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Community engagement and lifelong learning
Author: Peter Mayo

In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.

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Darlene E. Clover and Kathy Sanford

where professors, researchers and literacy tutors work and learn together to prevent a resumption of ‘the Troubles’ by raising levels of literacy, empathy and cross-cultural authentic dialogue through creative practices for peacebuilding. This chapter describes training in the use of storytelling, analyses changes in the tutors’ practice but also acknowledges the persistence of the idea of the arts as frivolous in the face of overwhelming proof to the contrary. 11 Clover_Sandford.indd 11 05/04/2013 09:03 lifelong learning and the arts ‘Creative pathways: developing

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Martha Doyle

over-70s. In the words of one civil servant, ‘it wasn’t sold very well’. Statements made in relation to the medical card revealed a tendency to focus more on how they failed to adequately alter public opinion, to persuade the public of the acceptability of the changes relating to the medical card entitlement. Once again emphasis was placed on explanation over deliberation: policy-makers spoke about informing the public of preconceived policy plans rather than entering into an authentic dialogue with the public to ascertain their policies preference a priori

in The politics of old age
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Spanish alienation in a foreign landscape
Ann Davies

now admits the possibility of authentic dialogue in reality but not in terms of cinema, thus presuming that the latter must be clear and polished in order to qualify as authentic. Larequi García’s review is more concerned with authenticity than other reviews considered here, but what he really desires is a film closer to the US fare being released at the turn of the century in contrast to the earlier, messier Vietnam films of the 1980s. His desire for unity in the troop and his feeling that the lack of communication is unrealistic suggest that he Davis

in Daniel Calparsoro
Brett Bowles

Lourié (for Renoir), Jacques Krauss (for Duvivier), and above all Alexandre Trauner (for Carné). It also depended on the socially authentic dialogue of Jacques Prévert, Charles Spaak, and Henri Jeanson – writers who like Pagnol had an ear for performative language and popular dialects – and on the ritualistic sacrifice of beleaguered working-class characters brought to life by iconic actors such as Louis Jouvet, Arletty, and

in Marcel Pagnol
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Sarah Leahy and Isabelle Vanderschelden

historically as well as geographically. Producing dialogue that sounds realistic has been a preoccupation of certain screenwriters since the coming of sound, as we have seen above. However, shifting definitions of realism in film have led to new understandings of what constitutes credible, authentic dialogue. Since 2000, one major consideration of certain writer-directors has been to use language to foreground

in Screenwriters in French cinema
The ‘screenplays’ of the New Wave auteurs
Sarah Leahy and Isabelle Vanderschelden

spectacular dialogue designed by Jeanson to be performed (see Chapter 3 ), but also from the dispositifs used by Truffaut, Varda, and later on, by Kechiche and Cantet to achieve authentic dialogue (see Chapter 8 ). The aim of this chapter was to (re)open discussions about actual – as opposed to perceived – changes in screenwriting practice during the 1960s in the context of independent

in Screenwriters in French cinema
Exploring the words of young people
Sarah Leahy and Isabelle Vanderschelden

filmmakers. As part of a controlled, auteurist process of creation, they have each in their own way revisited improvisation methods in rehearsal, prior to or during the writing stage, and even during shooting. Kechiche and Cantet have developed their own working methods to capture authentic dialogue, such as filming a large number of takes (for Kechiche) or using multiple cameras (for Cantet). Placing a

in Screenwriters in French cinema
Dialogue as normative grounds and object of critique
Naomi Head

realisation that authentic dialogue requires a particular moral psychology’. 71 By matching his position so closely to Habermas’s discourse ethics, he becomes vulnerable to Stephen Hopgood’s charge that it ‘presumes people are at least minimally liberal (other-regarding, egalitarian) in the first place’. 72 Recognising that a universal communication community is likely to be an

in Justifying violence
Peter Mayo

listened to, while a genuine dialogical education  –​authentic dialogue, in Freire’s sense  –​allows these rewritings to be voiced, challenged and developed further, rendering the co-​investigation ever-​more nuanced. Humility Humility is one virtue that is given prominence in the Freirean lexicon. It is highlighted in Paulo Freire’s major works and a recurrent theme throughout 86  87 University/HE LLL and the community his oeuvre. I  have often heard ministers and other persons, including influential opinion leaders, criticise university academics on these grounds

in Higher education in a globalising world