Article List by Author

When the Crisis Hits Home: Helping Students Cope with Illness and Death

Bridget Goodman
Nazarbayev University
Nur-Sultan, Kazakhstan

In the previous three columns, I highlighted ways in which social media is providing resources, platforms, and inspiration to continue to educate our students and/or our children during this pandemic.  The presentation of these offerings has been driven by my view, influenced in part by early positive reports out of China, that continuing to teach online can provide structure and a sense of “normalcy” to students and teachers who are forced to remain at home. Continue Reading →

The Coronavirus Crisis Highlights our Vulnerabilities

Bridget Goodman
Nazarbayev University
Astana, Kazakhstan

Image 1: A flyer from the New Jersey Coalition for Inclusive Education thanks participants and shares links to resourcesdeveloped for parents and educators as they transition to online teaching.

In my previous column, I twice referred to “vulnerable” populations—the medically vulnerable, and small businesses, each of which in their own way may be at risk for succumbing to this pernicious virus. The reality is that these are just two examples of needs that are made more visible by this epidemic. Continue Reading →

Coronavirus, Social Media, and Pedagogical Possibilities

Bridget Goodman
Nazarbayev University
Astana, Kazakhstan

There is a saying “may you live in interesting times”, which is intended as a curse. This curse has seemingly come to pass as all around the world many educators like myself sit at home, 6 feet apart from another, trying to plan or adapt lessons for online consumption while outside the classroom where we once taught, a pandemic spreads and a war rages against it. As I scroll through Twitter and Facebook and read links to online news articles through both platforms, I, as an applied linguist, find myself analyzing all the different ways people are talking about this disease. Continue Reading →

Challenging the Normative in Popular Culture and Pedagogy

Cultural and educational paradigms shift over time. Currently, we are amidst changing mindsets within American society, as well as internationally. As part of these changes, attitudes and practices also evolve, with effects and important considerations for teaching and learning. The once “traditional” or “normative” notions of culture and learning are shifting. Here I draw from Niall Richardson’s (2010) description of “normative,” as referring to something culturally imposed and suggested as “normal.” These shifts in representations of normativity have been shown in varied ways, such as in TV series’ changing narratives of motherhood, infertility and surrogacy (Le Vay, 2019) or in YouTube’s beauty community (García-Rapp, 2018). As audiences and scholars, we have an opportunity to learn from popular culture’s changing ideals of normativity.

In this issue, Bodies in Motion: Rethinking Imagery, Tradition, and Teaching, I am pleased to present a collection of eight rich articles. These works explore and evolve our understanding of popular culture and pedagogy to meet the needs of current and future generations. They critically engagewith cultural expectations and pedagogical practice related to literary, musical, visual, textual and digital understanding. What we see, what we experience, and what and how we learn all provide means for challenging the normative in popular culture and pedagogy.

The first two essays both draw from a critical theoretical perspective of bell hooks and reconceptualize thinking about normativity in representation in body presentation and in musical form. The first of the essays, written by Marie Gethins reconceptualizes disability through an examination of The Tin Woodman of Oz. The author applies Chopfyt to show “the psychological effects of limb loss and the concept of usefulness.” Gethins explores the ways L. Frank Baum was influenced by the Civil War and World War I amputees while addressing essential “cultural lessons” of “characterizations of prostheses, physical normalcy, and what constitutes a sense of self.” Moving beyond “flat characters” portraying disability in children’s literature, Gethins details how Baum’s work in the Tin Woodman challenges cultural perceptions.

Subsequently, in Robert Tinajero’s essay, Relandscaping the Rhetorical Tradition through Hip Hop, he repositions rap music and hip hop culture from the margins of rhetorical studies to a central locus of discussion. Applying the term “relandscaping,” Tinajero argues for a “dynamic and inclusive rhetorical tradition.” In the article, he emphasizes a shifting: of perspective, of rhetorical subject, of circle of practice and shifting of theoretical frame, to reconceptualize rhetorical studies with rap music and hip hop culture involved.

The next two articles examine pedagogical practice. First, in Kyle Hammonds and Karen Anderson-Lain’s, The Batman Comes to Class: Popular Culture as a Tool for Addressing Reflexive Pain, the authors use a case study to examine culture through the application of comics and graphic narratives within the undergraduate classroom. Hammonds and Anderson-Lain demonstrate how critical pedagogy and “comics as a learning tool” can be applied in effective ways for teaching and learning in higher education. Then in Erin Guydish Buchholz’s article, Pedagogy, Ideology, & Composition: Is There a Better Way to Teach?, she presents valuable insights about stimulating students’ critical thinking. As demonstrated through a research study integrating “significant learning experiences,” Guydish Buchholz concentrates on student growth, drawing connections between the development of a new pedagogical practice and real-world learning and application.

The final four essays re-examine the visual and literary in film, written text, cultural event, and video games. In Natasha Chuk’s, A Gaze of Cruelty, Deferred: Actualizing the ‘Female Gaze’ in Cate Shortland’s Berlin Syndrome (2017), the author upends the concept of the male gaze to reexamine the female gaze. In her essay, Chuk uses Cate Shortland’s Berlin Syndrome (2017) to lead the reader through a mechanized and reinforced cinematic construct. In Kristin Leonard’s essay, the author discusses the “delicious sensory smorgasbord of grammar and syntax strategies” presented in Virginia Tufte’s Artful Sentences: Syntax as Style. She notes in First-Person Adolescent Storytellers and Virginia Tufte’s Artful Sentences: Syntax as Style that amidst the excellent text there is a general lack of first-person adolescent storytellers. As such, Leonard uses two first-person adolescent narrators, one from Laurie Halse Anderson’s Fever 1793 and another from Moira Young’s Blood Red Road to extend the utility of Tufte’s syntax to a yet fully explored genre. Then in Luc Guglielmi’s, Finding the Sacred in the Profane: The Mardi Gras in Basile, Louisiana, the author links spirituality around Ash Wednesday to the celebratory nature of Mardi Gras. He reconsiders the aesthetic event through folklore and analysis to show how it is “tolerated” and “accepted” by the Church. The final essay, by Graham Oliver, rethink how to analyze video game storylines. In Renegade or Paragon?: Categorizing Narrative Choice in Video Game Storylines, Oliver suggests a “nuanced” manner for “dissection of gaming narratives.” He argues for the need to “push the boundaries” to better understand narrative for audiences and narrative change in general, presenting a new typology for game studies.

Lastly, in addition to the eight articles delving deeply into issues of popular culture and pedagogy, we are pleased to share a Musing on pedagogy and three Book Reviews. The Musing, by B Mann and Meg Greenberg Sandeman, shares pedagogical practice with high school students to support teaching and learning about problematic narratives. The Book Reviews include Julie Watts review of Ebony Elizabeth Thomas’s The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games (2019), followed by Holly Chung’s review of Anna Tso’s Hong Kong Stories (2017, 2018, 2019), concluding with Laura Davis’s review of Angie Manfredi’s edited collection, The (other)F Word: A Celebration of the Fat & Fierce. Across these three reviews, the authors take readers across worlds: from fantasy, to worldly travels, to embodied personal experiences.

As with any product, it is only as good as the individual parts and the people involved. To that end, I would like to thank the exceptional work of our Dialogue team for this issue: Managing Editor, Kelli Bippert; Book Review Editor, Karina Vado; Creative Designer, Douglas CohenMiller; Copy Editors, Miriam Sciala and Robert Gordyn; and the peer review team and authors.

Overall, Bodies in Motion: Rethinking Imagery, Tradition, and Teaching, provides insightful commentary and innovative approaches for taking another look and reflecting on our own academic and personal lives. As we move into 2020 with the release of the first issue of the year, we look forward to your feedback about the articles, Musing, and Reviews. Moreover, we look forward to continuing moving beyond “traditional” and “normative” ways of practice and thinking and encourage you to think creatively about ways you can contribute to Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy.

Anna S. CohenMiller, PhD
Editor in Chief


García-Rapp, F. (2019). Trivial and Normative? Online Fieldwork within YouTube’s Beauty Community. Journal of Contemporary Ethnography, 48(5), 619–644.

Le Vay L. (2019) Introduction: Family in Crisis—The Rise of Surrogacy and Its Impact on Popular Culture. In: Surrogacy and the Reproduction of Normative Family on TV. Palgrave Studies in Science and Popular Culture. Palgrave Macmillan, London.

Richardon, N. (2010). Transgressive Bodies: Representations in Film and Popular Culture. Routledge: London.

Suggested Reference Citation

CohenMiller, A. S. (2020). Challenging the normative in popular culture and pedagogy. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 7(1).

CohenMiller, Anna S. Challenging the Normative in Popular Culture and Pedagogy. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 7, no. 1, 2020.

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Finding the Sacred in the Profane: The Mardi Gras in Basile, Louisiana 

Luc Guglielmi
Kennesaw State University
Kennesaw, Georgia, USA


In Basile, a small community in Southwest Louisiana, there would not be any Mardi Gras without Ash Wednesday and vice-versa. Most of the people in Basile speak of Ash Wednesday when defining the Mardi Gras as there is a reciprocal spiritual relationship between Mardi Gras and Ash Wednesday. The people from Basile, therefore, in giving equal spiritual value to these two feasts, assign a liturgical value to Mardi Gras because they need, and will admit this freely, to have a good Mardi Gras in order to enter into the sacred season of Lent.

Mardi Gras performs a function that is similar to the other religious feasts which have been established to break the monotony of the liturgical cycle. Folklorists who have studied Mardi Gras in Basile support the idea that it is the same people  dancing, singing, eating and drinking that one finds at Mardi Gras who will kneel before the priest to receive their ashes (Ware 1994, Lindhal 1996a, Mire). The Church tolerates and/or accepts the Carnival as a necessity. By accepting the carnival within its liturgical time, the Church exerts better control over that time of the year. 

Keywords: folklore, Mardi Gras, Southern, sacred, profane 

Author Bio 

Luc Guglielmi is an Associate Professor of French in the Department of Foreign Languages and an Affiliate Associate Professor for the Gender and Women’s Studies program in the Department of Interdisciplinary Studies at Kennesaw State University. He also coordinates the French program for the Department of Foreign Languages. His research focuses on folklore and sexuality.  

Suggested Reference Citation

Guglielmi, L. (2020). Finding the sacred in the profane: The Mardi Gras in Basile, Louisiana. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 7(1). 

Guglielmi, Luc. Finding the Sacred in the Profane: The Mardi Gras in Basile, Louisiana. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 7, no. 1, 2020. 

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A Gaze of Cruelty, Deferred: Actualizing the Female Gaze in Cate Shortland’s Berlin Syndrome (2017)

Natasha Chuk
School of Visual Arts
New York, NY, USA


Australian director Cate Shortland’s dramatic thriller Berlin Syndrome (2017) follows the conventions of the genre involving a psychologically unstable male perpetrator and his female victim, thus could hinge on patriarchal control. Instead, based on a close reading of feminist film scholar Laura Mulvey’s theoretical definition of the former, Shortland’s cinematic apparatus can be read as an inverse of the male gaze, a type of systematic ‘female gaze’. This observation both warrants clarification of the term and concept behind the female gaze and suggests a pressing need to re-evaluate the language of cinema and its habitually damaging depictions of women. In doing so, it may encourage a counter cinema in which such cinematic language is more readily accessible and asserted from a non-male perspective. This essay addresses the question of the female gaze, a term that refers, in fuzzy terms, to the subversion of the male gaze in cinema and elsewhere. To do this, key points in Laura Mulvey’s argument are unpacked in reference to other examples of male-on-female on-screen violence — a kind of accepted and frequently employed gaze of cruelty extending Antonin Artaud’s celebration of the theater of cruelty. All of this is in support of the argument and demonstration of how Shortland upends key cinematic and genre conventions throughout Berlin Syndrome to effectively enact what the female gaze purportedly entails. 

Keywords: Laura Mulvey, male gaze, female gaze, film studies, theater of cruelty 

Author Bio

Natasha Chuk researches and writes about the affordances and limitations of creative technologies as language systems at the intersection of formality, expression, and perception. She wrote the book Vanishing Points: Articulations of Death, Fragmentation, and the Unexperienced Experience of Created Objects (Intellect, 2015), which examines the relationship between presence, absence, and perceptual experience across a variety of artworks, including film, photography, and video games. She teaches courses in film studies, digital culture, and media theory at the School of Visual Arts in New York City. 

Suggested Reference Citation

Chuk, N. (2020). A gaze of cruelty, deferred: Actualizing the female gaze in Cate Shortland’s Berlin Syndrome (2017). Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 7(1). 

Chuk, Natasha. “A Gaze of Cruelty, Deferred: Actualizing the Female Gaze in Cate Shortland’s Berlin Syndrome (2017)”. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 7, no. 1, 2020,

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Embracing the Darkness: A Review of Ebony Elizabeth Thomas’s The Dark Fantastic (2019)

Book Review: Thomas, Ebony Elizabeth. The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games. New York University Press, 2019. 225 pgs., $28.00.

Julia Watts
The University of Tennessee
Knoxville, TN, USA

When Ebony Elizabeth Thomas was a child, her mother told her, “There is no magic.” As a black girl, Thomas was expected to know and accept reality. For her, there were no fairies or princesses or mermaids; there were no white knights on equally white horses. These fantasies were for white people who had nothing better to do than escape into the imaginary worlds created by and for them. Thomas was taught that magical stories were not for black readers, and she, like the speaker in one of Nikki Giovanni’s (1970) most famous poems,” “…learned/black people aren’t/suppose to dream” (lines 3-4). Continue Reading →

The Batman Comes to Class: Popular Culture as a Tool for Addressing Reflexive Pain

Kyle A. Hammonds
University of Oklahoma
Norman, OK, USA

Karen Anderson-Lain
University of North Texas
Denton, TX, USA 


In this essay, a case study approach is used to examine ways in which comics and graphic narratives can be used to provide a context within which undergraduate students may theorize about culture. The authors employed Batman: Year One as an organizing narrative for students to theorize about culture and communication. Specifically, students were challenged to (1) understand applications of communication theory in the context of graphic narrative, (2) use graphic narrative as a space for theorizing about communication and culture outside of comics, (3) utilize narrative theory to extrapolate meaning from complex, multi-modal forms of communication. While this case study is situated within the Communication Discipline, the project may be customized to fit courses related to Rhetoric (English), Narrative Theory, or Critical/Cultural Studies.

Keywords: Popular Culture Pedagogy; Batman; Graphic Narratives; Comics; Narrative Theory; Critical/Cultural Studies, Communication

Author Bios

Kyle A. Hammonds is a doctoral student in the Department of Communication at the University of Oklahoma (M.S., University of North Texas; B.S., Texas A&M University – Commerce). His research is in the area of cultural studies with special attention on the communicative aspects of popular culture. 

Karen Anderson-Lain (Ph.D., University of Kansas) is a Principal Lectuer and Basic Commuication Course Director in the Communication Studies department at the University of North Texas. Her research focuses on pedagogy and communication with particular interest in critical pedagogy, popular culture pedagogy, narrative and pedagogy, service-learning and community engagement; and assessment. 

Suggested Reference citation

Hammonds, K. A., & Anderson-Lain, K. (2020). The batman comes to class: Popular culture as a tool for addressing reflexive pain. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 7(1).

Hammonds, Kyle A., and Anderson-Lain, Karen. “The Batman comes to class: Popular culture as a tool for addressing reflexive Pain.” Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 7, no. 1, 2020,

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