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

Wed Nov 8 08:15:12 PST 2017

Thank you Beth.
I was just looking at your thesis which handles cognition, emotion,
imagination and creativity.

Congratulations.

Ulvi

8 Kas 2017 19:09 tarihinde "Beth Ferholt" <bferholt@gmail.com> yazdı:

> To be clear -- combine these two USING the "going meta", Beth
>
> On Wed, Nov 8, 2017 at 10:58 AM, Beth Ferholt <bferholt@gmail.com> wrote:
>
> > 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
> >
>
>
>
> --
> 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
>