Blended learning and flipped classroom models are increasingly encouraged in higher education, where notions of flexibility and technological development inform institutional systems and strategies. This article presents results from an Australian study on redesigning and delivering an introductory sociology course using a combination of such models. Four central elements of the redesign are highlighted: overall course format; use of mini-lectures; face-to-face activities; and our assessment model. We present analysis of students’ and instructors’ understandings and experiences of the redesign over three course iterations to offer insight into the unfolding and responsive dynamics involved in implementing blended and flipped models. We aim to contribute to the ongoing implementation of similar models in the context of changing institutional environments and expectations, as well as to broader projects for pedagogical enrichment in sociology.

No abstract

Archiving has become an increasingly important practice in the preservation of feminist and queer histories. In this article, we pay specific attention to the emerging body of literature on feminist archives of popular music, many of which are community-based, DIY initiatives. These community-led archives aim to comprehensively collect the ephemeral, intangible heritage of feminist music cultures that have traditionally been excluded in popular music canons and marginalised by mainstream heritage institutions. The literature revealed that feminist music archives function as much more than spaces for preservation -they are affective as much as they are intellectual, and they are key sites for activism and community-building. These two themes -activism and affectivity -thread together the body of literature, providing both the driving force behind these DIY archives and their potentiality in the communities of interest they cater to. The community archivists accounted for in the literature have all engaged in practices of queering the community music archive; taking the mainstream heritage institution as a model and rebuilding it from the ground up, renegotiating its boundaries and notions of linear history, and reconfiguring its practices to account for lives lived in the margins of the mainstream.

No abstract

No abstract