In "Pedagogy of the Oppressed" (1970), Freire, talks about the oppressors-oppressed distinction,seeing differences between the two positions in an unjust society: the oppressor and the oppressed. Freire makes no direct reference to his most direct influence for the distinction, which stems back to a least Hegel in 1802, and has since been reprised by many authors including Engels, Marx, Lenin, Gramsci, Simone Weil and others.
Freire advocates that education allows the oppressed to regain their humanity and overcome their condition; however, he acknowledges that in order for this to take effect, the oppressed have to play a role in their own liberation. As he states:
No pedagogy which is truly liberating can remain distant from the oppressed by treating them as unfortunates and by presenting for their emulation models from among the oppressors. The oppressed must be their own example in the struggle for their redemption (Freire, 1970, p. 54).
Likewise, the oppressors must also be willing to rethink their way of life and to examine their own role in the oppression if true liberation is to occur; "those who authentically commit themselves to the people must re-examine themselves constantly" (Freire, 1970, p. 60).
Freire believed education to be a political act that could not be divorced from pedagogy. Freire defined this as a main tenet of critical pedagogy. Teachers and students must be made aware of the "politics" that surround education. The way students are taught and what they are taught serves a political agenda. Teachers, themselves, have political notions they bring into the classroom (Kincheloe, 2008). Freire believed that "education makes sense because women and men learn that through learning they can make and remake themselves, because women and men are able to take responsibility for themselves as beings capable of knowing — of knowing that they know and knowing that they don't" (Freire, 2004, p. 15)
In terms of actual pedagogy, Freire is best known for his attack on what he called the "banking" concept of education, in which the student was viewed as an empty account to be filled by the teacher. He notes that "it transforms students into receiving objects. It attempts to control thinking and action, leads men and women to adjust to the world, and inhibits their creative power" (Freire, 1970, p. 77). The basic critique was not new — Rousseau’s conception of the child as an active learner was already a step away from tabula rasa (which is basically the same as the “banking concept”). In addition, thinkers like John Dewey were strongly critical of the transmission of mere facts as the goal of education. Dewey often described education as a mechanism for social change, explaining that “education is a regulation of the process of coming to share in the social consciousness; and that the adjustment of individual activity on the basis of this social consciousness is the only sure method of social reconstruction” (1897, p. 16). Freire’s work, however, updated the concept and placed it in context with current theories and practices of education, laying the foundation for what is now called critical pedagogy.
More challenging is Freire's strong aversion to the teacher-student difference. This splitis admitted in Rousseau and constrained in Dewey, but Freire comes close to insisting that it be completely abolished. This is hard to imagine in absolute terms, since there must be some enactment of the teacher-student relationship in the parent-child relationship, but what Freire suggests is that a deep reciprocity be inserted into our notions of teacher and student. He goes so far as to say that “Education must begin with the solution of the teacher-student contradiction, by reconciling the poles of the contradiction so that both are simultaneously students and teachers” (Freire, 1970, p. 72). Freire wants us to think in terms of teacher-student and student-teacher – that is, a teacher who learns and a learner who teaches – as the basic roles of classroom participation.
Freire however insists that educator and student, though sharing democratic social relations of education, are not on an equal footing, but the educator must be humble enough to be disposed to relearn that which he/she already thinks she knows, through interaction with the learner. The authority which the educator enjoys must not be allowed to degenerate into authoritarianism; teachers must recognize that "their fundamental objective is to fight alongside the people for the recovery of the people's stolen humanity", not to "win the people over" to their side (Freire, 1970, p. 95).
Communes of the Doubs department
The following is a list of the 594 communes of the Doubs "département" in France.
Fiscal year
The fiscal year is a year long time period used to figure out an organization's budget. It is not always the same as the calendar year. It is also a North American term for financial year.
Brother, Can You Spare a Dime?
"Brother, Can You Spare a Dime?", also sung as "Buddy, Can You Spare a Dime?", is one of the best-known American songs of the Great Depression. Written in 1931 by lyricist E. Y. "Yip" Harburg and composer Jay Gorney, "Brother, Can You Spare a Dime?" was part of the 1932 musical "New Americana;" the melody is based on a Russian lullaby Gorney heard as a child. It became best known, however, through recordings by Bing Crosby and Rudy Vallee. Both versions were released right before Franklin Delano Roosevelt's election to the presidency and both became number one hits on the charts. The Brunswick Crosby recording became the best-selling record of its period, and came to be viewed as an anthem of the shattered dreams of the era.
The song asks why the men who built the nation – built the railroads, built the skyscrapers – who fought in the war (World War I), who tilled the earth, who did what their nation asked of them should, now that the work is done and their labor no longer necessary, find themselves abandoned, in bread lines.
The song has unusual structure for a Broadway song. Firstly, rather than starting in a major key, as most Broadway songs do, it begins in a minor key, which is darker, and more appropriate for the Depression. When discussing the prosperous past and building the railroads, the song jumps an octave and moves briefly into a major key, evoking energy and optimism. It then reverts to a minor key in the word "time" in the line "Once I built a railroad, made it run / Made it race against time," marking the end of prosperous times, and changing to a wistful mood. The song then ends, not on a note of resignation, but with anger – repeating the beginning (as is usual for Broadway songs), an octave higher, but with a significant change: the friendly ""Brother," can you spare a dime?" is replaced with the aggressive ""Buddy," can you spare a dime?"
During the bad times in the 1970s, the "New York Times" asked Harburg to update "Brother" for a new age, and he responded with:
SC Schwarz-Weiß Bregenz
SC Schwarz-Weiß Bregenz is an Austrian football club from Vorarlbergs capital Bregenz.
The club was founded in 1919 under the name FC Bregenz. The club colours were black and white. Till 1927 they only played friendly matches versus teams from Germany and Switzerland. In 1927 they played for the first time in Vorarlbergs league. Already 1928 they became Vorarlbergs champion. 1938, after the occupation of Austria by Nazi Germany they formed with other teams from the region the Bezirksklasse Bodensee-Vorarlberg. Due to the Second World War the league was dissolved in 1942.