페미니스트 페다고지의 정치, 윤리, 미학
Feminist Pedagogy: Politics, Ethics, Aesthetics
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The purpose of this paper is to share and to analyze problems and issues discussed by major scholars of feminist pedagogy. I review their criticism of traditional approaches (including critical pedagogy) that over-emphasize reason/theory while neglecting (women’s) emotion/experience. Martindale's critique of so-called “nurturing” pedagogy, Middleton’s “life history pedagogy,” Jung’s “conflict pedagogy,” and Orner and Ellsworth’s criticism of moral superiority of paternalistic critical pedagogy all reject superficial compromise and harmony and call for more active confrontations with ambiguities and conflicts that are embedded in women's experience and desire. Lastly, drawing upon recent works that endeavor to recuperate the power of ‘eros’ in the classroom as a transgressing, expanding, and combining life force, I argue for an ‘erotic feminist pedagogy’ and its aesthetical power that could counter the logocentric which ironically dominates even the most anti-phallogocentric discourses such as feminism. Rather than insisting that we abandon all prescriptions for objectivity in knowledge, however, I attempt to reclaim the importance of embodied pleasure in pedagogical work. The forces of eros, which I dub the “desire to dance,” must be mobilized in the classroom as a counter-hegemonic force to stand against the ever increasing institutionalization of scholarship and education. In sum, this paper attempts to introduce into Korean feminist scholarship ways of theorizing feminist pedagogy that have been developing in the humanities since the 1980s.
Abstract
The purpose of this paper is to share and to analyze problems and issues discussed by major scholars of feminist pedagogy. I review their criticism of traditional approaches (including critical pedagogy) that over-emphasize reason/theory while neglecting (women’s) emotion/experience. Martindale's critique of so-called “nurturing” pedagogy, Middleton’s “life history pedagogy,” Jung’s “conflict pedagogy,” and Orner and Ellsworth’s criticism of moral superiority of paternalistic critical pedagogy all reject superficial compromise and harmony and call for more active confrontations with ambiguities and conflicts that are embedded in women's experience and desire. Lastly, drawing upon recent works that endeavor to recuperate the power of ‘eros’ in the classroom as a transgressing, expanding, and combining life force, I argue for an ‘erotic feminist pedagogy’ and its aesthetical power that could counter the logocentric which ironically dominates even the most anti-phallogocentric discourses such as feminism. Rather than insisting that we abandon all prescriptions for objectivity in knowledge, however, I attempt to reclaim the importance of embodied pleasure in pedagogical work. The forces of eros, which I dub the “desire to dance,” must be mobilized in the classroom as a counter-hegemonic force to stand against the ever increasing institutionalization of scholarship and education. In sum, this paper attempts to introduce into Korean feminist scholarship ways of theorizing feminist pedagogy that have been developing in the humanities since the 1980s.
참고문헌 (21)
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