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This paper offers a guide for those seeking to integrate the Scholarship of Teaching and Learning (SoTL) into higher education institutions to improve the quality of student learning. The authors posit that weaving SoTL into institutional cultures requires the coordinated actions of individuals working in linked social networks rather than individuals acting in isolation. Analyzing both the barriers and potential pathways to integrating SoTL into institutional cultures, the authors provide a conceptual model along with examples of practical strategies for overcoming resistance to change within institutions. The paper provides examples from a variety of different international contexts to show how incentives and other non-coercive measures can motivate faculty and administrators to weave SoTL into institutional fabrics. Drawing on social network theory and the concept of communities of practice, the paper presents a model with attendant strategies for disseminating SoTL values and practices across all three levels of postsecondary institutions: the micro, the meso, and the macro. The authors argue that for SoTL to take root in organizational cultures, there must be 1) effective communication and dissemination of SoTL activity across all levels, 2) well established social networks and links between these levels (nodes), and 3) sustained support by senior administration. The authors conclude by suggesting ways their model could be tested.

In 'How Do You Know They are Learning?' Thomas Reeves highlights a problem endemic in university education-one to which drama and theatre studies offers potential solutions. Reeves argues that although [...]

Adaptation scholarship often laments the anti-adaptation biases that infuse what they call 'fidelity discourse' (criticism based on the assumption that adaptations can and should be assessed only on the basis of their fidelity to the source). However, few scholars have acknowledged that since adaptors themselves are well-aware of fidelity discourse, they must somehow negotiate it; this can involve pre-empting, evading, or challenging it. This essay explores how playwright Michael O'Brien negotiates and even exploits commonplace prejudices about adaptation--especially comic adaptations--in Mad Boy Chronicle, his 1995 travesty of Hamlet. The essay examines both the carnivalesque dramaturgy of Mad Boy Chronicle, to illustrate how its ostensibly dumb comedy is really in pursuit of serious knowledge, and O'Brien's paratextual strategies for guiding the audience's reception of the play. While the play itself presents the generic conventions of a 'stoopid' parody, O'Brien takes pains to frame it in program notes, interviews, prefaces, and other publicity material, not as a comic desecration of a masterpiece, but as an earnest attempt to resurrect the original source of that so-called masterpiece. These framing tactics serve to destabilize the assumed superiority of the 'original' by revealing that Hamlet itself is only an adaptation. Thus, while the adaptation relies on and confirms the prestige of the canonical source, it also forces us to reconsider it. La recherche sur les adaptations deplore souvent les prejuges contre l'adaptation qui alimentent le << discours de la fidelite >> (la critique fondee sur l'idee qu'une adaptation ne doit etre et ne peut etre evaluee qu'en fonction de la fidelite au texte source). Pourtant, peu de chercheurs ont su reconnaitre que les adaptateurs sont eux-memes tres conscients de ce discours et doivent en tenir compte, soit en le prevenant, en s'y derobant ou en le confrontant. Dans cet article, James McKinnon explore les strategies qu'emploie le dramaturge Michael O'Brien pour negocier et parfois meme exploiter les prejuges les plus communs a l'endroit de l'adaptation--et surtout l'adaptation humoristique--dans Mad Boy Chronicle, une parodie de Hamlet signee par O'Brien en 1995. McKinnon examine dans un premier temps les strategies dramaturgiques de Mad Boy Chronicle qui relevent du carnavalesque pour montrer que son humour sot sert en fait a obtenir des reponses serieuses. Ensuite, il s'attarde aux strategies paratextuelles dont se sert O'Brien pour guider le public dans la reception de son euvre. Si Mad Boy Chronicle semble suivre toutes les conventions d'une parodie << sotte >>, O'Brien insistepour la presenter dans leprogramme, lors d'entretiens et dans le materiel publicitaire non pas comme une profanation humoristique d'un chef-d'ceuvre mais bien comme une tentative serieuse de ressusciter la source premiere du soi-disant chef-d'ceuvre. En imposant un tel cadre a sa piece, O'Brien remet en question la superiority presumee de l'euvre << originale >> en revelant que Hamlet nest en fait qu'une adaptation. Ainsi, si l'adaptation s'appuie sur le prestige de la source canonique tout en le confirmant, elle nous oblige toutefois a la reconsiderer., I seem to remember starting this as a student in Montreal: sitting on the floor with a pile of mangled scripts. Among them was the infamous 'Bad Quarto' of Shakespeare's [...]