The Case for an Emergent Curriculum... reflections
Steven Smith
Curriculum_, Edward Graybill argues forcefully against pre-packaged
and pre-determined curricula in schools. In my opinion, the paper
definitely succeeded in making some valid points; however, the work
also has areas of weakness. I will deal with some of what I consider
to be valid criticisms of the paper and then try to find the diamonds
in the matrix, because I believe that some exist.
It was my impression that the author expended more effort, and
certainly much more colorful language, in attacking what he calls the
"traditional curriculum" which he claims "leads inexorably to
didactic, teacher-centered modes of instruction... clotting genuine
inquiry. They disguise the priority of the question," Graybill argues,
"and eradicate the openness to experience by issuing knowledge in
fossilized form." The reader certainly knows how Graybill feels
regarding the current definition of "curriculum"; however, other than
purple prose, his argument against the traditional curriculum is weak.
In the first place, he's arguing vehemently against something that
simply doesn't exist, or, if it does, then I have never seen it. Of
course, the pre-planned, canned classes come with the textbooks and
these are just as Graybill describes. Teacher's textbooks also come
with the answers to the seventh-grade mathematics problems printed in
red ink. Does Graybill seriously believe that anyone actually looks
at either of these once the classroom door closes? I used to keep the
packaged "instructor's guides" and feel guilty about not using them;
nowadays, they go directly into the trashcan unopened. If I were told
to use them, I'd say "Yes sir/ma'am" and never open them again unless
I were being formally observed that day. I have never known any
teacher who did otherwise, although I have known of quite a few
principals who may have thought it was otherwise.
The author suggests that he will ground his argument in a relevant
theoretical framework that can meaningfully inform practice.
Unfortunately, he never really does that. If his case is based on
more than anecdotal evidence and argumentation about what individuals
find to be intuitively true, then it wasn't clear to this reader.
As I interpret the text, I would summarize Graybill's position thus:
we have the explicit curriculum. These are our typed out lesson plans
that we keep in our desks and only pull out for observations. The
explicit curriculum is what we tell the administrators that we're
doing and the administrators subsequently communicate this to the
educational researchers which may explain why Graybill believes as he
does. The implicit curriculum is what we'd really like to get across
and may well exist in the affective realm, thus being difficult to
measure. The emergent curriculum is what really happens.
I particularly liked the portion of the paper likening curriculum to
playing a game. In reading this, I came to believe that there would be
some reconciliation between the two concepts of curriculum. I used to
agree with Graybill with respect to the traditional curriculum,
although I would have disagreed that anyone actually did that. After
reading and reflecting on that part of the paper, I have to say that I
had never thought of the explicit curriculum as "the rules of a game"
before.
In reflection, the paper makes a strong argument against the way we
say that we implement curriculum and for the way that most teachers
actually already do it.
Steven W. Smith
Texas A&M University, Kingsville
!Jones
<sws...@hotmail.com> wrote:
Sorry... wrong newsgroup.
Jones
Yeff
!Jones<lbj...@hotmail.com> wrote in
alt.war.vietnam:
> On Sat, 22 Sep 2001 06:40:56 -0500, in alt.war.vietnam Steven Smith
> <sws...@hotmail.com> wrote:
>
> Sorry... wrong newsgroup.
What's that URL again?, I lost it
during a reformat. The address
in my .sig is good.
Thanks.
-Jeff B.
yeff at erols dot com
Ted Gittinger
"Yeff" <ye...@spamcop.net> wrote in message
news:9oi1ks$d7g$1...@bob.news.rcn.net...
> In article <eo1pqtoo39gj4c6ud...@4ax.com>,
> !Jones<lbj...@hotmail.com> wrote in
> alt.war.vietnam:
>
> > On Sat, 22 Sep 2001 06:40:56 -0500, in alt.war.vietnam Steven Smith
> > <sws...@hotmail.com> wrote:
> >
> > Sorry... wrong newsgroup.
Yes, it is.
Try alt.academic.boilerplate
ted
Bill Tyner
> Curriculum_, Edward Graybill argues forcefully against pre-packaged
> and pre-determined curricula in schools. In my opinion, the paper
> definitely succeeded in making some valid points; however, the work
Oi!!
Only having read your post I'm at a disadvantage hazarding this reply
(though this has never deterred the attempt!) Of course there is a
need for "didactic" lesson plans and teaching methods. There are the
sciences to teach and physical laws to describe, languages and
physical skills to master. As hard as they may be, fundamentals must
be hammered in driving out the mush. I really hated the push for open
classrooms and no grades in the 70's. What a sham. From classrooms
like this come your addle-brained vet-baiters. Pedagogy forever!
Now, when it comes to teaching "Politics For The Living Planet" or
some other such subjective stuff I guess the instructor must fly by
the seat of the pants. The very special instructors are (IMO) those
folk who can weave in and out of both realms with the intention of
imparting the gift of "understanding" as well as "thinking on your
feet".
I'm reminded of military training where the fundamentals were taught
but the importance was placed on analysis and action. Wasn't the
author speaking to that issue by refering to "emergent" or classical
evolving situation?
Bill
Bill Langston
time. Once you get a Doctorate you automatically know how to talk this
lingo! Old Steve is just being part of the 'in' crowd, that's all. He could
have said everything clearly in one paragraph.
Government is not immune either, they can go to great lengths to say the
simplest things.
SF
BL
P.S. Not trying to single you out Steve, it's an epidemic and you just
caught the bug like so many others.
"Bill Tyner" <sty...@budget.net> wrote in message
news:8f311b71.01092...@posting.google.com...
John
<l...@cei.net> wrote:
> Bill, this is just how the 'intellectual class' of educators talk all the
> time. Once you get a Doctorate you automatically know how to talk this
> lingo! Old Steve is just being part of the 'in' crowd, that's all. He could
> have said everything clearly in one paragraph.
I believe that the expression is, "That sumbitch talks *more* and says
*less* than any three people I ever met".
I heard a guy from Texas say that once, and I liked it.
John Mercadante
B-7/1 Air Cav, 1970-71
!Jones
>Oi!!
This place is a looney bin! You guys will reply to *anything*. I had
the wrong group selected... ignore it.
Jones
!Jones
Theodore, I said that I didn't mean to post that here. But if you
don't like it, then don't fucking read it.
Jones
!Jones
wrote:
>Bill, this is just how the 'intellectual class' of educators talk all
the
>time.
Why, you old "coon-dog" faced inbred Arkie chicken-farmer wannabe
*Deliverance* character! Just grease up for me, OK?
Hows that?
Jones
!Jones
>I believe that the expression is, "That sumbitch talks *more* and
says
>*less* than any three people I ever met".
People who live in glass houses...
< QUOTE >
>>>>>>>Unsupporte, Unsubstantiated "Facts" Snipped<<<<<<<<
You are a cowardly yellow gutless usenet troll.
Why on earth would any thinking person care *what* you think about
anything? You and your silly opinions are irrelevant. Nobody here
cares.
John Mercadante
B-7/1 Air Cav, 1970-71
< /QUOTE >
Jones
Carl Hatchell
You plagiarizing from the Postmodern Generator again?
Carl Hatchell
"Steven Smith" <sws...@hotmail.com> wrote in message news:dptoqt8gos3d0i8nq...@4ax.com...
Bill Langston
SF
BL
"!Jones" <lbj...@hotmail.com> wrote in message
news:tu8qqtgiqsa0bu88o...@4ax.com...
Nigel Brooks
content never to read another post about Emergent Curriculum, Graybill's
message is apparently that he has mystical powers of divination and
prophecy. To address this in a pedantic manner, in the rest of this post,
factual information will be prefaced as such and my own opinions will be
clearly stated as opinions. For instance, it is indisputably a fact that he
possesses no significant intellectual skills whatsoever and has no interest
in erudition. Heck, he can't even spell or define "erudition," much less
achieve it. While I don't know Graybill's secret plans, I do know that if
you've read any of the combative slop about Hermeneutics , you'll really
recall Graybill's description of its plan to jawbone aimlessly. If you
haven't read any of it, well, all you really need to know is that Graybill's
allies constitute the only species of animal life that is both mammalian and
invertebrate. Why do I tell you this? Because these days, no one else has
the guts to. His paper on Emergent Curriculum is a shoo-in for this year's
awarding of "most obtuse use of interventionism". Let me try to explain what
I mean by that in a single sentence: Graybill wants us to feel sorry for the
treasonous spivs who sue people at random. I think we should instead feel
sorry for their victims, all of whom know full well that Graybill should
think about how his views lead flagitious maggots to gag the innocent
accused from protesting separatism-motivated prosecutions.
Nigel Brooks
"!Jones" <lbj...@hotmail.com> wrote in message
news:ra8qqt4vg4uili9q1...@4ax.com...
John
<lbj...@hotmail.com> wrote:
We're not *replying* to anything--just laughing at your goofy ass.
Yeff
Found it!
[clearing throat]
1. Lyotardist narrative and pretextual sublimation
If one examines social realism, one is faced with a choice: either
accept Lyotardist narrative or conclude that art is capable of intent.
The futility, and some would say the defining characteristic, of
pretextual sublimation which is a central theme of Spelling's Beverly
Hills 90210 is also evident in Models, Inc..
"Class is a legal fiction," says Marx; however, according to Finnis[1] ,
it is not so much class that is a legal fiction, but rather the stasis,
and hence the meaninglessness, of class. Therefore, Abian[2] states that
we have to choose between the neotextual paradigm of reality and
capitalist narrative. If pretextual sublimation holds, the works of
Fellini are not postmodern.
If one examines Lyotardist narrative, one is faced with a choice: either
reject postcultural situationism or conclude that consciousness has
significance, but only if reality is interchangeable with language; if
that is not the case, the media is capable of truth. But the subject is
interpolated into a social realism that includes consciousness as a
paradox. Derrida uses the term 'Debordist image' to denote a
patriarchialist reality.
Therefore, the subject is contextualised into a social realism that
includes truth as a whole. Hanfkopf[3] holds that we have to choose
between Lyotardist narrative and Marxist capitalism.
It could be said that many deappropriations concerning the absurdity of
constructivist class exist. If pretextual sublimation holds, we have to
choose between social realism and postconceptual socialism.
Therefore, a number of theories concerning pretextual sublimation may be
found. Sontag uses the term 'semanticist narrative' to denote not
discourse per se, but prediscourse.
However, the feminine/masculine distinction prevalent in Fellini's
Amarcord emerges again in 8 1/2, although in a more self-fulfilling
sense. Derrida's essay on social realism suggests that reality comes
from the masses.
2. Fellini and Lyotardist narrative
In the works of Fellini, a predominant concept is the concept of
subcultural sexuality. It could be said that Lacan uses the term 'social
realism' to denote the economy, and subsequent genre, of capitalist
sexual identity. Marx promotes the use of Lyotardist narrative to
challenge outmoded perceptions of class.
The primary theme of von Ludwig's[4] critique of social realism is the
role of the writer as artist. However, Lyotard uses the term 'pretextual
sublimation' to denote not theory, but posttheory. The premise of social
realism implies that reality serves to reinforce the status quo.
But Baudrillard uses the term 'subcultural Marxism' to denote the
difference between narrativity and society. Finnis[5] holds that we have
to choose between social realism and Lyotardist narrative.
However, Lyotardist narrative suggests that consensus is a product of
communication, but only if Bataille's model of pretextual sublimation is
invalid. Baudrillard suggests the use of Lyotardist narrative to read
society. But several narratives concerning not theory as such, but
subtheory exist. Bataille uses the term 'social realism' to denote a
dialectic reality.
Thus, Lyotardist narrative states that the task of the reader is
deconstruction. The subject is interpolated into a postpatriarchialist
capitalist theory that includes sexuality as a totality.
3. Discourses of absurdity
"Class is part of the dialectic of language," says Lyotard; however,
according to Scuglia[6] , it is not so much class that is part of the
dialectic of language, but rather the futility, and thus the economy, of
class. It could be said that the premise of Lyotardist narrative implies
that culture is capable of intention. The characteristic theme of the
works of Fellini is the dialectic, and eventually the meaninglessness,
of pretextual society.
In the works of Fellini, a predominant concept is the distinction
between destruction and creation. Thus, pretextual sublimation holds
that the significance of the poet is significant form. Lacan promotes
the use of Lyotardist narrative to deconstruct class divisions.
The main theme of von Ludwig's[7] analysis of pretextual sublimation is
the bridge between sexual identity and society. However, Sontag's model
of Lyotardist narrative states that narrative is created by the masses,
but only if reality is equal to truth; otherwise, we can assume that
government is capable of significance. A number of discourses concerning
social realism may be revealed.
Thus, the premise of cultural postconstructivist theory suggests that
the purpose of the artist is social comment, given that Sartre's
critique of Lyotardist narrative is valid. If social realism holds, the
works of Fellini are an example of self-falsifying feminism.
It could be said that any number of narratives concerning a textual
whole exist. Debord suggests the use of pretextual sublimation to
analyse and read reality. In a sense, the defining characteristic, and
some would say the rubicon, of social realism which is a central theme
of Fellini's Amarcord is also evident in Satyricon. Sontag uses the term
'pretextual sublimation' to denote not, in fact, structuralism, but
prestructuralism.
Thus, social realism implies that consciousness is dead. The subject is
contextualised into a pretextual sublimation that includes truth as a
totality.
However, the characteristic theme of the works of Fellini is the stasis,
and therefore the meaninglessness, of postdialectic society. The subject
is interpolated into a capitalist objectivism that includes narrativity
as a reality.
------------------------------------------------------------------------
1. Finnis, U. (1997) Reading Lacan: Social realism in the works of
Fellini. And/Or Press
2. Abian, N. Z. V. ed. (1982) Lyotardist narrative and social realism.
University of North Carolina Press
3. Hanfkopf, Y. (1996) Discourses of Stasis: Social realism and
Lyotardist narrative. O'Reilly & Associates
4. von Ludwig, G. J. ed. (1983) Social realism in the works of Eco.
Loompanics
5. Finnis, Y. (1998) The Rubicon of Art: Lyotardist narrative and social
realism. Schlangekraft
6. Scuglia, P. W. L. ed. (1973) Social realism and Lyotardist narrative.
Loompanics
7. von Ludwig, N. (1984) Expressions of Collapse: Social realism in the
works of Lynch. O'Reilly & Associates
Matt Osborn
"Yeff" <ye...@spamcop.net> wrote in message
news:9ojjkm$5k4$2...@bob.news.rcn.net...
>
> Found it!
>
> [clearing throat]
>
> 1. Lyotardist narrative and pretextual sublimation
> If one examines social realism, one is faced with a choice: either
> accept Lyotardist narrative or conclude that art is capable of intent.
> The futility, and some would say the defining characteristic, of
> pretextual sublimation which is a central theme of Spelling's Beverly
> Hills 90210 is also evident in Models, Inc..
<lots of good stuff snipped.
Yeff
Matt Osborn<msos...@attglobal.net> wrote in
alt.war.vietnam:
> Could you append this to the FAQ for this newsgroup?
That would waste bandwidth. Let's just use
this link (and use it wisely or all is lost!):
http://www.elsewhere.org/cgi-bin/postmodern/
-Jeff B. (who couldn't spell most of the words he used)
Don Thompson
--
Don Thompson
Another Thompson Scion
"Yeff" <ye...@spamcop.net> wrote in message
news:9ojjkm$5k4$2...@bob.news.rcn.net...
>
Yeff
Don Thompson<flas...@ix.netcom.comghost> wrote in
alt.war.vietnam:
> Piss on Fellini, Felatio is oh so much more heady.
You won over the Russian judge with that one. <g>
Tom Huxton
"John" <jme...@earthlink.net> wrote in message
news:220920012144473373%jme...@earthlink.net...
>
> I'm not "replying" to this Nigel--just joining you in
laughing at his
> goofy ass.
>
> So how long do you think we can keep this thread going?
>
> Wanna try for the record?
>
> John Mercadante
> B-7/1 Air Cav, 1970-71
>
I dunno, John. I suppose we should try to run it by the
Haters, if you think it has potential. Another 3 star
unintentional Troll by the Jonester. Do you remember the
"Drugs are Beneficial" thread?)
Thomas
Tom Huxton
the works of Smith
Ludwig L. W. Geoffrey
Department of Peace Studies, Carnegie-Mellon University
Rudolf H. von Junz
Department of English, University of California, Berkeley
---------------------------------------------------------
1. Expressions of collapse
The main theme of the works of Smith is the genre, and
subsequent dialectic, of subsemantic narrativity. The
characteristic theme of Hanfkopf's[1] essay on structuralist
narrative is a mythopoetical totality.
But Foucault suggests the use of patriarchialist rationalism
to analyse sexual identity. Any number of discourses
concerning Lyotardist narrative may be discovered.
It could be said that in Dogma, Smith analyses patriarchialist
rationalism; in Chasing Amy he denies postsemantic textual
theory. A number of situationisms concerning the bridge
between society and sexual identity exist. Thus, Derrida uses
the term 'Lyotardist narrative' to denote a subcapitalist
reality. Baudrillard promotes the use of patriarchialist
rationalism to attack hierarchy.
2. Lyotardist narrative and the cultural paradigm of context
"Class is elitist," says Debord; however, according to
Porter[2] , it is not so much class that is elitist, but
rather the genre, and eventually the paradigm, of class. It
could be said that von Ludwig[3] holds that we have to choose
between structuralist narrative and subcapitalist theory. If
textual Marxism holds, the works of Smith are reminiscent of
Lynch.
The primary theme of the works of Smith is the common ground
between sexuality and society. However, the premise of the
cultural paradigm of context suggests that truth has intrinsic
meaning. The main theme of Porter's[4] critique of Lyotardist
narrative is the genre of neosemanticist class.
In a sense, several discourses concerning the cultural
paradigm of context may be revealed. The subject is
contextualised into a Lyotardist narrative that includes
narrativity as a totality.
Therefore, Hubbard[5] implies that we have to choose between
the cultural paradigm of context and cultural subtextual
theory. The primary theme of the works of Joyce is the role of
the reader as artist.
It could be said that structuralist narrative holds that the
goal of the observer is deconstruction. Any number of
appropriations concerning not theory, but posttheory exist.
3. Joyce and Lyotardist narrative
In the works of Joyce, a predominant concept is the concept of
capitalist consciousness. But the creation/destruction
distinction intrinsic to Joyce's Finnegan's Wake is also
evident in A Portrait of the Artist As a Young Man. Sartre
suggests the use of structuralist narrative to modify and
deconstruct truth.
The characteristic theme of Wilson's[6] model of Lyotardist
narrative is the role of the artist as writer. It could be
said that if structuralist narrative holds, we have to choose
between the cultural paradigm of context and pretextual
discourse. The premise of Lyotardist narrative states that the
collective is capable of significance, but only if reality is
distinct from consciousness; if that is not the case, sexual
identity, perhaps ironically, has objective value.
However, Lacan uses the term 'the cultural paradigm of
context' to denote not theory, but neotheory. Cameron[7]
implies that we have to choose between structuralist narrative
and capitalist materialism.
In a sense, many theories concerning postdialectic
deconstruction may be found. If Lyotardist narrative holds, we
have to choose between capitalist libertarianism and
subpatriarchialist modern theory.
Thus, a number of narratives concerning the meaninglessness,
and eventually the failure, of postdialectic society exist.
McElwaine[8] states that we have to choose between Lyotardist
narrative and semanticist theory.
4. Realities of paradigm
In the works of Fellini, a predominant concept is the
distinction between ground and figure. In a sense, in 8 1/2,
Fellini examines the cultural paradigm of context; in La Dolce
Vita, although, he deconstructs structuralist narrative. The
cultural paradigm of context holds that language is used to
disempower the Other, given that Lyotard's analysis of
structuralist narrative is valid.
But Debord uses the term 'Lyotardist narrative' to denote not
discourse as such, but prediscourse. The primary theme of the
works of Fellini is the role of the participant as poet.
It could be said that the dialectic of the cultural paradigm
of context which is a central theme of Fellini's Amarcord
emerges again in Satyricon, although in a more self-fulfilling
sense. The premise of subtextual conceptualist theory states
that the raison d'etre of the reader is social comment. In a
sense, the subject is interpolated into a cultural paradigm of
context that includes truth as a reality. Lyotard promotes the
use of Lyotardist narrative to attack sexism.
--------------------------------------------------------------
------------------
1. Hanfkopf, S. Z. H. ed. (1991) Structuralist narrative in
the works of Pynchon. Panic Button Books
2. Porter, L. (1972) The Economy of Consensus: Structuralist
narrative and Lyotardist narrative. And/Or Press
3. von Ludwig, S. V. ed. (1998) Lyotardist narrative and
structuralist narrative. O'Reilly & Associates
4. Porter, G. (1981) Neocultural Desituationisms:
Structuralist narrative and Lyotardist narrative. Panic Button
Books
5. Hubbard, N. U. Y. ed. (1978) Lyotardist narrative in the
works of Joyce. O'Reilly & Associates
6. Wilson, F. (1996) The Economy of Expression: Lyotardist
narrative and structuralist narrative. And/Or Press
7. Cameron, B. G. ed. (1980) Structuralist narrative in the
works of Madonna. Yale University Press
8. McElwaine, M. (1977) The Vermillion Sky: Lyotardist
narrative in the works of Fellini. Oxford University Press
!Jones
<Ha...@2xtreme.net> wrote:
>Steve,
> You plagiarizing from the Postmodern Generator again?
>
>Carl Hatchell
Naaah. Just selected the wrong newsgroup. It doesn't take a whole
lot to get a fight started around here.
Jones
!Jones
At least I'm not an Okie.
Jones
!Jones
>Wanna try for the record?
"It's the GUNS, stupid!" has been running for right about 16 months as
a continuous thread, so you have your work cut out for you.
I'm considering letting it die as I'm tired of fooling with it.
Jones
WrdMizr
wrote:
You better smile when you say that, partner!
>
>Jones
!Jones
(WrdMizr) wrote:
>>At least I'm not an Okie.
>
>You better smile when you say that, partner!
I'm a Lawton boy.
Ya know, I think that we all ought to just go bat-shit ballistic over
the fact that I selected the wrong newsgroup, what do you think?
This bunch is damn lucky that I consider them a troll-target akin to
shooting at a whale on a beach chained to a tree... they'll bite on
*anything*! It doesn't have to "bee" provocative.
(*That* ought to set all of them off like an acorn on the hen-house
roof.)
< SQUAAAAAWK! >
Jones
WrdMizr
wrote:
I think you are taking both of us too seriously (youself and me) . . .
does a tongue in cheek comment have to be appended by a smilie before
you launch into one of these "I gotchas"?
>
>Jones
!Jones
(WrdMizr) wrote:
>I think you are taking both of us too seriously (youself and me) . .
.
>does a tongue in cheek comment have to be appended by a smilie before
>you launch into one of these "I gotchas"?
Naaaa... it won't change a damn thing, Wordy... but I've learned not
to take it seriously. (I just have a powerful vocabulary.)
Jones
WrdMizr
wrote:
Using it might make your posts easier to understand.
>
>Jones
!Jones
traveler_N...@loxinfo.co.th (WrdMizr) wrote:
>Using it might make your posts easier to understand.
Hey, man! My fuggin' vocabulary is soooooo big...
Jones