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Releasing the Imagination by Maxine Greene

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RELEASING THE IMAGINATION BY MAXINE GREENE Hilliary Candler EDUC 440 Marissa Sexton Dr. Hamm Maxine Greene – PowerPoint PPT presentation

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Title: Releasing the Imagination by Maxine Greene


1
Releasing the Imaginationby Maxine Greene
  • Hilliary Candler EDUC 440
  • Marissa Sexton Dr. Hamm

2
Maxine Greene
Maxine received her doctorate in education from
New York University in 1955 and went on to teach
at New York University, Montclair State College
and Brooklyn College. Maxinegreene.org
"I was brought up in Brooklyn, New York, almost
always with a desire to cross the bridge and live
in the real world... beyond and free from what
was thought of as the ordinary. maxinegreen.org
3
The Book
A collection of Essays on Education, the Arts,
and Social Change.
4
Seeking Contexts
  • In many respects, teaching and learning are
    matters of breaking through barriersof
    education, of boredom, of predefinition. (14)
  • We, as teachers, have to be concerned with
    action, not behavior (15).
  • For this passion is the doorway for imagination
    here is the possibility of looking at things as
    if they could be otherwise. (16)

5
Imagination, Breakthroughs, and the Unexpected
  • Teacher goals Transformations, openings,
    possibilities (17)
  • National goals
  • All children must be prepared when they enter
    school
  • Graduation rates from high schools will be 90
    percent
  • All Americans will become literate
  • The teaching force should be well educated
  • Parents should be more involved in childrens
    learning
  • to learn and to teach, one must have an
    awareness of leaving something behind while
    reaching toward something new, and this kind of
    awareness must be linked to imagination. (20)

6
The Shapes of Childhood Recalled
  • the notion of recalling the shapes of childhood
    with reference to a life story. (74)
  • Gender, sibling and maternal relationships,
    political and professional phenomena, and even
    aging and decline from my self the shaping
    influences of contexts. We are influenced by
    what we read. We apply our own context to what
    we read and make our own meanings of it. (74)

7
The Continuing Search for Curriculum
  • How would it be possible to counter the dullness
    and banality of many service jobs by enabling the
    young to find fulfillments outside of the world
    of work? (89)
  • What can we do to make things interesting for the
    students while at the same time educationing them
    and meeting our requirements.
  • For most educators over the years, curriculum
    has had to do with cultural reproduction, the
    transmission of knowledge, and at least to some
    degree, the life of the mind (89)

8
  • If we regard curriculum as an undertaking
    involving continuous interpretation and a
    conscious search for meanings, we come to see
    many connections between the grasping of a text
    or artwork and the grasping and the gaining of
    multiple perspectives by means of the
    disciplines (96)

9
Teaching for Openings
  • I would like us to discover how we can all
    discover together against the diversity of our
    backgrounds, write together, draw upon each
    others existential realities (119)
  • We teachers will confront thousands and
    thousands of newcomers in the years ahead some
    from the darkness and danger of the neglected
    ghettos, some exhausted from their suffering
    under dictators, some stunned by lives in refugee
    camps, some unabashedly in search of economic
    success (120)

10
Art and Imagination
  • When even the young confront loss and death, as
    most of us are bound to do today, it is
    important that everything we love be summed up
    into something unforgettably beautiful (Leiris,
    p.201) (122)
  • To see sketch after sketch of women holding dead
    babies in their arms, as Picasso provoked us to
    do, is to become aware of a tragic deficiency in
    the fabric of life (122)

11
Guernica by Pablo Picasso
12
  • Would it be a good idea to further the
    requirements of education and implement an art
    SOL?
  • It is my conviction that informed engagements
    with the several arts is the most likely mode of
    releasing our students imaginative capacity and
    giving it play (125)

13
  • I am reminded of Paul Cezannes several
    renderings of Mont St. Victorie and of his way of
    suggesting that it must be viewed from several
    angles, from multiple perspectives if it is to be
    achieved as a phenomenon of consciousness (131)
  • the significance of encounters with the arts
    for classrooms in which the young are moved to
    imagine, to extend, and to renew. Surely, nothing
    can be more important that finding the source of
    learning, not in extrinsic demand, but in human
    freedom. (132)

14
  • Art offers life it offers hope it offers the
    prospect of discovery it offers light (133)
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