We understand Amy McAninch to be taking issue with our interpretation of Values and Teaching, one... more We understand Amy McAninch to be taking issue with our interpretation of Values and Teaching, one which in her view involves a combination of a hardly honest reading of various passages and a preference for creative, grasped-for, and/or unlikely inferences over ...
Let me begin with a disclaimer. When we were first considering this topic as a panel, the events ... more Let me begin with a disclaimer. When we were first considering this topic as a panel, the events of September 1 1 were fresh and raw in-deed. I was personally hesitant about being in-volved in the PES session at all even though I had helped to conceptualize it because I wasn't ...
Metaphor and Irony in Communication Philosophical and Linguistic Approaches to Metaphor and Irony... more Metaphor and Irony in Communication Philosophical and Linguistic Approaches to Metaphor and Irony Measures of Metaphor Constraints on Metaphor Comprehension Early Metaphors in Spontaneous Speech Metaphor and Cognition How Children Misunderstand Irony Constraints on Irony Comprehension Why Children Understand Metaphor before Irony References Index
This paper is a biographical introduction to the life and works of Dr Marion Woodman. Written fro... more This paper is a biographical introduction to the life and works of Dr Marion Woodman. Written from the vantage point of one who has known Dr Woodman personally and professionally as a colleague and friend for the past two decades, the article's purpose is two-fold: to present a chronological digest of Dr Woodman to readers who may be new to
This article grows out of three of my research interests: the philosophical bases of aestheticlli... more This article grows out of three of my research interests: the philosophical bases of aestheticlliterary response, a developmental approach to the pedagogical treatment of student response to literature, and the critical theory of Northrop Frye, in whose work the concepts and some of my terminology originates '. What follows is a seque1 to two papers already published and one in press. al1 dealing with the attempt to analyze and systematize kinds and levels of literary response '. The critical and educational climate which surrounds this study addresses the increasing attention paid to the role of the reader in instantiating the literary text, and to language as the key to cognitive and emotional development '. Often theories which become ,<movements» run the risk of imbalance and the creation of false dichotomies, with the result that perfectly valid aspects of doctrines which have gone before become obfuscated and trivial-I For a discussion of the bases of these categories of response, see
The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in... more The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in the western world. Some educators have maintained that any discussion of these events so soon after they have happened threatens to dishonor the memory of the victims and is too difficult because ofour emotional unsettlement. These concerns are warranted; any discussion would indeed need to be mindful of them. The predominant position of this symposium, however, is that these events have created such chaos and uncertainty that we are faced with the immediate challenge not of disavowing or deferring discussion but rather of determining the initial terms of an ethical answerability. The symposiumparticipants seek to initiate such a difficult conversation in the hope that aspects of it might offer a productive resource for classroompractice and daily living as we find our way through grief and moral confusion. Thediscussion centers on the role aesthetics and aesthetic education have played and continue to play in responding to these events and their aftermath. In particular, it considers the terms on which the arts might variably serve as a vehicle for consolation and healing, for honoring the victims of this event, and for educating present and future generations about what happened and about the requirements ofpeace. Furthermore, the challenge faced by thearts and aesthetic education in addressingNorthAmerica's psychic and social needs is increased in recognition that these challenges are occurring in a context heavily infused with senseless violence and nationalist rhetoric. This context makes evident the need for artists and educators to help map an ethical and spiritual terrain for re-evaluating the "American way of life," national identities, and democracy itself. It is a mapping that should not take place outside the arena of the political, but should respond to and intervene in it. It is a mapping, therefore, directed toward helping find "a wayofdeveloping apraxis ofeducational consequence that opens the spaces necessary for the remaking of a democratic community" (Maxine Greene, The Dialectic ofFreedom [New York: Teachers College Press, 1988], 126). The papers in this symposium were originally presented as a panel discussion at a special session of the Philosophy of Education Society (PES) annual meeting, Vancouver, BritishColumbia, in April 2002.
Noting that for some time, the theory of literature has been supplanted by ocher disciplines as t... more Noting that for some time, the theory of literature has been supplanted by ocher disciplines as the major influences on the teaching of English in the secondary schools, this paper challenges the assumptions underlying two major principles for selecting and teaching literature: the social relevance of its subject matter and its immediate impact on students. The paper notes that both these criteria espouse a Platonic view of criticism, which regards literature and literary response in; terms of its rhetorical effects rather than its aesthetic structure. It then offers analyses of two works, Ernest Hemingway's "The Killers" and Robert Bolt's "A Man for All Seasons," as examples of how "content and feeling" approaches to literature can misconstrue literarrateaning, affect the role of the teacher, and influence educational policy. Finally, the paper suggests an alternative approach that argues for the critical response and the perception of literary fora as the basis for literary experience and curriculum design. (FL)
The humanist position for the teaching of values can be turned against English teachers and liter... more The humanist position for the teaching of values can be turned against English teachers and literature education when it is based primarily on the assumption that literature directly portrays life, a strategy which was used by a_religious fundamentalist group, Renaissance Peterborough, in its dispute with officials of Peterborough County, Ontario, during a censorship controversy. The fundamentalists argued at a more sophisticated level than_that of interpretative literalism, stressing the sociological implications of reading in context, as well as the aesthetic and literary. The teachers maintained, on the one hand, that critical detachment from the text ensures that students will not be co-opted by its moral "dicta," and on_the other, that the educational value of literature lies in its_capacity to alter their livefor the better. The literary text by virtue of its literariness is open to manifold interpretations. Currently, literature itself, both as an art and as a discipline, is under siege, not_only from censors but also from sociology, poststructuralist criticism, linguistics, information theory, and back-to-basics heresies about the redundancy of the literary in conceptions of literacy. Educators are thus forced to reexamine the relationship between word and idea, image and action, and literature and life. (NIKA)
In her landmark book, In Search of Music Education (University of Illinois Press, 1997), Estelle ... more In her landmark book, In Search of Music Education (University of Illinois Press, 1997), Estelle R. Jorgensen lays the groundwork for the philosophy of music education, of which she is today's foremost proponent. Decidedly not a "how-to" manual, her book poses difficult questions undergirding a systematic reflection on, first, the nature of education (Chapter 1); the nature of music (Chapter 2), and the dialectics and dialogics of music education (Chapter 3), reconciling the tensions and ambiguities when music and education are combined as an autonomous yet porous discipline. Jorgensen cites
S in c e publishing The Educated Imagination almost fifteen years ago, Northrop Frye has continue... more S in c e publishing The Educated Imagination almost fifteen years ago, Northrop Frye has continued to expand his ideas on the social context of literature and the arts. Works like The Stubborn Structure, The Critical Path, and Spiritus M undi bespeak Frye's almost evangelical fervour about literary values and their importance to the preservation of civilization. Even Frye's practical criticism-for example, his conception of Milton's epics or Shakespeare's romances-is never wholly divorced from his trenchant views about the social, moral, and educational value of literature. Taken in its entirety, his writing can be seen as one great apology for poetry (I use " poetry" and " literature" interchangeably as generic names for a work or works of the Active literary imagination) in the tradition of Sidney and Shelley. Implicit in it is a reaffirmation of humanism and its ideal of a liberal education, with the study of literature at its core. From Ben Jonson and Dryden to Matthew Arnold and Eliot, English poets have engaged in critical discussion of their art.1 The apology for poetry forms part of this history. Although neither an Englishman nor a poet, Northrop Frye is a theorist of literature whose thought is, however, informed by British poetic tradition, and who equates criticism with creation as a firstorder verbal activity. With his doctrine of " the educated imagination" Frye becomes one of our most passionate apologists for poetry. Whether he speaks of the defence as combatting " the perversion and abuse of art," or of " the social anxieties which work against the poet in every age," Frye's basic concern is for " man's right to create his world." For him a defence of poetry is essential as a reflection of the practical bent of " engaged knowledge. Adam may explore his world, but the most important thing for him to know is how to defend it." 2 Frye inherits from Blake the idea that the social value of literature has nothing whatever to do with the opposition of what the world calls " moral good" to " moral evil." Neither does it turn on its efficacy in teaching what the world calls " writing skills." For Frye the censors and bureaucrats who would demand accountability in these terms are, as they were for Blake, E n g l i s h S t u d ie s in C a n a d a , v iii, 2, June 1982
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
At a time when both philosophy of education and the arts are under threat within education, this ... more At a time when both philosophy of education and the arts are under threat within education, this article inquires into interdisciplinarity as one way of approaching the disciplines of philosophy of education and aesthetics. The article offers a retrospective autobiographical intellectual history and phenomenology of the author&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;#39;s own learning and scholarship within Higher Education in three main areas—philosophy of literature
The stasis, stock, kinetic, spectator, and dialectic responses to literature all serve to deny th... more The stasis, stock, kinetic, spectator, and dialectic responses to literature all serve to deny the popular misconception that literary analysis invariably deals a death blow to the vitally engaged, spontaneous, and thus authentic response. Stasis is a response in which an intuited imaginative identity between subject and object develops in an almost instantaneous recognition of the entire form of the literary work. The stock response exists at a pre-critical level, Lad concerns itself with cliched thought and ego-massage. Kinetic response involves compulsive action and engagement through visceral states and pseudo-feeling. The spectator response is detached and disinterested, and operates at the critical level. The dialecti.: response incorporates intellectual and emotional working through to attain imaginative identity and oscillates between engagement and detachment. The dialectic response to literature is the only response that moves between all levels (precritical, critical, postcritical, and autonomous). Actual student responses to Sinclair Ross's short story "The Painted Door" and John Updike's story "A&P" illustrate the variety of responses possible in the literature classroom. (Thirty-eight notes and two diagrams are included.) (RS) XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX M Reproductions supplied by EDRS are the best that can be made from the original document. XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
We understand Amy McAninch to be taking issue with our interpretation of Values and Teaching, one... more We understand Amy McAninch to be taking issue with our interpretation of Values and Teaching, one which in her view involves a combination of a hardly honest reading of various passages and a preference for creative, grasped-for, and/or unlikely inferences over ...
Let me begin with a disclaimer. When we were first considering this topic as a panel, the events ... more Let me begin with a disclaimer. When we were first considering this topic as a panel, the events of September 1 1 were fresh and raw in-deed. I was personally hesitant about being in-volved in the PES session at all even though I had helped to conceptualize it because I wasn't ...
Metaphor and Irony in Communication Philosophical and Linguistic Approaches to Metaphor and Irony... more Metaphor and Irony in Communication Philosophical and Linguistic Approaches to Metaphor and Irony Measures of Metaphor Constraints on Metaphor Comprehension Early Metaphors in Spontaneous Speech Metaphor and Cognition How Children Misunderstand Irony Constraints on Irony Comprehension Why Children Understand Metaphor before Irony References Index
This paper is a biographical introduction to the life and works of Dr Marion Woodman. Written fro... more This paper is a biographical introduction to the life and works of Dr Marion Woodman. Written from the vantage point of one who has known Dr Woodman personally and professionally as a colleague and friend for the past two decades, the article's purpose is two-fold: to present a chronological digest of Dr Woodman to readers who may be new to
This article grows out of three of my research interests: the philosophical bases of aestheticlli... more This article grows out of three of my research interests: the philosophical bases of aestheticlliterary response, a developmental approach to the pedagogical treatment of student response to literature, and the critical theory of Northrop Frye, in whose work the concepts and some of my terminology originates '. What follows is a seque1 to two papers already published and one in press. al1 dealing with the attempt to analyze and systematize kinds and levels of literary response '. The critical and educational climate which surrounds this study addresses the increasing attention paid to the role of the reader in instantiating the literary text, and to language as the key to cognitive and emotional development '. Often theories which become ,<movements» run the risk of imbalance and the creation of false dichotomies, with the result that perfectly valid aspects of doctrines which have gone before become obfuscated and trivial-I For a discussion of the bases of these categories of response, see
The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in... more The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in the western world. Some educators have maintained that any discussion of these events so soon after they have happened threatens to dishonor the memory of the victims and is too difficult because ofour emotional unsettlement. These concerns are warranted; any discussion would indeed need to be mindful of them. The predominant position of this symposium, however, is that these events have created such chaos and uncertainty that we are faced with the immediate challenge not of disavowing or deferring discussion but rather of determining the initial terms of an ethical answerability. The symposiumparticipants seek to initiate such a difficult conversation in the hope that aspects of it might offer a productive resource for classroompractice and daily living as we find our way through grief and moral confusion. Thediscussion centers on the role aesthetics and aesthetic education have played and continue to play in responding to these events and their aftermath. In particular, it considers the terms on which the arts might variably serve as a vehicle for consolation and healing, for honoring the victims of this event, and for educating present and future generations about what happened and about the requirements ofpeace. Furthermore, the challenge faced by thearts and aesthetic education in addressingNorthAmerica's psychic and social needs is increased in recognition that these challenges are occurring in a context heavily infused with senseless violence and nationalist rhetoric. This context makes evident the need for artists and educators to help map an ethical and spiritual terrain for re-evaluating the "American way of life," national identities, and democracy itself. It is a mapping that should not take place outside the arena of the political, but should respond to and intervene in it. It is a mapping, therefore, directed toward helping find "a wayofdeveloping apraxis ofeducational consequence that opens the spaces necessary for the remaking of a democratic community" (Maxine Greene, The Dialectic ofFreedom [New York: Teachers College Press, 1988], 126). The papers in this symposium were originally presented as a panel discussion at a special session of the Philosophy of Education Society (PES) annual meeting, Vancouver, BritishColumbia, in April 2002.
Noting that for some time, the theory of literature has been supplanted by ocher disciplines as t... more Noting that for some time, the theory of literature has been supplanted by ocher disciplines as the major influences on the teaching of English in the secondary schools, this paper challenges the assumptions underlying two major principles for selecting and teaching literature: the social relevance of its subject matter and its immediate impact on students. The paper notes that both these criteria espouse a Platonic view of criticism, which regards literature and literary response in; terms of its rhetorical effects rather than its aesthetic structure. It then offers analyses of two works, Ernest Hemingway's "The Killers" and Robert Bolt's "A Man for All Seasons," as examples of how "content and feeling" approaches to literature can misconstrue literarrateaning, affect the role of the teacher, and influence educational policy. Finally, the paper suggests an alternative approach that argues for the critical response and the perception of literary fora as the basis for literary experience and curriculum design. (FL)
The humanist position for the teaching of values can be turned against English teachers and liter... more The humanist position for the teaching of values can be turned against English teachers and literature education when it is based primarily on the assumption that literature directly portrays life, a strategy which was used by a_religious fundamentalist group, Renaissance Peterborough, in its dispute with officials of Peterborough County, Ontario, during a censorship controversy. The fundamentalists argued at a more sophisticated level than_that of interpretative literalism, stressing the sociological implications of reading in context, as well as the aesthetic and literary. The teachers maintained, on the one hand, that critical detachment from the text ensures that students will not be co-opted by its moral "dicta," and on_the other, that the educational value of literature lies in its_capacity to alter their livefor the better. The literary text by virtue of its literariness is open to manifold interpretations. Currently, literature itself, both as an art and as a discipline, is under siege, not_only from censors but also from sociology, poststructuralist criticism, linguistics, information theory, and back-to-basics heresies about the redundancy of the literary in conceptions of literacy. Educators are thus forced to reexamine the relationship between word and idea, image and action, and literature and life. (NIKA)
In her landmark book, In Search of Music Education (University of Illinois Press, 1997), Estelle ... more In her landmark book, In Search of Music Education (University of Illinois Press, 1997), Estelle R. Jorgensen lays the groundwork for the philosophy of music education, of which she is today's foremost proponent. Decidedly not a "how-to" manual, her book poses difficult questions undergirding a systematic reflection on, first, the nature of education (Chapter 1); the nature of music (Chapter 2), and the dialectics and dialogics of music education (Chapter 3), reconciling the tensions and ambiguities when music and education are combined as an autonomous yet porous discipline. Jorgensen cites
S in c e publishing The Educated Imagination almost fifteen years ago, Northrop Frye has continue... more S in c e publishing The Educated Imagination almost fifteen years ago, Northrop Frye has continued to expand his ideas on the social context of literature and the arts. Works like The Stubborn Structure, The Critical Path, and Spiritus M undi bespeak Frye's almost evangelical fervour about literary values and their importance to the preservation of civilization. Even Frye's practical criticism-for example, his conception of Milton's epics or Shakespeare's romances-is never wholly divorced from his trenchant views about the social, moral, and educational value of literature. Taken in its entirety, his writing can be seen as one great apology for poetry (I use " poetry" and " literature" interchangeably as generic names for a work or works of the Active literary imagination) in the tradition of Sidney and Shelley. Implicit in it is a reaffirmation of humanism and its ideal of a liberal education, with the study of literature at its core. From Ben Jonson and Dryden to Matthew Arnold and Eliot, English poets have engaged in critical discussion of their art.1 The apology for poetry forms part of this history. Although neither an Englishman nor a poet, Northrop Frye is a theorist of literature whose thought is, however, informed by British poetic tradition, and who equates criticism with creation as a firstorder verbal activity. With his doctrine of " the educated imagination" Frye becomes one of our most passionate apologists for poetry. Whether he speaks of the defence as combatting " the perversion and abuse of art," or of " the social anxieties which work against the poet in every age," Frye's basic concern is for " man's right to create his world." For him a defence of poetry is essential as a reflection of the practical bent of " engaged knowledge. Adam may explore his world, but the most important thing for him to know is how to defend it." 2 Frye inherits from Blake the idea that the social value of literature has nothing whatever to do with the opposition of what the world calls " moral good" to " moral evil." Neither does it turn on its efficacy in teaching what the world calls " writing skills." For Frye the censors and bureaucrats who would demand accountability in these terms are, as they were for Blake, E n g l i s h S t u d ie s in C a n a d a , v iii, 2, June 1982
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
At a time when both philosophy of education and the arts are under threat within education, this ... more At a time when both philosophy of education and the arts are under threat within education, this article inquires into interdisciplinarity as one way of approaching the disciplines of philosophy of education and aesthetics. The article offers a retrospective autobiographical intellectual history and phenomenology of the author&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;#39;s own learning and scholarship within Higher Education in three main areas—philosophy of literature
The stasis, stock, kinetic, spectator, and dialectic responses to literature all serve to deny th... more The stasis, stock, kinetic, spectator, and dialectic responses to literature all serve to deny the popular misconception that literary analysis invariably deals a death blow to the vitally engaged, spontaneous, and thus authentic response. Stasis is a response in which an intuited imaginative identity between subject and object develops in an almost instantaneous recognition of the entire form of the literary work. The stock response exists at a pre-critical level, Lad concerns itself with cliched thought and ego-massage. Kinetic response involves compulsive action and engagement through visceral states and pseudo-feeling. The spectator response is detached and disinterested, and operates at the critical level. The dialecti.: response incorporates intellectual and emotional working through to attain imaginative identity and oscillates between engagement and detachment. The dialectic response to literature is the only response that moves between all levels (precritical, critical, postcritical, and autonomous). Actual student responses to Sinclair Ross's short story "The Painted Door" and John Updike's story "A&P" illustrate the variety of responses possible in the literature classroom. (Thirty-eight notes and two diagrams are included.) (RS) XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX M Reproductions supplied by EDRS are the best that can be made from the original document. XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
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