Learning by ‘design’: how undergraduates in Singapore learn to become engineers

ABSTRACT

In this paper, we explore the evolving norms and dispositions of creativity and enterprise of engineering students using data gathered from a newly established technology and engineering-focused university called ‘UniTech’ located in Singapore. Based on interviews with students, we seek to explain (1) what they learn, reject, adopt and appropriate; (2) the kinds of challenges they face and (3) the unexpected and serendipitous outcomes of their learning. Through an integrated engineering curriculum focusing on design, students learn to be technically competent, creative and entrepreneurial persons. This paper considers how the curriculum works as a set of formal procedures preparing students for a future ‘knowledge-based economy’ imagined to be technology-intensive, dynamic and filled with opportunities but also increasingly uncertain. We analyse how students at UniTech negotiate this design-focused curriculum where experiences of creativity, open-ended possibilities and holistic perspectives intersect with the national economic agenda of a knowledge-based economy.     

LOCATIONAL SIGNALING AND AGGLOMERATION

Agglomeration can be caused by asymmetric information and a locational signaling effect: The location choice of workers signals their productivity to potential employers. The cost of a signal is the cost of housing at that location. When workers' marginal willingness to pay for housing is negatively correlated with their productivity, only the core‐periphery (partially stratified) equilibria are stable. When workers' marginal willingness to pay for housing and their productivity are positively correlated, there is no core‐periphery equilibrium. The urban wage premium is explained when there is a core‐periphery equilibrium. Furthermore, location can at best be an approximate rather than a precise sieve for high‐skill workers.     

The female body as the bearer of national identity in Iran: a critical discourse analysis of the representation of women's bodies in official online outlets

Abstract

The female body has been in the foreground of nation-building in Iran especially since the 1930s projects of modernization, when unveiling women and adaptation to Western clothing became a crucial factor of bolstering modern Iranian national identity as opposed to a religion-based national identity. After the 1979 Revolution, the Islamic dress code became compulsory and female imagery depicting modesty and piety became a source of national identity. Although the representation of women's bodies in nationalist discourses has been subject of different studies, women's representation in official online outlets is still understudied. This article discusses how women's bodily appearance and representation in official online outlets feed into the nationalist discourses in Iran. Three key cases between 2014 and 2017 are addressed: (i) actress Leila Hatami kissing a man at the 2014 Cannes Film Festival; (ii) the public debate on women's entrance to sports stadiums in 2014–2015; (iii) the public revelation of actress Taraneh Alidoosti's tattooed forearm in 2016. Data were collected from multiple Iranian official online platforms and a critical discourse analysis was undertaken to analyse different forms of discursive articulation regarding women's bodies and national identity. Drawing on feminist literature inspired by the Foucauldian concept of biopolitics, the article discusses the ways in which women's bodies are discursively constructed to illustrate a uniform Islamic nationalistic discourse.