Table Of Contenti
Hope, Utopia and Creativity
in Higher Education
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Also available from Bloomsbury
Critical Narrative as Pedagogy, Ivor Goodson and Scherto Gill
On Critical Pedagogy, Henry A. Giroux
iii
Hope, Utopia and Creativity
in Higher Education
Pedagogical Tactics for Alternative Futures
Craig A. Hammond
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY
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Bloomsbury Academic
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BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc
First published 2017
© Craig A. Hammond, 2017
Craig A. Hammond has asserted his right under the Copyright, Designs and
Patents Act, 1988, to be identified as Author of this work.
All rights reserved. No part of this publication may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocopying,
recording, or any information storage or retrieval system, without prior
permission in writing from the publishers.
No responsibility for loss caused to any individual or organization acting on
or refraining from action as a result of the material in this publication can
be accepted by Bloomsbury or the author.
British Library Cataloging- in- Publication Data
A catalogue record for this book is available from the British Library.
ISBN: HB: 978- 1- 4742- 6165- 4
ePDF: 978- 1- 4742- 6166- 1
ePub: 978- 1- 4742- 6167- 8
Library of Congress Cataloging- in- Publication Data
A catalog record for this book is available from the Library of Congress.
Typeset by Newgen Knowledge Works (P) Ltd., Chennai, India.
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For Emma (my Anthelion), a light in the darkness . . .
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Contents
Acknowledgements viii
1 Introduction: Critical Pedagogies – Horizons of Possibility 1
Part 1 Tactics: Conceptualizing Hope, Utopia and Creativity
2 Ernst Bloch, Hope and Utopia: The Stuff of Possibility 23
3 Roland Barthes: Punctum! The Death of the Author 39
4 Gaston Bachelard: Poetics, Space and Daydreaming 55
Part 2 Pedagogical Strategies for Creative Possibilities
5 Dérive and Détournement: Pedagogical Strategies for Creative
Engagement 71
6 Bye Bye Badman: The Redemption of Hope through Popular Culture 89
7 The Wisdom of the Crowd: Liberating Creativity 105
Part 3 Learner Stories, Reflections and Projections
8 A Garland of Rhythms 135
9 Encounters, Stories, Connections 149
10 Beyond the Trace: Reflections from Past Learners 165
11 Conclusion Elpis/ Eidos – Elpeidetics: Hopeful Visions? 179
Appendix 1 Student Contact Emails 189
Appendix 2 Student Information, Questionnaire and Permissions 191
Bibliography 195
Index 203
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Acknowledgements
First, I would like to thank Paul Trowler, Gary Heywood- Everett and Steve
Whitehead, whose academic excellence and perseverance (back in the late
1990s) enabled me to start to venture beyond my anger and frustration and look
towards engaging in a creative passion – using critical pedagogy. I would also
like to thank my good friend David Hayes (a.k.a. Dajvid Haze), who first intro-
duced me to the work and ideas of Ernst Bloch. Our meandering and inspi-
rational conversations contributed significantly to my learning and hunger for
knowledge. I would also like to make a special mention of one of my colleagues;
way back in 1999, when I first stumbled in to the jumbled collective of my first
communal staffroom at Blackburn College, my academic lead (and now friend)
Mr Ashley Whalley mentored, coached and nurtured me – and built my confi-
dence – in ways that I could never have imagined possible. I’d like to take this
opportunity to recognize and thank him for all of the skills, knowledge and radi-
cal characteristics that he brought out in me.
Many thanks to my research assistant, Mr Nathaniel Joel Robert Bennison;
his tireless and dedicated commitment to transcribing huge swathes of notes
and quotations meant that the unwieldy workload in producing this book was
an ultimately manageable and a much more enjoyable experience. Thanks and
recognition also to Dr Gail Crowther; her support and expertise on all things
creative and autobiographical meant that the collating and curating of the stu-
dent artefacts, and responses to the questionnaire, was a meaningful and pro-
ductive process. My students also found her passion for feminist research, and
her input into the ‘Utopian Visions’ module (during the academic year 2014–
2015), to be an exciting, valuable and ultimately life- changing experience. I’d
also like to thank Alison Baker and Maria Giovanna Brauzzi at Bloomsbury
Academic Press for their knowledge and support throughout the writing and
production of this work.
Heartfelt thanks and recognition to all of my ‘Alternative Education’ and
‘Utopian Visions and Everyday Culture’ student cohorts from the academic
years 2011– 2015; without your life- affirming passion, bravery and willingness to
engage in creative revelations through the utopian pedagogical experience, none
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Acknowledgements ix
of this could ever have been built or established. Continue to strive to change
your worlds – and of those around you – for the better!
Of course, without the support and understanding of my family, this work
could never have been conceived (let alone completed); so, love and thanks to
Bob, Margaret, Big Nath, Liam, Zac, Eden and Little Nath, who have foregone my
physical presence for too many evenings and weekends (and my mental absence
for far longer periods). For Mum, Dad, Crista and Lauren, a week doesn’t go by
where your absence isn’t felt; though our paths no longer cross, my love for you,
as ever, remains.
Finally, my wife and best friend, Emma Hammond, as well as supporting
me in my ever- continuing academic endeavours, has taught me so much about
dedication, unconditional positive regard, love and spiritual growth; without her
unique beauty and strength, embracing support and presence, I simply wouldn’t
be the person I am today.
1 Kings 19: 11– 13; Isaiah 60: 1; 62: 2
