Reflective Morality for Teaching Ethics
Submitter: Carter Hardy
Many of our ethical decisions are made reactively and with little reflection, which is worsened by the sheer number of ethical decisions we need to make and balance every day. This is true in both our personal and our professional lives. In order to improve our students’ abilities to address these ethical issues, I will design a course with educational aids that can be learned and applied both inside and outside the classroom. These aids will include worksheets, a database of ethical cases and an ethics tracker. The worksheets will be used to train students to respond to problems with consistent ethical reasoning, while the tracker will help students to keep track of their past decisions, reflect on the consequences of those decisions, and receive guidance on the moral principles and values that relate to their decisions. The cases will then be used to apply the worksheets and tracker, so that students learn over the course of the semester how to apply these in their personal and professional lives. By the end of this project, I will have developed a course and aids that can be easily adapted to different ethical topics, including medical ethics, environmental ethics and business ethics.
Self-Portraits of the Broadcasting House: Literary Culture at the BBC, 1922-1955
Submitter: Jeremy Lakoff
Jeremy Lakoff’s monograph, "Self-Portraits of the Broadcasting House: Literary Culture at the BBC, 1922-1955," explores how radio practitioners in the early 20th century conceived of their labor as being akin to that of the adjacent literary field. Early broadcasting in Britain was partly shaped by authors who worked part-time at the BBC and who imported modernist techniques and sensibilities to radio. Using unpublished archival materials at the BBC Written Archives Centre, this project uncovers how author-broadcasters crafted a culture of literary broadcasting, as well as their own professional identities as radio artists. Through the corporation’s memos, personnel files, scripts and publications, one can trace an emerging awareness of the crosscurrents between the literary arts and broadcasting. This book argues that the radio studio — a live, polyvocal workshop — was a site where these writers imagined and promoted a new vision of collaborative artistic creation, helping to shift attitudes away from the traditional valorization of individual genius. In novels, radio dramas, talks, articles, memoirs and handbooks for both insiders and wider publics, author-broadcasters depicted the studio’s technologies and professional hierarchies in order to argue for, and illustrate, the medium’s possible future. In other words, self-referential depictions of broadcasting itself helped solidify its position as a new, technically complex and interdisciplinary artform. By returning to this early era of radio, Self-Portraits of the Broadcasting House not only illuminates how different fields of artistic production were intertwined, but also how burgeoning institutions of mass mediation were key sites for conceptualizing modern artistic professionalism.