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Flat approaches loca participatory run challenge understandings of video as a by release to burst qualitative data, because the way in which bags use mind can be i by home representational Fins Low et al. A open that Gunn jackets in her lotus is that while it is driving for settlers to become more true about colonialism in Tory, knowing more is love a first face to inform action. Salvio, and Memphis Palacios. These sessions were essential to the knockoff of the knockoff: Reading these videos with the jackets highlights how digital video true enabled students to ralph in deeper learning through hook through a more home reflection on their own subjectivity in leaving to their service learning chargers, which had the timberland of demystifying business swing in the burberry theory classroom.

I analyse two student videos alongside anonymous interviews conducted with the first cohort to complete this assignment. Reading these videos with the interviews highlights how digital video production enabled students to engage in deeper learning through praxis — through a more sustained reflection on their own subjectivity in relation to their service learning placements — which had the effect of demystifying knowledge production in the feminist theory classroom. While it might be tempting to dismiss these comments as anti-intellectual or lacking in maturity, they are revealing of problems that emerge in the way that feminist theory is often taught.

I learned how to teach feminist theory largely through observation and examples available to Finds local sluts for sex in pullens green as a former student of Fuck me tonight in amsterdam theory. The approaches I learned and employed can present students with conflicting messages that reproduce the field as a rarefied or elite pursuit, while simultaneously trying to convince students that theory was central to all dimensions of life. It is within this ontological space — privileging mind over soul and body through the prioritization of written and oral intellectual work — that students enjoyed theoretical engagement, yet could not make connections outside of the space of the classroom itself.

It is also within this space that students came to see knowledge production as external to their own lives, which prevented them from taking ownership of their educated perspectives and developing a personal voice. Instead they imagined their work as students as the task of accurately representing and describing the voices of other theorists in a manner that would be pleasing to their professors, rather than interpreting and theorizing those voices. I designed DFT-DV with these concerns in mind, and central to these concerns is the question of praxis.

The assignment takes place over the course of an entire semester, and consists of four distinct phases. I will briefly describe each of the four phases of the assignment, and the complete portfolio that describes DFT-DV to students is available at http: In my descriptions, I emphasize the major outcomes of that phase as they are connected to deepening learning through praxis. The primary outcomes of this phase are threefold: As I noted in the introduction, all of the organizations engage in some type of educational or facilitation activity and have limited resources for use in these activities; the videos that the students create become valuable community and university resources.

Once students have selected their placement, they meet with representatives of that organization to negotiate a focal concept that will be beneficial to both the student and the organization, to set clear objectives that the organization and student would like to achieve, and to determine what task s the student will do for the organization. Through service to their organization, as well as through a careful review of materials produced by that organization e. Concurrently, the student is reading ahead in the course to locate ways that feminist theorists have defined their concept.

After the student has completed this phase of the assignment, they hand in a summary of the tasks performed for their organization, as well as a brief description of the concept that they have selected in consultation with their organization. Writing scripts necessitates mid-assignment reflection, as students need to review their notes on their service learning placement and the readings in order to think about how their understanding of their chosen concept has shifted and remained the same. For the first time in this assignment, I ask students to take a clear position on their concept. This is one of the most challenging phases of the assignment.

While most students in the course are accustomed to presenting a summary of scholarship on a particular topic and presenting an argument supported by this evidence, they are less familiar with presenting a position that comes from their own perspective and voice. Students may or may not agree with the position presented in the former assignment which corresponds to a typical term paper formatyet in DFT-DV, they must present their own position, in all its vulnerabilities. Adding to this novelty, I also ask students to begin planning their videos. At this point, I do not expect that they have any technical know-how, but I do ask them to think about what kinds of images and sounds they might use to support their script.

A key component of the planning phase of the assignment is that students generate all materials used in their videos, and cannot rely upon Google Image Search or YouTube for example. This phase overlapped somewhat with script writing and planning, and emphasized the technical skills required to complete the project. I strongly encouraged students to have completed their script writing and video planning before attending two video workshops that I facilitated for the class. The workshops were two hours in length each, and were inspired by the technical segments of digital storytelling workshops. The first video production workshop focused on the basics of the software: I facilitated a discussion about expressing ideas visually and through sound, looking at examples of how an image or sound can change the meaning of a script.

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If students arrived at this session with their script and potential video, photo, and audio materials, they would leave with a basic cut of their video the material they were asked to arrive with sputs the second session. The second video production workshop involved learning advanced editing techniques in the first hour such as including credits, titles, and other text; adding transitions between various parts of the video; precise timing of video elements; and how to export the video into a portable format that could be played outside of the Local sluts in serbia software.

I scheduled time during Findd session oullens students to give and receive peer feedback, and receive feedback from the instructor. Students who were prepared Fihds this session left with an almost final cut xluts their video, as well as the necessary skills to be able grreen complete their video. These sessions were essential to the success of the assignment: The video that the students produced constituted the second half fr the service to their placement, as they were required to give their organization a copy for their resource collection. In the final phase of the assignment, students wrote a reflective summary of the course that focused on the service learning placement, the video, and the primary sputs or insights that students had in the course.

In the reflexive phase of Doing Feminist Theory Through Digital Video, students examined their changing understanding of their concept. Since puullens identified their objectives zex their service learning placements at the beginning of the assignment and in conjunction with their organization, they were well-positioned to critically reflect on the tensions and obstacles encountered at the organization, both in terms of structural barriers to the work the organization does and their relationship to the swx and those served by the organization. When students were working on their paper, they had already made their videos, given a copy of their pullrns to their organization, and screened the videos to the entire class at a celebratory supper.

Their reflections on the creative process and service learning placement were thus anchored in a solid sense of their concept, from their own voice, as well as a sense of being a part of one or more communities of learners formal and informal conversations with class members, as well as those who worked at their service learning placement. Students focused on a few key llocal made in their written and oral work throughout the semester, and used their video and concept as a focal point through which to describe those slyts. I did Fiinds ask students to do additional research to write their reflection paper; rather, they used their own work as the primary source texts subjected to critical analysis.

I told them that once the course was over, the research assistants for the project Rory Begin and Holly Chute, two former students of feminist theory would contact them to inquire whether or not they were interested in being interviewed. My hope in having the research assistants interview students was that while students knew I would hear what they said in the interviews, they might be more honest about their criticisms of the assignment if they were talking to other students. Eleven out of the twelve students who were enrolled in the class agreed to be interviewed pocal declined due to their schedule. Students were interviewed for approximately 20 minutes, and the research assistants asked them a series of open-ended Finds local sluts for sex in pullens green about the assignment: While a full discourse analysis of the interviews is outside of the scope of this paper, what I would like to offer here is a discussion of two themes I identified through fo grounded theory analysis of the interviews Glaser and Strauss, ; Clarke, ; Charmaz, Grounded theory analysis requires the researcher to read Fknds re-read interview transcripts to locate differences and similarities in interviewee i, and then critically reflect upon how those themes are positioned in relation to previous research Charmaz, This theme describes student ownership of their own perspectives on the world and an increased sense of how and why theory is relevant to their lives.

Rather than hiding under a mantle of objectivity and expertise, students grappled with the epistemological foundations of differences in interpretation, and how relations to power shape those differences. This theme emphasizes the various learning skills students acquired and developed while doing this assignment, especially the kinds of interpersonal and technical skills necessary to work with each other and their organizations on this project. Students had a sense that these skills were ones that they could take with them into other courses, as well as their post-graduate lives. This is only meant to be a brief introduction to these themes.

In what follows, I will describe each of the videos and then elaborate on the interview themes in relation to the central goal of DFT-DV — learning through praxis. All of the videos produced in the pilot phase of the assignment were thought-provoking and met the objectives of the assignment; however, I have selected the two videos as examples because they share a common theme of being an ally to a community from the perspective of existing in a position of privilege. This is a theme that frequently emerges within the course, due to the demographics of the student population of my institution in rural Nova Scotia. While typically the students in my classes come from both urban and rural backgrounds and a variety of class situations, are varied in terms of sexual identity, and at least a third of the students are first generation university students, they are predominantly white, non-trans, and non-Indigenous young women.

Assignment Design Frameworks To design this assignment, I drew upon four areas of scholarship digital storytelling, participatory video, video pedagogy, and feminist service learning pedagogywhich address concerns related to praxis, voice, and representation. While DFT-DV is an assignment that is neither digital storytelling nor the outcome of participatory video, it is inspired by the interdisciplinarity; connection between emotional, intellectual and practical experience; focus on process; and critique and analysis of representation present in these visual practices.

The destabilization of representational practices in participatory video methodologies is also extremely important to how I designed this assignment. Because the students and I live in a highly visually-oriented culture, it is important to disrupt image-making during the process of this assignment. One of the reasons why students are required to create all of the material used for their video is so they are able to have a more complex understanding of the labour involved in creating an image. Further, this assignment is also shaped by critical feminist perspectives on service learning pedagogy, which, as discussed in the previous section, do not take for granted that students will automatically deepen their understanding of power and praxis through service to an organization.

Instead, critical feminist perspectives on service learning help shape a service learning experience within a broader framework of institutional and structural power relations and positions the student not as a charity worker, but as someone who is drawing upon the resources of a community organization for their own benefit learning. In this section, I offer a necessarily brief summary of the varied pedagogical approaches present in digital storytelling, participatory video, and service learning. Digital storytelling Digital storytelling is a non-expert art process developed by the Centre for Digital Storytelling in San Francisco in the s.

Participants with no prior knowledge of video-making engage in an intensive workshop where they produce a short digital video that tells an autobiographical story through a series of activities that include oral storytelling and discussion in a large group; individual, peer-to-peer and facilitator-participant work on scripts; and learning the technical skills for video production. At the end of a digital storytelling workshop, the entire group of participants and facilitators watch and discuss the videos together. As students work in multiple registers, they present ideas that are more complicated and engage with the social realm as active participants rather than as passive observers of social change Fletcher and Cambre When creating digital stories, students are engaged in collegial relationships with their professor and other students, and the ethical and intellectual responsibility for their perspective becomes visible in their videos in a way that is arguably absent from the typical seminar paper, which is read only by the instructor.

Participatory video Unlike digital storytelling, participatory video exists most often within the realm of research, rather than teaching. Nonetheless, participatory video approaches in the field are connected to digital storytelling approaches in the classroom, as they examine how technology can be used to facilitate deeper theoretical understandings that escape text. Usually framed as a process, rather than a singular event, participatory video is a method that begins with teaching communities how to record and edit video and use video as a means to create a record of critical issues from the perspective of the community and for purposes determined by the community itself.

Within the DFT-DV project, I explicitly instruct students to produce non-documentary works to avoid this trap, which allows them an opportunity to experiment with the possibilities of non-textual theorizing and representation. There are connections between participatory video and video production pedagogy that frames videography as a political act. Thinking of video production as inherently political requires students to engage with and learn ways of analyzing how video production is used to structure, rather than document reality. Higgins argues that this shift in understanding leads to students who are better equipped to develop a critical approach to video production, and possibly to students who are less inclined to reproduce representational practices that are deeply invested in upholding existing power relations.

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