At the intersection of art and research : the teaching of poetry/the poetry of teaching PDF
Preview At the intersection of art and research : the teaching of poetry/the poetry of teaching
ATTHEINTERSECTIONOFARTANDRESEARCH: THETEACHINGOFPOETRY/THEPOETRYOFTEACHING By ANNEMCCRARYSULLIVAN ADISSERTATIONPRESENTEDTOTHEGRADUATESCHOOL OFTHEUNIVERSITYOFFLORIDAINPARTIALFULFILLMENT OFTHEREQUIREMENTSFORTHEDEGREEOF DOCTOROFPHILOSOPHY UNIVERSITYOFFLORIDA 1996 UNIVERSITYOFFLORIDALIBRARIES Copyright1996 by AnneMcCrarySullivan TABLEOFCONTENTS page ABSTRACT V CHAPTERS 1 ATTHEINTERSECTIONOFARTANDRESEARCH 1 Prologue 1 AestheticVision 2 TheAutobiographicalContext 4 AReviewoftheTheoreticalLiterature 8 RedefiningCognition 8 MovingBeyondPositivism 11 WhatCountsAsResearch? 13 AStatementoftheProblem IB Purpose, Methodology, andModeofRepresentation . 17 2 EVOCATIVEREPRESENTATIONS: THEFIRSTEXEMPLAR . . 20 Prologue 20 TheContextandtheProblem 20 NotesaboutMethod 22 ConstructionoftheScript 25 AnEthicalConcern/TheIssueofVoiceand Ownership 29 ThePurposeoftheStudy 30 PPoeertsornyalainzdinPgasasinodnIninteTrenaaclhiezrinEgduKcnaotwiloend:ge .... 32 IntheBeginning 32 ThePracticum 41 GrowingDeeper 54 TheNCTEConventioninOrlando 59 TheHandbook 62 TheEndoftheSemester 67 Epilogue 70 ReflectionsontheScript 70 ImplicationsforFutureResearch 73 3 EVOCATIVEREPRESENTATIONS: THESECONDEXEMPLAR . . 75 Prologue 75 FollowingUp 75 TheInternship 76 : Methodology 77 EthicalConcerns 78 ThePurposesoftheStudy 81 ConstructionoftheEvocativeText 81 SaturaPtreodlowguiethPoetry: FirstDraftofaTeacher . 8833 TheInternship 86 Post-Internship 203 4 FINALCONSIDERATIONS 214 TheTeachingofPoetry 214 PoetryinCrisis/TheBroaderContext AReviewoftheLiterature 214 ThePoetryofTeaching 225 TheDynamicFormofTeaching 225 DevelopingTeachersAsArtists 227 TheArtofResearch 229 AErvtoicsattivaesMRoedseesarcasherI/nRteesreparrecthaetrioansArtist . . 222391 FinalWords: ThePoliticsofMethod 232 REFERENCES 235 BIOGRAPHICALSKETCH 242 AbstractofDissertationPresentedtotheGraduateSchool oftheUniversityofFloridainPartialFulfillmentofthe RequirementsfortheDegreeofDoctorofPhilosophy ATTHEINTERSECTIONOFARTANDRESEARCH: THETEACHINGOFPOETRY/THEPOETRYOFTEACHING By AnneMcCrarySullivan August1996 MCahajiorr:DepBaerntmFe.ntN:elmsInstructionandCurriculum Theprimarypurposeofthisdissertationistoexplore andexemplify, simultaneously, whatcanhappenatthe intersectionsofartandresearch, artandteaching. Maintainingthatteachingisanartfullofcomplexityand nuanceandthat, forexaminingandunderstandingthe teachingact, weneedprocessesthatengagewithcomplexity andnuance, itunderlinesthepotentialofartisticvision fortransformingresearchaboutartisticteaching, particularlyinthesecondaryEnglishclassroom, andcalls formodesofrepresentationthathavethepowerto communicatetherichnessoflivedexperience. Withinatheoreticalandpersonalframework, this dissertationpresentstwoexemplarsofstudiesconducted withartisticvisionandreportedthroughevocative representation. Thefirst, "PoetryandPassioninTeacher v " Education: PersonalizingandInternalizingKnowledge, examinestheexperiencesoftwelvepreserviceteachersina fifth-yearmaster'sprograminEnglisheducation. It followstheirgrowth, examinestheissuesthatbecame centraltotheirenterprise, andwitnessestheirbuildingof community. Thisresearchisreportedintheformofa reader'stheaterscriptconstructedfromparticipants' journalsandpoems. Thesecondstudy, "Saturatedwith Poetry: FirstDraftofaTeacher," followsoneofthese preserviceteachersthroughhisinternshipinaninth-grade Englishclassroom, focusingonhowhisartisticconcerns manifestedthemselvesinhisemergentteachingstyle. The nonchronologicalnarrativereportreliesheavilyuponpoetic techniqueandpoeticstrategy. Methodologically, thetwostudiesborrowfromdifferent qualitativestrategies; theymayboth, nevertheless, besaid tofallunderthebroadrubricofpersonal experience methods. Personalexperiencemethods, asdefinedbyJeanD. ClandeninandF. MichaelConnelly, focusontheexperiential whole, whichisbothtemporalandstoried. Theyacknowledge thecentralityoftheresearchers' ownexperienceandthe criticalroleoftherelationshipbetweentheresearcherand participants. Theyrelyuponfieldtextsasdata. Ineducationalresearch, howdoweavoidtheerrorof excessiveabstraction? Howdowestayconnectedtothe humanpurposesofresearch? Thisstudyisconcernedwith thesequestionsandwithpossibilitiesformodesof representationthathelpusretainthehumandimensionin knowledgeacquiredaboutteachingthroughresearch. . CHAPTER1 ATTHEINTERSECTIONOFARTANDRESEARCH Prologue Thisisnotaconventionaldissertation. Itisa dissertationthatreflectsitsmoment. Morespecifically, itmarksamomentintheevolutionoftheacademy. Welive inatimewhenmysteriesofthehumanbrain, afewata time, arebeingunlocked. Weknowthingsnowaboutthe natureoflearningthatwesimplydidnotknow, couldnot know, atmidcentury. Schoolsofeducationhavebeenatthe forefrontinapplyingtohumanconcernsnewknowledgeabout thinkingandlearning. Inrecentyears, preserviceteachers havebeenactivelyengagedwithconceptsofmultiple intelligences, withexpandedunderstandingsofwhatitmeans toknowandtodemonstrateknowledge, andwithresultant revisionsofwhatitmeanstoassessknowledge. Now, withintheirowninstitutions, collegesof educationarebeginningtoenactrevisedunderstandingsof what itmeanstoknowandexpandedpossibilitiesfor reportingresearch. Thisdissertationrepresentssomeof thoserevisedunderstandingsandexplorespedagogicalissues withintherealmofthoseexpandedpossibilities . Oneofthewaysthisdissertationdiffersfromits traditionalprecedentsisinitsembraceofmultiplicity. Thereareanumberofthings "goingon"here. Withina conceptualframework, whichisboththeoreticaland personal, thereareembeddedtwostudies, whichfocuson pedagogy. Eachoftheseisconcernedwiththedelicate interrelationsofart, poetry, teaching, andteacher education, tosuchanextentthattheyconvergeasstagesof aunifiedinquiry. Inthisdissertation, thethreadsofmultipleissues arespunintoaweboflargerconcern: artisticwaysof knowingandofrepresentingknowledge. Thisisacentral concernforme. Myownmultipleidentities--teacher, poet, researcher--areboundtogetherbyaestheticperceptionand byapenchanttocreateform. Theformofmyteachinghas alwaysbeencriticaltoitsmission, andtheformofthis dissertationispartofitscontent. AestheticVision Aestheticvisionsuggestsahighlevelofconsciousness aboutwhatonesees. Itsuggestsanalertness, a "wide- awakeness" thatMaxineGreenehasurgededucatorsand researcherstolearnfromartists (1987b, 1987c, 1994) Aestheticvisionengagesasensitivitytosuggestion, topattern, tothatwhichisbeneaththesurfaceaswellas tothesurfaceitself. Itrequiresafineattentionto detailandform--theperceptionofrelations (tensionsand . ,. 3 harmonies), theperceptionofnuance (colorsofmeaning) andtheperceptionofchange (shiftsandsubtlemotions) Aestheticvisionadjuststheflowoftime. Itmay seizeamomentinordertostareatitandseemorefully, moredeeply; butaestheticvisiondoesnotassumethatwhat oneseesinthemomentiswhatonewillalwayssee. It perceivesthepotentialfortransformationwithinany apparentfixity, whetherthatfixityisablockofwood, a pieceofclay, ajumbleofwords, ortheconfigurationofa classroom, thebehaviorofanindividualchild. Aestheticvisionisalwaysfromaspecificpointof view, filteredbyaspecificconsciousness. Itispersonal andsituational. Itincludesemotion, imagination, and paradox. Itembracescomplexity. Teacherswhofunctionwithaestheticvisionperceive thedynamicnatureofwhatisunfoldinginfrontofthem. Theyknowhowto "read" students, respondquickly, and reshapetheflowofevents. Theyconstructpersonal frameworksfortheirownunderstandings. Theydonotaccept thatwhattheyseeisimmutable. Theyhaveafinelytuned senseofhowtomovetowardnewconfigurations Researcherswithaestheticvision, too, perceivethe dynamicsofasituationandknowhowto "read" it. They lookatdetailswithintheircontexts, perceiverelations amongthepartsandbetweenthepartsandthewhole. They lookforpatternwithindisorderandforunitybeneath
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