process at the heart of all of these works.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

The Trial of Homo Economicus: The Dollar Hunting Animal

This operetta /morality play is set in a court room in the town of Puddle on the Piddle. The court is presided over by Judge Jan whose main role is to "adjudicate" between the prisoners (Homo economicus) and the victims, the wild life of Australia. After evidence has been presented the audience acts as Jury and votes guilty or not guilty by secret ballot. The Puddle Police play an important role in accompanying the prisoners into court.

Celesta Wine Shippey Papers - Accession 200

The Celesta Wine Shippey Papers consists of correspondence, photographs, speeches, newspaper clippings, publications, and other papers related to her research, club activities, and her travels as a Fulbright Fellow. Dr. Shippey served as a professor of English at Winthrop from 1945 to 1961. Much of her research as an English professor focused on the 16th century writer Nathaniel Woodes who wrote the morality play, Conflict of Conscience. Also of interest are the photographic albums kept by Dr. Shippey, including photographs of Denmark (She attended Brethren Church) in 1913 through 1916, Manchester College, Oak Park, Illinois (ca 1920), Europe (1955), and Pakistan (1957-1958).

The castle of Perseverance : the Macro plays no. 3.

"The most primitive morality play we possess." A.W. Pollard in The macro plays, 1904 (Early Eng. Text Soc. Extra ser. xci) p. xxlii.

Everyman;

"Reprint of the morality play first published by John Scott, or Skot, of London, about 1520. The text used is that of Hazlitt's version in Dodsley's "Old plays" published in London in 1874. The originals of the cuts are the t.-p. and four figures of the Scott edition. of. Foreward.

More than just friends? Facebook, disclosive ethics and the morality of technology

Social networking sites have become increasingly popular destinations for people wishing to chat, play games, make new friends or simply stay in touch. Furthermore, many organizations have been quick to grasp the potential they offer for marketing, recruitment and economic activities. Nevertheless, counterclaims depict such spaces as arenas where deception, social grooming and the posting of defamatory content flourish. Much research in this area has focused on the ends to which people deploy the technology, and the consequences arising, with a view to making policy recommendations and ethical interventions. In this paper, we argue that tracing where morality lies is more complex than these efforts suggest. Using the case of a popular social networking site, and concepts about the morality of technology, we disclose the ethics of Facebook as diffuse and multiple. In our conclusions we provide some reflections on the possibilities for action in light of this disclosure.

Fundamental Dimensions of Social Judgment: Sociability and Morality as Distinct Characteristics of Social Warmth

The present dissertation focuses on the two basic dimensions of social judgment, i.e., warmth and competence. Previous research has shown that warmth and competence emerge as fundamental dimensions both at the interpersonal level and at the group level. Moreover, warmth judgments appear to be primary, reflecting the importance of first assessing others’ intentions before determining the other’s ability to carry out those intentions. Finally, it has been shown that warmth and competence judgments are predicted by perceived economic competition and status, respectively (for a review, see Cuddy, Fiske, & Glick, 2008). Building on this evidence, the present work intends to further explore the role of warmth and competence in social judgment, adopting a finer-grained level of analysis. Specifically, we consider warmth to be a dimension of evaluation that encompasses two distinct characteristics (i.e., sociability and morality) rather than as an undifferentiated dimension (see Leach, Ellemers, & Barreto, 2007). In a similar vein, both economic competition and symbolic competition are taken into account (see Stephan, Ybarra, & Morrison, 2009). In order to highlight the relevance of our empirical research, the first chapter reviews the literature in social psychology that has studied the warmth and competence dimensions. In the second chapter, across two studies, we examine the role of realistic and symbolic threats (akin economic and symbolic competition, respectively) in predicting the perception of sociability and morality of social groups. In study 1, we measure perceived realistic threat, symbolic threat, sociability, and morality with respect to 8 social groups. In study 2, we manipulate the level and type of threat of a fictitious group and measure perceived sociability and morality. The findings show that realistic threat and symbolic threat are differentially related to the sociability and morality components of warmth. Specifically, whereas realistic threat seems to be a stronger predictor of sociability than symbolic threat, symbolic threat emerges as better predictor of morality than realistic threat. Thus, extending prior research, we show that the types of threat are linked to different warmth stereotypes. In the third and the fourth chapter, we examine whether the sociability and morality components of warmth play distinct roles at different stages of group impression formation. More specifically, the third chapter focuses on the information-gathering process. Two studies experimentally investigate which traits are mostly selected when forming impressions about either ingroup or outgroup members. The results clearly show that perceivers are more interested in obtaining information about morality than about sociability when asked to form a global impression about others. The fourth chapter considers more properly the formulation of an evaluative impression. Thus, in the first study participants rate real groups on sociability, morality, and competence. In the second study, participants read an immigration scenario depicting an unfamiliar social group in terms of high (vs. low) morality, sociability, and competence. In both studies, participants are also asked to report their global impression of the group. The results show that global evaluations are better predicted by morality than by sociability and competence trait ascriptions. Taken together the third and the fourth chapters show that the dominance of warmth suggested by previous studies on impression formation might be better explained in terms of a greater effect of one of the two subcomponents (i.e., morality) over the other (i.e., sociability). In the general discussion, we discuss the relevance of our findings for intergroup relation and group perception, as well as for impression formation.