Category: Teaching English

The value of learning and learning valued

I came across thi extract from an articles in Newsweek;

Late one February night, more than a dozen masked gun carrying Taliban burst into the 10-room girls’ school in Nooria’s village, Madrawar about 100 miles east of Kabul. They tied up and beat the night watchman, soaked the principal’s office and the library with gasoline, set it on fire and escaped into the darkness. The townspeople, who doused the blaze before it could spread, later found written messages from the gunmen promising to cut off the nose and ears of any teacher or student who dared to return.

The threats didn’t work. Within days, most of the school’s 650 pupils were back to their studies. Classes were held under a grove of trees in the courtyard for several weeks, despite the winter chill, until repairs inside the one-story structure were complete. Nearby schools replaces at least some of the library’s books. But the hate mail kept coming, with threats to shave the teacher’s heads as well as mutilate their faces. Earlier this month, NEWSWEEK visited and talked to students and faculty on the last day of classes. Nooria, who dreams of becoming a teacher herself, expressed her determination to finish school. “I’m not afraid of getting my nose and ears cut off,” she said, all dressed up in a long purple dress and head scarf. “I want to keep studying.” Newsweek June 26, 2006

Thanks to Robert Sweetland’s Notes

“The Self is an ocean without a shore”: Bill Viola, a perfect match of spirit and form?

THE ARGUMENT The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

In my SunWALK model about ‘what it is to be human‘ and about ‘how can we spiritualize education without the exclusivity of sectarian religion‘ I was inspired by several quotations as well as by Seamus Heaney’s poem Personal Helicon.

Bill Viola from ‘Ocean Without a Shore‘ – click to see full size – Source artdaily

“One of the things the camera taught me was to see the world, the same world that my eye sees, in its metaphoric, symbolic state. This condition is, in fact, always present, latent in the world around us .”
– Bill Viola

I was interested to see news about Bill Viola’s recent work ‘Ocean Without a Shore’ (shown at Chiesa di San Gallo, Venice). Viola’s website cites the following two inspirations;

“The Self is an ocean without a shore. Gazing upon it has no
beginning or end, in this world and the next.”
Ibn al’Arabi (1165 – 1240)

From the Viola site we learn;

‘Ocean Without a Shore’ is about the presence of the dead in our lives. The three stone altars in the church of San Gallo become portals for the passage of the dead to and from our world. Presented as a series of encounters at the intersection between life and death, the video sequence documents a succession of individuals slowly approaching out of darkness and moving into the light. Each person must then breakthrough an invisible threshold of water and light in order to pass into the physical world. Once incarnate however, all beings realize that their presence is finite and so they must eventually turn away from material existence to return from where they came. The cycle repeats without end.

The work was inspired by a poem by the 20th century Senegalese poet and storyteller Birago Diop:

“ Hearing things more than beings,
listening to the voice of fire,
the voice of water.
Hearing in wind the weeping bushes,
sighs of our forefathers.

The dead are never gone:
they are in the shadows.
The dead are not in earth:
they’re in the rustling tree,
the groaning wood,
water that runs,
water that sleeps;
they’re in the hut, in the crowd,
the dead are not dead.

The dead are never gone,
they’re in the breast of a woman,
they’re in the crying of a child,
in the flaming torch.
The dead are not in the earth:
they’re in the dying fire,
the weeping grasses,
whimpering rocks,
they’re in the forest, they’re in the house,
the dead are not dead.”
(from David Melzter, ed. Death – An Anthology of Ancient Texts, Songs, Prayers and Stories (San Francisco: North Point Press, 1984)

The Ibn al’Arabi quotations reminded me of my attempt to portray our state in visiting ‘the shoreline’ and encountering the unknowable Whole – in my Personal Myth and the four key qutations (SEE below)

The poetic sense of the dead speaking in the ‘dying fire, the weeping grasses’ etc is secondary for me to how they live on in the consciousness that we possess, because of them. Our spirits continue to live out their consciousness through ours.

FOUR KEY QUOTATIONS

The Ibn al’Arabi quotation also reminded me of the inspiration I got from four key quotations in relation to a sense of the Whole and to a panentheistic and Universalist perspective I hoped that they contributed to the leitmotif that made of the thesis parts, a whole;

Text 1)

“The larger the island of knowledge, the longer
the shoreline of mystery.” Unknown author

Text 2)

The search for reason ends at the shore of the known;
on the immense expanse beyond it
only the sense of the ineffable can glide.
It alone knows the route to that
which is remote from experience and understanding.
Neither is amphibious:
reason cannot go beyond the shore,
and the sense of the ineffable
is out of place where we measure, where we weigh…….

Citizens of two realms, we must all sustain dual allegiance:
we sense the ineffable in one realm;
we name and exploit reality in another.

Between the two we set up a system of references,
but can never fill the gap.
They are as far and as close to each other

As time and calendar, as violin and melody,
as life and what lies beyond the last breath.

The tangible phenomena we scrutinize with our reason,

The sacred and indemonstrable we overhear

with the sense of the ineffable.

Heschel A. J. (1971), Man is Not Alone, New York: Octagon Books p.8

Text 3)

Tao, the subtle reality of the universe

cannot be described.

That which can be described in words

is merely a conception of the mind.

Although names and descriptions have been applied to it,

the subtle reality is beyond the description.

One may use the word ‘Nothingness”

to describe the Origin of the universe,

and “Beingness”

to describe the Mother of the myriad things,

but Nothingness and Beingness are merely conceptions.

From the perspective of Nothingness,

one may perceive the expansion of the universe.

From the perspective of Beingness,

one may distinguish individual things.

Both are for the conceptual convenience of the mind.

Although different concepts can be applied,

Nothingness and Beingness

and other conceptual activity of the mind

all come from, the same indescribable subtle Originalness

The Way is the unfoldment of such subtle reality.

Having reached the subtlety of the universe,

one may see the ultimate subtlety,
the Gate of All Wonders.

Ni, Hua-Ching (1997), The Complete Works of Lao Tzu, Santa Monica, USA: Seven Star Communications – Tao The Ching (‘Chapter’ 1)

Text 4)

….set then yourselves towards His holy Court, on the shore of His mighty Ocean, so that the pearls of knowledge and wisdom, which God hath stored up within the shell of His radiant heart, may be revealed unto you….
(Baha’u’llah: Proclamation of Baha’u’llah, Pages: 8-9)

The past lives only in the present in that our consciousness is marked and shaped by those whose insights we come to re-realize – including those that come from the great spiritual teachers. Memories are like art and sacred writings that are simply marks made – but marks made that can transport us to our own high realization in inspired consciousness. Bill Viola is now re-presenting us through his mastery of one of newest of mediums, video, with access to that spiritual core at the heart of the great world wisdom traditions. Is this a perfect post-modernist match of spirit and form?

The mystic inner core of the great world wisdom traditions is incorrectly named as Perennial Philosophy

• There’s a reality beyond the material world:
• Which is uncreated.
• It pervades everything,
• but remains beyond the reach of human knowledge and understanding.
• You approach that reality by:
• Distinguishing ego from true self
• Understanding the nature of desire
• Becoming unattached
• Forgetting about preferences
• Not working for personal gain
• Letting go of thoughts
• Redirecting your attention
• Being devoted
• Being humble
• Invoking that reality
• Surrendering
• That reality approaches you through:
• Grace
• The teacher
• You’re transformed so that you embody that reality by:
• Dying and being reborn

Two views of the structure of Perennial Philosophy are HERE

Viola in our sea of uncertainty, and maelstrom of violence, is helping us re-connect.

Perhaps also Viola is showing us that video can do more fully what photographers – Minor White for example – have longed to do – to ‘en-form’ the spiritual?

—–0—–

All postings to this site relate to the central model in the PhD.

Summaries are HERE

Key photography quotations toward defining a photographic aesthetic

This is a running list of quotations selected to help me move toward an understanding of my own photographic aesthetic – based on the SunWALK model.

“The camera is an instrument of detection. We photograph not only what we know, but also what we don’t know. ” Lisette Model

The book (Camera Lucida by Roland Barthes) develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it. Wiki

While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see. ~Dorothea Lange

A photograph is usually looked at – seldom looked into. ~Ansel Adams

There are always two people in every picture: the photographer and the viewer. ~Ansel Adams

The camera can photograph thought. ~Dirk Bogarde

I think the best pictures are often on the edges of any situation, I don’t find photographing the situation nearly as interesting as photographing the edges. ~William Albert Allard, “The Photographic Essay”

When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. ~Ansel Adams

The goal is not to change your subjects, but for the subject to change the photographer. ~Author Unknown

A photograph is memory in the raw. ~Carrie Latet

All photos are accurate. None of them is the truth. ~Richard Avedon

The camera cannot lie, but it can be an accessory to untruth. ~Harold Evans, “Pictures on a Page”

You don’t take a photograph, you make it. ~Ansel Adams

Most things in life are moments of pleasure and a lifetime of embarrassment; photography is a moment of embarrassment and a lifetime of pleasure. ~Tony Benn

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety. ~Ansel Adams

I never question what to do, it tells me what to do. The photographs make themselves with my help. ~Ruth Bernhard

A Ming vase can be well-designed and well-made and is beautiful for that reason alone. I don’t think this can be true for photography. Unless there is something a little incomplete and a little strange, it will simply look like a copy of something pretty. We won’t take an interest in it. ~John Loengard, “Pictures Under Discussion”

I just think it’s important to be direct and honest with people about why you’re photographing them and what you’re doing. After all, you are taking some of their soul. ~Mary Ellen Mark

Photography records the gamut of feelings written on the human face, the beauty of the earth and skies that man has inherited, and the wealth and confusion man has created. It is a major force in explaining man to man. ~Edward Steichen

The photograph itself doesn’t interest me. I want only to capture a minute part of reality. ~Henri Cartier Bresson

The creative act lasts but a brief moment, a lightning instant of give-and-take, just long enough for you to level the camera and to trap the fleeting prey in your little box. ~Henri Cartier Bresson

Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again. ~Henri Cartier-Bresson

If I could tell the story in words, I wouldn’t need to lug around a camera. ~Lewis Hine

A photograph is like the recipe – a memory the finished dish. ~Carrie Latet

Everyone has a photographic memory, but not everyone has film. ~Author Unknown

Photographs that transcend but do not deny their literal situation appeal to me. ~Sam Abbel

A picture is worth a thousand words; a slide show is both. ~Author Unknown

One photo out of focus is a mistake, ten photo out of focus are an experimentation, one hundred photo out of focus are a style. ~Author Unknown

All photographs are there to remind us of what we forget. In this – as in other ways – they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it. ~John Berger

I didn’t want to tell the tree or weed what it was. I wanted it to tell me something and through me express its meaning in nature. ~Wynn Bullock

Photography deals exquisitely with appearances, but nothing is what it appears to be. ~Duane Michals

The negative is the equivalent of the composer’s score, and the print the performance. ~Ansel Adams

Useful sites

http://www.photoquotes.com/ Blogs on Photography

http://photosleavehome.blogspot.com/2005/03/john-berger-understanding-photograph.html

http://www.temple.edu/photo/photographers/

http://moma.org/collection/depts/photography/index.html

http://www.photo-seminars.com/fame.htm

—–0—–

NB All postings to this site relate to the central model in the PhD.

Summaries are HERE

 

Confidential Iran memo exposes policy to deny Baha’i students university education

iran-letter.jpg

NEW YORK
27 August 2007 (BWNS)

The Baha’i International Community has received a copy of a confidential 2006 letter from Iran’s Ministry of Science, Research and Technology instructing Iranian universities to expel any student who is discovered to be a Baha’i.

The letter refutes recent statements by Iranian officials, who say Baha’i students in Iran face no discrimination – despite the fact that more than half of the Baha’i university students enrolled last autumn were gradually expelled over the course of the 2006-2007 academic year.

“This latest document, which flatly states that Baha’i students should be expelled from universities once they are discovered, proves unequivocally that Iranian authorities remain intent on utterly blocking the development of Iranian Baha’is, despite what they say to the outside world,” said Bani Dugal, the principal representative of the Baha’i International Community to the United Nations.

“Along with other recently received reports and documents, the letter exposes a duplicitous campaign by Iran to pretend that it does not violate the internationally recognized right to education while, in fact, the government is actually continuing to implement its secret, long-term plan to prevent Baha’i students from obtaining a university education.

“Coupled with ongoing reports of physical and economic harassment directed against Baha’is of all ages and in all regions of the country, this latest development should serve to remind those who care about human rights that Iran’s 300,000-member Baha’i community remains gravely threatened,” she said.

“Not only Baha’is, but also others – students expelled under directives that target them on absolutely baseless grounds; women whose human rights are grossly violated through the enactment or perpetuation of discriminatory laws; and other victims of injustice in that land – need international defense,” she added.

For more information go HERE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Personal Helicon by Seamus Heaney; resonance, memory, self-understanding and depths of the soul

well-of-life.jpgSculpture the ‘Well of Life’, Zagreb – source

I chose the following poem by Seamus Heaney (1996 p.14) as ‘the poem’ for my doctoral thesis because it shows beautifully how we resonate now, in relation to what we sensed and experienced as children. It also shows how, through metaphor, the objective connects with the subjective to thrill, to the very quick of our being.

About the poem, Personal Helicon Pelligrino (2003 p.1) explains;
Mount Helicon is a mountain in Greece, that was, in classical mythology, sacred to Apollo and the Muses. From it flowed two fountains of poetic inspiration. Heaney is here presenting his own source of inspiration, the “dark drop” into personal and cultural memory, made present by the depths of the wells in his childhood. Now, as a man, he is too mature to scramble about on hands and knees, looking into the deep places of the earth, but he has his poetry – and, thank God, so do we.

Of course if Heaney was reading it we would have that wonderful voice, like an aromatic tree giving up the sap, and perfuming the air with all the good things from the soil.

Personal Helicon by Seamus Heaney
for Michael Longley

As a child, they could not keep me from wells
And old pumps with buckets and windlasses.
I loved the dark drop, the trapped sky, the smells
Of waterweed, fungus and dank moss.
One, in a brickyard, with a rotted board top.
I savoured the rich crash when a bucket
Plummeted down at the end of a rope.
So deep you saw no reflection in it.
A shallow one under a dry stone ditch
Fructified like any aquarium.
When you dragged out long roots from the soft mulch
A white face hovered over the bottom.
Others had echoes, gave back your own call
With a clean new music in it. And one
Was scaresome, for there, out of ferns and tall
Foxgloves, a rat slapped across my reflection.
Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Mystical implications of photography

andre-ker1.jpg Photo by: Andre Kertesz – source

For some time now I have been interested in how both cinema and photography might be compared to mystical experience. I will post separately re cinema.

One point of comparison lies in how the two see the moment.

In the mystical the moment is seen as out of time – a visit to the eternal present.

In photography the moment is given duration, brought frozen into time – up to a theoretical eternal existence.

Of course a major source of inspiration, in both his photography and his writings, is Henri Cartier-Bresson;

cartier-bresson2.jpg

A wonderful retrospective is HERE at Magnum

However in assembling some materials to help articulate a view re photography and the mystical I have discovered some fine materials high amongst which is The Ongoing Moment by Geoff Dyer. Concerning Andre Kertesz, see photo at the top of this post, he says;

What Kertesz sees when he looks out at the street is often this silhouetted representative of his own feelings about being adrift and unappreciated in New York. The people in the streets, heading to shops, are emissaries of his own sadness. That is the lot of the photographer: you walk the streets or sit on a bench – or you look out of the window at people……

Some more wonderful photographs by Andre Kertesz;

TO BE DEVELOPED

andre-old-musician-and-little-boy.jpg

andreker3.jpg

andreker4.jpg

andreker5.jpg

andreker6.jpg

andreker7.jpg

andreker8.jpg

andreker9.jpg

You can hear a fascinating  interview with Geoff Dyer HERE

 

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Epiphany, insight via autobiography and ‘autoethnography applied’

road-long-b-and-w.jpgSource

In my PhD I used aspects of autobiography including episodes that were epiphanic. By epiphany I here mean;

a. A sudden manifestation of the essence or meaning of something.

b. A comprehension or perception of reality by means of a sudden intuitive realization: “I experienced an epiphany, a spiritual flash that would change the way I viewed myself” Frank Maier.

I would add to the ‘Frank Mair example above and make it;

“I experienced several epiphanies, that would change the way I viewed education, the world and myself”

The particular episodes in my life I discovered to my surprise had led to the main dimensions of what was to become my model of what it is to be human the ‘I’ (Creative -subjective), the ‘WE’ (Caring – moral) and the ‘IT’ (Criticality-objective) dimension respectively that give us the three ways of engaging with reality. I had moved into autoethnography.

Autoethnography is an established, but still emergent, form of qualitative research. Described by Ellis and Bochner (2000) it is:

an autobiographical genre of writing and research that displays multiple layers of consciousness, connecting the personal to the cultural. Back and forth autoethnographers gaze, first through an ethnographic wide-angle lens, focussing outward on social and cultural aspects of their personal experience; then they look inward, exposing a vulnerable self that is moved by and may move through, refract, and resist cultural interpretations – see Deck, (1990); Neuman, (1996); Reed-Danahay, (1997). As they zoom backward and forward, inward and outward, distinctions between the personal and cultural become blurred, sometimes beyond distinct recognition. Usually written in first-person voice, autoethnography , autoethnographic texts appear in a variety of forms – short stories, poetry, fiction, novels, photographic essays, personal essays, journals, fragmented and layered writing and social science prose. In these texts, concrete action, dialogue, emotion embodiment, spirituality, and self-consciousness are featured, appearing as relational and institutional stories affected by history, social structure, and culture, which themselves are dialectically revealed through action, feeling, thought and language.

This does seem to well describe my intentions, and the way I proceeded. Storying is seen as essential for learners in the model, as well as being present in the autobiographic approach. The legitimacy of the applied dimension lies in the fact that I knew I wanted to present a model before I knew that I/the thesis needed to use the autobiographic – the surprise, for me, was how much they are one and the same.

Action research, focusing down to the autobiographic and the ethnographic, is explicit, or implicit, in the overall process of the SunWALK model per se. In a sense the thesis is the story of the thesis – of its evolution from the dynamic between praxis and reflection and beliefs and values. As White (2002) says action research can increase the likelihood that one’s behaviour is congruent with one’s theories about teaching and learning – and, one hopes, the values with which we choose to identify ourselves.1

Given that the primary intention was to create a new model of education intention the suggestion was made that this could be called ‘Applied Autoethnography’.

 

To be developed

—0—

Ideally I would like to see every school and every teacher connected with research and theory-creation, with relevant university departments working as supportive partners to the teachers. The subject of the study was my self, and my teaching, and the aim was self-understanding as well as producing a model of education – such an action research approach in all schools could not only ‘grow’ more effective teaching, but would also deepen and widen the possible communities to which teachers could belong.

 —–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

 

What is art? – definitions

tate_modern_london_2001_07.jpgSource

What is art?

One definition that works for me is;

Art is culturally significant meaning, skilfully encoded in an affecting, sensuous medium.

Richard Anderson quoted in Freeland (2001 p. 77)

I would make one change;

Art is culturally, and personally, significant meaning, skilfully encoded in an affecting, sensuous medium.

There is a whole range of art that I know has cultural meaning but for it to enable an aesthetic experience in me it has also to have personal as well as cultural meaning.

TASKS:Lesson questions

How far, and in what ways, has art , through the dominance of conceptual art, replaced philosophy?

How far, and in what ways, has art replaced religion?

More resources

Extensive quotations from Tolstoy at Professor Julie van Camp’s site are HERE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

Story and Personal Myth in making our selves, and our education, whole

island.jpg

My personal myth Island, Shoreline and Ocean –

a view of story in Personal Development and in Holistic Education

Introduction:

By way of an introduction here are a few succinct thoughts. Skip this if you want to go straight to my ‘personal myth’;

Myth operates in us – its part of being human – like philosophizing. Therefore we should make the most of it – in terms of the mythology we make, and that with which we choose to identify.

Story is central to our meaning-making and how we (choose) to make sense of the world and give account of our encounters and experiences.

Myth, as opposed to story generally, is about our deepest concerns and is characterized as narrative that gives account of the unknown and unknowable as well as some of the known. E.g. we die but we don’t know what, if anything, happens after that. Myth creates and is derived from beliefs.

Myth intrapersonally is the clothing we give to the psycho-spiritual dynamics of inner experience.

Myth interpersonally is the stories we tell each other to explain encounters with the (mainly) unknown and unknowable.

Karen Armstrong’s A Short History of Myth is a must because it makes clear the relationship between myth and religion and world-views.

“Without myth, cult, ritual and ethical living, a sense of the sacred dies,” says Armstrong. Without the discipline of mythical thinking and practice, it was difficult for many to avoid despair. The dark epiphanies of the 20th century can be blamed on “the absence of a viable mythology” that could help us face the unspeakable. Guardian review by Tim Radford

A personal myth operates in us whether we choose to articulate it or not. It is closely allied to what one psychologist called ‘our personal script’ and the another (Kelly) called our set of ‘personal constructs’.

We can help in healing ourselves by articulating our personal myth in comparison and contrast to the group myths around us – or that exist as historical artifacts.

Restorying, (e.g.by writing different versions of) our personal myth can enable us to re-frame our personal experience and gain degrees of control and depths of energy that previously were denied us through locked-up pain.

Creating a personal myth can facilitate better self-understanding and there is potentially a powerful tool for teaching and learning.

My personal myth is here;

The ‘Island, Shoreline and Ocean’ personal Myth

The personal myth that follows was written as a ‘one-page’ way of expressing a) a sense of the relationship with the cosmos, the Whole, and b) of a range of the ideas in, and behind, SunWALK. Jane is part of me, perhaps the same Jane as in Jane’s Short Story in Chapter 1.

The personal myth is an attempt at re-storying one kind of knowing. A felt need to undertake a re-storying of knowing can lie in acknowledgement of the fact that we know, and need to know, and need to express that knowing, in more ways than the empirical-reasoning mode – hence Island, Shoreline, Ocean. To admit other ways of knowing, is to admit that in our wholeness we are more than our senses and our reasoning. It is also to admit that in our knowing we are surrounded by mystery, which we encounter. We in various ways give accounts of those encounters.

3:3 Island, Shoreline and Ocean

a personal myth concerning the nature of mystical experience & its relationship to consciousness, & to knowledge creation – as such it is an attempt to include as much as possible of what I learned during the eleven year journey of the thesis – in a ‘one page’ story

The sun always woke her. Every day Jane walked through her garden, inspecting this plant and that, analysing what needed to be done. The quest was never-ending. Sometimes she sat a while on an old tree stump in order to consider the tasks and challenges, trying to work out the feelings and puzzles of what didn’t seem quite right, what didn’t feel quite right. What she couldn’t physically arrange she sometimes tried to paint or write – she had an imaginary garden as well as a real one. Sometimes she looked at her neighbours’ gardens, wondering if that would give her inspiration, but she was always left with the feeling that her most important answers came from elsewhere.

Every day beneath the practical considerations she felt a longing. Having made her review of her garden Jane walked over the fields, across the two streams that eventually made their way down to the sea, and along the cliff, and down to the shoreline. At the shoreline she breathed in her sense of the infinity of the ocean, along with the ozone-heavy, sea-weedy, sea air.
Frequently she imagined the island’s shoreline around the island’s circumference. In her mind’s eye she saw each place being shaped in some different way by the ocean – which was sometimes gentle, and was sometimes awesome in its relentless might. Sometimes the feelings that filled her were so powerful that she was overcome. Sometimes the beauty of being in the presence of the ocean was so great that she felt that neither garden nor painting nor poetry would ever fully satisfy the deepest longing.

Often after such reverie she slipped into the sea.

The sea had so much salt that she just floated. And, when the temperature was right, in floating, eyes closed, she lost all sense of where she ended and where the surrounding sea began. There was no separate sea, no separate self – it was just ….. being. It was always that way, just being. At such times she felt both full and empty, both powerless and at that same time she felt herself to be the very ocean that insistently carved and re-carved the island shoreline.

Mostly at that point she just wanted to stay, to be just part of this place between land and sea, like a driftwood sculpture, ocean-polished, that had been thrown up after a long journey from some river bank, high up some vaguely-remembered river. The shoreline was exquisitely the best of places. But she always took that first step. A first step on the walk back to her garden. And with the walking the experience that was ineffable started to give up insights and possibilities to both refine the garden, and to extend it into some more of the island’s familiar, wilderness, space.

In the evenings she and her friends sat beneath the moon, in whichever was the most interesting of their gardens, at that particular time, and they discussed the issues that concerned them. They all, more or less, had similar such deep experiences as Jane. The ongoing conversation was what united them, along with their respect for how they clothed so differently, in imagination and form, the experiences that were ineffable.
C. from an unpublished doctoral thesis by Roger Prentice, Northumberland ver July 2003

—–0—–

Karen Armstrong’s book A Short History of Myth is HERE NB Read the Customer Reviews which are excellent and ignore the Editorial Reviews which are carping, mean-spirited and self-serving!

Relevant book that looks interesting Restorying Our Lives: Personal Growth Through Autobiographical Reflection HERE

Island map SOURCE

—–0—–

All postings to this site relate to the central model in the PhD. Summaries are HERE

‘Practical theory’ re: Jane’s Short Story, meaning, interpretation, stories, meta-thinking, the teacher – and generating an antidote to fundamentalism!

logo_triskelion.gif

 

     Teachers, and other professionals, deal in a) texts (written and other kinds) and b) discourse about their meaning and interpretation with students every day.

 

     When we engage with texts we do so in one of three voices – the philosophical-scientific, the creative or the moral-caring. This article comprises the first of a few reflections about hermeneutics in relation to the process of teaching – and in relation to the SunWALK model and ‘what it is to be fully and positively human’ – the main focus of this site.

 

‘Essentially, hermeneutics involves cultivating the ability to understand things from somebody else’s point of view, and to appreciate the cultural and social forces that may have influenced their outlook. Hermeneutics is the process of applying this understanding to interpreting the meaning of written texts and symbolic artifacts (such as art or sculpture or architecture), which may be either historic or contemporary.’ Wiki

 

     1 It makes sense for middle school children, and above, to come to understand that texts represent possible meanings and ‘critiques’ represent readings of texts. It might also be useful from this to understand that readings can both change over time in our lives, but principles might remain constant.

 

    
Developing meta-thinking via periodic re-visits to a useful text

     There are calls for teachers to help children to achieve meta-thinking and one enjoyable way is to re-visit a story in succeeding years with the discourse centred around such questions as;

“How do you read the story?” and

“How do you feel what you’ve learned over last year has changed your views and, what you value – in relation to the story?” and

“In what respects have you, and your thinking, changed and developed over the last year?”and

“How do you read the story now compared to when you first ‘met it’ – what’s stayed the same and what has changed?”

 

     One re-visiting was to Jane’s Short Story in a Roman Catholic middle school. Jane’s Short Story was posted to this site yesterday (8th Aug 2007). I wrote Jane’s Short Story to see how good Year 7 children (11 to 12 year olds) were at de-constructing and critiquing a piece that was deliberately stream-of-consciousness, oblique and cryptic! They surprised me the first time we used the story as a text and they also impressed me with their reflections on how their thinking had developed and the differences they saw on their second encounter.

 

     Such work is also an antidote to the shallowness and superficiality that blights much of what children suffer in school. If you treat children as profound thinkers they show that they are profound thinkers – that’s part of the genius of the process in Lipman’s Philosophy for Children

 

What’s the connection with the SunWALK model?

sunwalk-logo.jpg

 

     PFC Philosophy for Children is the exemplary programme for the ‘IT’ voice, the objective mode of engaging with truth. The spirit flows even more powerfully if we combine IT engagement with working with the ‘I’ voice of creative expression. This means that the children can treat the text, including occasionally pieces by the teacher and/or other pupils both as literary text and as philosophical text. Switching back and forth between the two activities and the two treatments of text becomes a very powerful mode of teaching – including for the third voice, that of the moral and other-centred i.e Caring.

 

What’s the connection with fundamentalism?

     There are many including;

Once you have separated out the different forms of truth-telling, the IT voice of philosophy and science, the ‘I’ voice of Creativity and the ‘WE’ voice of Caring you no longer have to defend texts in inappropriate and very dangerous ways. Treating religious texts as the supreme sources of inspiration for acting with justice, truth, beauty and goodness makes sense. Treating such texts as finite and fixed in their meaning as if they were simply mathematic formulae doesn’t.

     It is we who make the meaning, not God – which is why we should always be tentative in how we assert our interpretations (including this one!). Sacred texts are gifts of meaning-making possibilities. Of course part of the texts is time-related and part constitutes eternal realities, but understanding what we are doing as we engage in objective, subjective or moral truth-seeking helps minimize confusion.

     Literalism is the denial of God because it is the denial of meaning-making possibilities in relating to sacred texts – it limits the text to fixed and finite meaning – and tends to take us away from the focus on the need to act in the world with justice, truth, beauty, goodness – and all of the other so-called names and attributes of God.

 

     It also allows people to start believing that the ‘others’ have broken whatever covenant is deemed to have existed so that no ‘rules’ of war’ need be complied with.

     Its only in early life that we can prevent the kind of indoctrination of hatred for others. Understanding that spirituality, be it theistic or humanist, is simply the process of gaining the will to act morally is vital. Understanding the ‘voices’ with which engage and the texts that we engage with are all either objectively focused or subjectively focused or morally focused is vital in developing the truly mature mind-set and world-view.

 

Jane’s Short Story; teaching children ‘nowness’ in creative writing and photography

cartier-bresson-child-carrying-painting.jpgSource

In the unpublished doctoral thesis, from which this piece and Jane’s Short Story, is largely taken, the range of concerns include ‘the perpetuation in the present of early experience’. I’m interested to discover that one definition of ‘nowness’ is presentness: the quality of being the present; “a study of the pastness of the present and…of the presentness of the past”.

I wrote Jane’s Short Story to see what a Year 7 class (11 – 12 year olds in the UK) could ‘handle’, but it has become a major piece for teaching me, as well as for teaching others.

Jane’s short story (line numbers are simply to help in discussion)

1 “Come to mummy Jane. Come on, yes, you can do it.” Ste…steppp…stagger step..step got there BIGKISSmmmms’nice. Her mother’s nose stroked back and forth across her neck, as giggles of delight and laughter bubbled from Jane.
“Jane pay attention otherwise you’ll be asking me what the work is in five minutes time.”
5 (’Oh no I won’t Mr Moaner, I know perfectly well what you’re asking – so stop picking on me!’)
“Images Jane, images.”
Tulips. Gigantic red tulips, opened a bit beyond their best, and bigger than any red thing and redder than any red thing and she crawled to grasp, to know the greenness of the green cool green stems and embrace them and lose herself in the redness that was ……..
10 “I want you all to pay attention to the structure of your story……..”
How could she tell her mother that she never felt safe after he left. Only in his hugs with the smell of him did she ever, could she ever, feel safe. She chewed over this and poured herself another bowl of corn-flakes, sensing school time getting nearer and nearer. Her mother had left without giving the bus fare.
Yet again Jane’s leg itched from the nylon thread in the seam of her skirt.
15 She grasped the chair to ease her leg away from the itch, only to put her fingers under her chair and into some freshly placed chewing-gum. “Ugh! Boys are so disgusting!”
“Thank you Jane. I’m not sure what that has to do with careful control of your narrative but I suppose we should be grateful that at least you’ve re-visited our world, even though the visit will no doubt be brief. The trouble with you Jane is that you don’t use the possibilities and talent you have.”
20 Endless possibilities. The muddy brown wet sand, miles and miles of it. She sensed freedoms beyond the edge of her imagination, she would be all creation itself.
“Put your hat on Jane and come here – you’re not going in the sun until I put some cream on you.” Jane submitted to the sun-cream and enjoyed it but also remembered the tug of the harness around her shoulders – tug tug, with her running but not going anywhere.
25 “……and do try to put some images into your writing – do make it come alive.”
The finch, with feathers going in directions they shouldn’t, struggled on its side. The broken leg would not need mending because the shock was already killing the tiny creature. Jane hated the cat with an acid and granite hatred.
“You have ten minutes to finish your story.”
30 Jane sat back on her rump and examined her mother’s radiant face.
She spat out the tulip petals as her sadness entered her.
She was as rigid as the door he had slammed behind him.
She willed the incoming tide to consume her castle and leave only empty sands.
The finch stopped its fluttering and took on the stillness of death.
35 Jane wrote some lines.
Jane felt the tug tug of the harness and struggled to go somewhere.

—–0—–

Jane is, substantially, but not wholly, me.  It was an attempt to make the feminine side of my soul ‘walk and talk’

In writing the story I reached back down to early memories with which to ‘clothe’ some of the levels in the streams of consciousness.

In continuing to work with children, or adults, I still sometimes use Jane’s Short Story – as a way to encourage others to create their own stories, made from their own real, and imagined, experience. I discovered how powerful it is if PFC (Philosophy for Children), and creative task-setting, are combined/interwoven – so much so that I believe that the two, when harnessed, together create something akin to ‘exponential development’ i.e the most powerful form of transformative learning. It is still a joy, and a learning experience, when children make their own creations walk and talk, sing and shout, just as Jane became ‘real’ to me, some 9 or 10 years earlier. From time to time I revisit the story and change a few words. Once I also gave it to the same class on succeeding years and asked them to see what they could see compared to their ‘reading’ of the previous year – and to say what differences they felt between the two readings. On the success of this I think that it is worth doing something similar with every class, i.e. for them to re-visit a piece two years running. What they are looking at, with each re-visiting, is, in part, the growth they have had via another year’s experience – a very useful exercise in meta-cognition for the children.

Although it was written when I was in my early fifties I include the story here because it encapsulates some of how autobiography is expressed in even the most creative, or the most abstract, of our work. The story was written in a ‘stream of consciousness’ style to see how well my classes could be at deconstructing the text. It was written in my second year of doing PFC. Sometimes I use it just as a text, sometimes the classes go on to write their own episodes from Jane’s life.

My experience is that children in Year 7 or 8 take a little time to decode the levels in the ‘stream of consciousness’ but then respond most sensitively to the possibilities that exist in and around the story. It seems to work at quite a deep level for some, and very few, except perhaps in initial perplexity, reject the story. It also helps to teach them that story, in its different kinds of truth, can combine re-collected personal experience and meld it with imaginative material. It can be a minor revelation for children who see ‘story is story’ and ‘real life = the truth.

Jane, both as part of my spirit and personal history, and as an independent spirit, has continued to exist, but she has also been transmogrified into the creations of other authors, adults as well as children. It is Jane in the personal myth called Island Shoreline Ocean, presented at the beginning of Chapter 3. My (our) past is re-presented and it is continuously transmogrified, in further re-representations. Each of us re-experiences what we are, as we engage or re-engage, with our beliefs, values, attitudes memories and new experiences. We echo past experiences in each new experience, even when we are seeking to help others in their creativity. Jane’s short story lives on in me as a crystallization of the feelings and images deep in my soul, deep, one might say, in my ‘present’. It has generated versions from 11 – 12 year olds, but also from an 84 year old man who, on one of my courses, wrote the first story he had ever written in his life. (He was pleased and amazed; I was deeply moved by his openness and courage!)

TASK/SUGGESTED LESSONS: It would be fascinating to combine the ideas above with photography!

Great photography blog HERE