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

Wed Nov 8 08:33:00 PST 2017

Robert, Thank you so much for this paper.  It is just what I need to read
NOW, for a chapter proposal I am reading.  Wonderful.
Ulvi,  Thank you very much: I can send this congratulations back to my
younger self : ) .
Beth

On Wed, Nov 8, 2017 at 11:23 AM, Robert Lake <boblake@georgiasouthern.edu>
wrote:

> Thanks Beth!
> I am reminded immediately of Pinar and Grumet's  notion of " Currere" the
> infinitive form of the Latin word curriculum.
> which I continually use for and with my education students.
> In 2004 Pinar explained that:
>      The method of currere reconceptualized curriculum from course
> objectives to complicated conversation with oneself
>     (as a 'private' intellectual), an ongoing project of self-understanding
> in which one becomes mobilized for engaged pedagogical action
>      —as a private-and-public  intellectual – with others in the social
> reconstruction of the public sphere". *What is Curriculum Theory.*
> <https://en.wikipedia.org/wiki/Currere#cite_note-pinar2004-2>
> This approach has been misrepresented as being "too Western and linear"
> but I think that is unfair. Your can use this anyway you want. It also
> reminds me of LSV'S notion of the dialectic between inner speech
> and public "performance."
>
> Here is a link to the groundbreaking paper from 1975.
>
> http://files.eric.ed.gov/fulltext/ED104766.pdf
>
> Robert L.
>
> 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
> >
>
>
>
> --
> 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