Emergent Practice Planning

Ricks, Frances; Charlesworth, Jennifer

doi:10.1007/978-1-4615-0203-6

Cited by 7 publications

(4 citation statements)

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“…More recent formulations suggest that ethical concerns are only in relation to the self and cannot be separated from the self and the context of the situation (Blum, 1994;Flanagan & Jackson, 1987;Ricks & Charlesworth, 2002;Sharmer, 2000). Blum (1994) argues that the ethical or moral 1 particularly involves "getting oneself to attend to the reality of individual other persons .…”

Section: Ethical Endeavor As Ethical Practicementioning

confidence: 99%

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Ricks

Bellefeuille²

2004

Child & Youth Services

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When working with families, family workers are expected to know what to do in order to practice ethically. The key for family workers staying open to inquiry and ethical endeavor is for family workers to understand how they know what they know. By understanding how they know what they know they can avoid making premature assumptions of what they do not know. Promoting a collective awareness of self and others within family can be used to inform the family of how they operate and can be used to formulate and create an evolving ethic that can be lived by the family.

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Section: Ethical Endeavor As Ethical Practicementioning

confidence: 99%

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Ricks

Bellefeuille²

2004

Child & Youth Services

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“…Thus, critical pedagogy as an educational approach to understanding the personal and contextual nature of ethical decision-making necessitates asking students, through a process of collaborative dialogue, to critically examine the thoughts, attitudes, values, and feelings that underpin the actions they take on a daily basis. This emphasis on the contextual self requires that we re-think ethics education in terms of more process oriented and practice-based ethical decision-making models in which self is central (Blum, 1994;Finn, 1994;Sharmer, 2000;Adams, Dominelli, & Payne, 2002;Fook, 2002;Ricks &Charlesworth, 2002). This calls for extensive self-reflection, a willingness to engage in critical thinking, and a non-judgmental attitude of self and others.…”

Section: Introductionmentioning

confidence: 99%

Untitled

2006

J SW Values and Ethics

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This article describes the participative methods and results of a co-operative inquiry project that explored fourth year social work students' ethical decision-making in field education. First, the article relates the pedagogical objectives of structural social work education to the ethical challenges of structural social work practice. Second, it outlines a self-driven framework for ethical decision making that was used in the research project to help guide students in ethical decision making. Third, it highlights co-operative inquiry as a research approach that reflects critical pedagogical praxis by assisting students (co-learners) to engage in a process of inquiry that honored their capacity for constructive self-determination. Finally, the article concludes with a discussion of the research findings and implications for structural social work education.

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“…The assumption in many of the writings on Dylan is that the words are more important than the music. This is apparent in the writings of two of the most prominent and frequently cited of professional Dylanologists, Oxford Professor of poetry Christopher Ricks (2003) and independent Dylan scholar Michael Gray (2000). There are, of course, many others who have devoted their energies to studying Dylan's lyrics on the page--as I write, the most recent addition to this literature is Larry Smith's Writing Dylan (2005).…”

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confidence: 99%

“…A number of writers have attempted to deal with this issue by arguing that popular culture is just as formally complex as canonical high culture. Christopher Ricks (2003) does this with his detailed analysis of Dylan's lyrics, finding connections to Tennyson, Shakespeare, Rossetti, Blake, the Bible, and Homer-but not managing a single mention of Lennon and McCartney, the latter point noted by Anthony Quinn (2003) when reviewing Rick's book Dylan's Visions of Sin. The search for complexity in popular culture, allied with the scholar's desire to legitimize their project within the academy, again leads us away from salient qualities of Dylan's art.…”

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Living, Breathing Songs: Singing Along with Bob Dylan

Negus¹

2007

ort

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Resonances and retentions of a living oral tradition are activated each night when Bob Dylan performs in concert and are continually renewed and referenced in his vocalizing and in the breath of the audiences who sing with him. In some respects, Bob Dylan might not seem to be the most obvious artist to sing along with-after all, he is not usually perceived as someone who goes out on stage to entertain and engage in dialogue with a crowd. Yet in other respects he is heir to the legacies of social, communal, and ritual music-making that refracts from contemporary pop and rock back to folk and blues, street-sung broadsides and work songs, the melodic observations of medieval troubadours, and the sacred rhythms of Christianity and Judaism. There are many characteristics common to the rich sonic tradition that I am attempting to signal with these brief words; the most notable of these is the way melody in popular song works at the intersection of speech and singing, the elevated and the mundane. Here song begins where talk becomes music, where the ordinary becomes special.Despite the fact that Dylan's songs have very singable and memorable melodies, most of the writing about Dylan's art has been concerned solely with the words. In many studies, Dylan's lyrics are often interpreted as providing insight into his life. Yet we only have to look at a range of musical biographies to know how little the life of the artist seems to tell us about the art. In this regard, many accounts of Dylan's life are simultaneously perplexing and reassuring by revealing the ordinariness of his early years as well as how large periods of his life have consisted of normal, everyday routine. After all, many people have experienced traumatic marital breakups. However, very few of them have produced anything remotely like Dylan's Blood on the Tracks.Many writers manage to discuss Dylan's songs with barely a mention of his vocal gestures, let alone the more traditional concerns of ethnomusicology and musicology such as melody, rhythm, chords, texture,

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Emergent Practice Planning

Cited by 7 publications

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Living, Breathing Songs: Singing Along with Bob Dylan

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