[Xmca-l] Re: Best possible theoretical approach on learning from life experiences

Wed Nov 8 07:58:39 PST 2017

Before Mike introduced me to Vasilyuk -- who looks to Crime and Punishment
-- I thought the best place to go to think about a person's life, formation
and learning with something similar to perezhivanie at the center was
Virginia Woolf, To the Lighthouse and The Waves especially.

I think the question of whether or not autobiography or poetry is the
better place to look is very interesting, and a response would have
something to do with bodily sensations but also with suicide because in
suicide and some art you have an end point: In autobiography you have the
"I", I suppose, but you need to have the closure, too.

I think you combine these two with the "going meta," and Woolf shows
herself thinking about thinking ... so this is why her work is helpful here.
Beth

On Wed, Nov 8, 2017 at 9:58 AM, Ulvi İçil <ulvi.icil@gmail.com> wrote:

> Thank you Robert!
>
> 8 Kas 2017 17:56 tarihinde "Robert Lake" <boblake@georgiasouthern.edu>
> yazdı:
>
> > Hi Andy, Ulvi and all!
> > Thank-you for connecting autobiography and perezhivanie. Back in 1984
> > before #meta became trendy,Jerome Bruner
> > referred to this with his students this way.
> > 
> > There was also talk about how people go beyond merely knowing about
> things
> > to reflecting upon them in order to effect correction and self-repair —
> how
> > to get students to reflect, to turn around on themselves, to go "meta,"
> to
> > think about their ways of thinking.
> > —"Notes on the Cognitive Revolution" (*Interchange*
> > <http://www.springerlink.com/content/h115766255987075/>, 1984.
> >
> > *Robert L.*
> >
> > Retrieved from :
> > https://www.visualthesaurus.com/cm/wordroutes/its-getting-
> > meta-all-the-time/
> >
> > On Mon, Nov 6, 2017 at 8:09 PM, Andy Blunden <ablunden@mira.net> wrote:
> >
> > > I think autobiography is a genre which is very rich for the
> > > study of perezhivanie; even the writing of the autobiography
> > > itself is a part of the perezhivanie, as the writer looks
> > > back over their life, and the experiences which have shaped
> > > them, reassessing how they responded to events intervening
> > > in their life and surviving. I think I mentioned Gorki's
> > > multi-volume autobiography to you,
> > >
> > > Andy
> > >
> > > ------------------------------------------------------------
> > > Andy Blunden
> > > http://www.ethicalpolitics.org/ablunden/index.htm
> > > On 7/11/2017 6:28 AM, Ulvi İçil wrote:
> > > > Also the following "survival of culture" theme is said to be a
> > principal
> > > > worry for Marina Tsvetaeva
> > > > by this same Turkish professor on Russian language and literature...
> > > >
> > > > Anyway, another method to study "perezhivanie", I believe, is to look
> > > into
> > > > theses on the life of such Russian poets, even if they do not use the
> > > > concept,
> > > > we can be sure that there is a lot of  "perezhivanie" in those
> > theses...
> > > >
> > > > probably because poets are the best human beings to study
> > "perezhivanie"
> > > > for reasons easy to conceive.
> > > >
> > > > Especially when we think to Mayakovsky, Yesenin, Tsvetaeva...who all
> > > > suicided, unfortunately.
> > > >
> > > >
> > > >
> > > >
> > > >
> > > > On 6 November 2017 at 21:14, Ulvi İçil <ulvi.icil@gmail.com> wrote:
> > > >
> > > >> It seems to me that the concept perezhivanie is a sine qua non
> concept
> > > for
> > > >> studying the lives and works of poets especially: Pushkin, and many
> > > others.
> > > >>
> > > >> I would say that a poet's life and work can not and should not be
> > > studied
> > > >> without this concept.
> > > >>
> > > >> Completely impossible.
> > > >>
> > > >> For instance, for Pushkin, a poem is a magical union of sounds,
> > thoughts
> > > >> and feelings, which fits completely with intellect and affect,
> > cognition
> > > >> and emotion.
> > > >>
> > > >> In case of some other poets, I would add "colours" because for
> > instance,
> > > >> Nazim Hikmet (who is said to see the world in colours) says that the
> > > >> closest poet to him is Eluard and there is a thesis on colour in the
> > > poems
> > > >> of Eluard and Hikmet. (May this mean Pushkin was more sensitive to
> > > sounds
> > > >> than colours? An outstanding Turkish professor on Russian language
> and
> > > >> literature told me that there is not slightest deviation of rythm in
> > > >> Pushkin whereas there is in all others)
> > > >>
> > > >> Do we know any example of any such study in Russian databases? A
> poet
> > > >> studied with "perezhivanie".
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >>
> > > >> On 4 November 2017 at 14:02, Andy Blunden <ablunden@mira.net>
> wrote:
> > > >>
> > > >>> I would recommend Vasilyuk, but AN Leontyev should be read
> > > >>> as well:
> > > >>>
> > > >>> http://www.ethicalpolitics.org/ablunden/pdfs/Fedor%20Vasilyuk.pdf
> > > >>>
> > > >>> http://www.ethicalpolitics.org/ablunden/pdfs/Fedor%20Vasilyuk.pdf
> > > >>>
> > > >>> Andy
> > > >>>
> > > >>> ------------------------------------------------------------
> > > >>> Andy Blunden
> > > >>> http://www.ethicalpolitics.org/ablunden/index.htm
> > > >>> On 4/11/2017 10:41 PM, Ulvi İçil wrote:
> > > >>>> Dear all,
> > > >>>>
> > > >>>> For a study on Turkish poet, also a painter and playwright, Nazim
> > > >>> Hikmet,
> > > >>>> whom learning seems to be heavily determined from life experiences
> > at
> > > >>> each
> > > >>>> stage of his life,
> > > >>>> I am looking for a best theoretical approach in general on
> learning
> > > from
> > > >>>> life experiences, then more specifically for such great poets,
> > > painters
> > > >>> and
> > > >>>> play writers.
> > > >>>> Just to give a closer idea, please look at the section below from
> > his
> > > >>>> novel, Life's good, brother.
> > > >>>>
> > > >>>> I appreciate highly any idea, proposal on such a theoretical
> > approach.
> > > >>>>
> > > >>>> Thank you.
> > > >>>>
> > > >>>> Ulvi
> > > >>>>
> > > >>>> I sat down at the table in the Hôtel de France in Batum. A table
> > with
> > > >>>> carved legs—not just the legs but the whole gilded oval table was
> > > >>> covered
> > > >>>> with intricate carvings. Rococo . . . In the seaside house in
> > > Üsküdar, a
> > > >>>> rococo
> > > >>>> table sits in the guestroom. Ro-co-co . . . The journey I made
> from
> > > the
> > > >>>> Black
> > > >>>> Sea coast to Ankara, then from there to Bolu, the thirty-five-day,
> > > >>>> thirty-fiveyear
> > > >>>> journey on foot to the town where I taught school—in short, to
> make
> > a
> > > >>>> long story short, the encounter of a pasha’s descendant—more
> > > precisely,
> > > >>> a
> > > >>>> grandson—with Anatolia now rests on the rococo table in the Hôtel
> de
> > > >>>> France in Batum, spread out over the table like a tattered, dirty,
> > > >>>> blood-stained
> > > >>>> block-print cloth. I look, and I want to cry. I look, and my blood
> > > >>> rushes
> > > >>>> to my
> > > >>>> head in rage. I look, and I’m ashamed again. Of the house by the
> sea
> > > in
> > > >>>> Üsküdar. Decide, son, I say to myself, decide. The decision was
> > made:
> > > >>> death
> > > >>>> before turning back. Wait, don’t rush, son. Let’s put the
> questions
> > on
> > > >>> this
> > > >>>> table, right next to Anatolia here. What can you sacrifice for
> this
> > > >>> cause?
> > > >>>> What
> > > >>>> can you give? Everything. Everything I have. Your freedom? Yes!
> How
> > > >>>> many years can you rot in prison for this cause? All my life, if
> > > >>> necessary!
> > > >>>> Yes, but you like women, fine dining, nice clothes. You can’t wait
> > to
> > > >>>> travel,
> > > >>>> to see Europe, Asia, America, Africa. If you just leave Anatolia
> > here
> > > on
> > > >>>> this
> > > >>>> rococo table in Batum and go from Tbilisi to Kars and back to
> Ankara
> > > >>> from
> > > >>>> there, in five or six years you’ll be a senator, a minister—women,
> > > >>> wining
> > > >>>> and
> > > >>>> dining, art, the whole world. No! If necessary, I can spend my
> whole
> > > >>> life in
> > > >>>> prison. Okay, but what about getting hanged, killed, or drowned
> like
> > > >>> Mustafa
> > > >>>> Suphi and his friends if I become a Communist—didn’t you ask
> > yourself
> > > >>> these
> > > >>>> questions in Batum? I did. I asked myself, Are you afraid of being
> > > >>>> killed? I’m not afraid, I said. Just like that, without thinking?
> > No.
> > > I
> > > >>>> first knew
> > > >>>> I was afraid, then I knew I wasn’t. Okay, are you ready to be
> > > disabled,
> > > >>>> crippled, or made deaf for this cause? I asked. And TB, heart
> > disease,
> > > >>>> blindness? Blindness? Blindness . . . Wait a minute—I hadn’t
> thought
> > > >>> about
> > > >>>> going blind for this cause. I got up. I shut my eyes tight and
> > walked
> > > >>> around
> > > >>>> the room. Feeling the furniture with my hands, I walked around the
> > > room
> > > >>> in
> > > >>>> the darkness of my closed eyes. Twice I stumbled, but I didn’t
> open
> > my
> > > >>> eyes.
> > > >>>> Then I stopped at the table. I opened my eyes. Yes, I can accept
> > > >>> blindness.
> > > >>>> Maybe I was a bit childish, a little comical. But this is the
> truth.
> > > Not
> > > >>>> books or
> > > >>>> word-of-mouth propaganda or my social condition brought me where I
> > am.
> > > >>>> Anatolia brought me where I am. The Anatolia I had seen only on
> the
> > > >>>> surface, from the outside. My heart brought me where I am. That’s
> > how
> > > >>> it is
> > > >>>> .
> > > >>>>
> > > >>>>
> > > >>>
> > >
> > >
> >
> >
> > --
> > Robert Lake  Ed.D.
> > Associate Professor
> > Social Foundations of Education
> > Dept. of Curriculum, Foundations, and Reading
> > Georgia Southern University
> > P. O. Box 8144, Statesboro, GA  30460
> > Co-editor of *Review of Education, Pedagogy, and Cultural Studies,*
> vol.39,
> > 2017
> > Special issue: Maxine Greene and the Pedagogy of Social Imagination: An
> > Intellectual Genealogy.
> >
> >  http://www.tandfonline.com/toc/gred20/39/1
> > Webpage: https://georgiasouthern.academia.edu/RobertLake*Democracy must
> be
> > born anew in every generation, and education is its midwife.* John
> > Dewey-*Democracy
> > and Education*,1916, p. 139
> >
>

-- 
Beth Ferholt
Associate Professor
Department of Early Childhood and Art Education
Brooklyn College, City University of New York
2900 Bedford Avenue
Brooklyn, NY 11210-2889

Email: bferholt@brooklyn.cuny.edu
Phone: (718) 951-5205
Fax: (718) 951-4816