http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? This is a file listing from PocketKnowledge This is a file listing from PocketKnowledge en-us Wed, 22 May 2013 17:25:24 EDT Various: PocketKnowledge Digital Archiving http://pocketknowledge.tc.columbia.edu/home.php/viewfile/37529 Greene discusses the role of metaphor and imagination in the arts, drawing upon examples from poems, movies, books, paintings, etc. She uses these to show that in order to fully engage with art, one must be able to imagine situations beyond the known - to look at things as if they could be otherwise. One must also engage in "active learning," by attending to the work of art and perceiving its details. Greene discusses the role of metaphor and imagination in the arts, drawing upon examples from poems, movies, books, paintings, etc. She uses these to show that in order to fully engage with art, one must be able to imagine situations beyond the known - to look at things as if they could be otherwise. One must also engage in "active learning," by attending to the work of art and perceiving its details. Maxine Greene Maxine Greene Mon, 22 May 1995 17:25:24 -0400 Education, imagination, Lincoln Center Institute, aesthetics, Poetry, Metaphor, poem, cinema, Active learning, the arts, Perception http://pocketknowledge.tc.columbia.edu/home.php/viewfile/37529 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/37090 Discussion of the connections between involvement in the arts and learning in a particularly tumultuous time, and the implications of such involvement for teaching in an increasingly pluralist context. Greene holds that art works are realized only when persons are authentically present to them, willing to be released by their imaginations, taking the risk of learning new languages, turning their faces to the possible. Discussion of the connections between involvement in the arts and learning in a particularly tumultuous time, and the implications of such involvement for teaching in an increasingly pluralist context. Greene holds that art works are realized only when persons are authentically present to them, willing to be released by their imaginations, taking the risk of learning new languages, turning their faces to the possible. Maxine Greene Maxine Greene Sat, 22 May 1993 17:25:24 -0400 Education, imagination, Aesthetic education, Lincoln Center Institute, aesthetics, Multiculturalism, the arts, perspective http://pocketknowledge.tc.columbia.edu/home.php/viewfile/37090 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/22137 A response to Egan's article, Imagination and Learning. Though in agreement on the lack of an adequate account of educational development, the authors are not in total agreement on the nature of imagination, the meaning of the concrete, or the abstract categories or conceptual tools that (for Egan) account for children’s comprehension of fantasy stories. A response to Egan's article, Imagination and Learning. Though in agreement on the lack of an adequate account of educational development, the authors are not in total agreement on the nature of imagination, the meaning of the concrete, or the abstract categories or conceptual tools that (for Egan) account for children’s comprehension of fantasy stories. Maxine Greene Maxine Greene Wed, 22 May 1985 17:25:24 -0400 http://pocketknowledge.tc.columbia.edu/home.php/viewfile/22137 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/22129 This paper discusses how art and aesthetic education open people to visions of the possible, creating a community of distinctive individuals. This paper discusses how art and aesthetic education open people to visions of the possible, creating a community of distinctive individuals. Maxine Greene Maxine Greene Sun, 22 May 1994 17:25:24 -0400 Maxine Greene, Aesthetic education, art, Visions http://pocketknowledge.tc.columbia.edu/home.php/viewfile/22129 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2802 In this article, Maxine Greene finds important consequences for a conception of art whose medium is language, i.e. language arts. She discusses reasons for bringing aesthetics into classrooms, especially because of the continuing influence of literary criticism on the teaching of English. How can we make literature meaningful to students of modern age? This is one of the many questions she asks and seeks answers for. She suggests that students can learn as much from literary art as they can from sciences, as long as appropriate means of teaching the literary arts can be implemented in classrooms. In this article, Maxine Greene finds important consequences for a conception of art whose medium is language, i.e. language arts. She discusses reasons for bringing aesthetics into classrooms, especially because of the continuing influence of literary criticism on the teaching of English. How can we make literature meaningful to students of modern age? This is one of the many questions she asks and seeks answers for. She suggests that students can learn as much from literary art as they can from sciences, as long as appropriate means of teaching the literary arts can be implemented in classrooms. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Maxine Greene, aesthetics, Language arts, teaching of english, literary art, Literary Criticism, Conception Of Art http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2802 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2801 The argument in this chapter by Maxine Greene is threefold: that aesthetic experiences should be given a central place in general education; that such experiences require a distinctive mode of literacy; and that classroom teachers and general educators, working in cooperation with art teachers and practicing artists are potentially capable of enabling students to learn how to learn to be literate in this way. The focus of the chapter is on aesthetic education, or on ways of teaching intended to make aesthetic literacy possible. The argument in this chapter by Maxine Greene is threefold: that aesthetic experiences should be given a central place in general education; that such experiences require a distinctive mode of literacy; and that classroom teachers and general educators, working in cooperation with art teachers and practicing artists are potentially capable of enabling students to learn how to learn to be literate in this way. The focus of the chapter is on aesthetic education, or on ways of teaching intended to make aesthetic literacy possible. Maxine Greene Maxine Greene Fri, 22 May 1981 17:25:24 -0400 Maxine Greene, Aesthetic education, Art teachers, aesthetic experiences, Aesthetic Literacy http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2801 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2795 This is an article by Maxine Greene written as a response to Harry S. Broudy's article entitled 'Art, Science, and New Values.' While raising questions about certain aspects of the article, Maxine Greene also displays the assumptions underlying Broudy's treatment of art forms. She agrees with Broudy's belief that the arts and art education should be central in general education, but she differs from him in terms of the justifications to do so and the visions of the 'real'. This is an article by Maxine Greene written as a response to Harry S. Broudy's article entitled 'Art, Science, and New Values.' While raising questions about certain aspects of the article, Maxine Greene also displays the assumptions underlying Broudy's treatment of art forms. She agrees with Broudy's belief that the arts and art education should be central in general education, but she differs from him in terms of the justifications to do so and the visions of the 'real'. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Maxine Greene, art, art education, Science, Harry S. Broudy, New Values, Art Forms http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2795 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2764 In her paper entitled "The Artistic-Aesthetic and Curriculum," Maxine Greene is concerned about ways of moving young people to self-reflectiveness and critical awareness by focusing on the role of artistic-aesthetic on contemporary curriculum. According to Greene, inclusion of the artistic-aesthetic in contemporary curriculum will help students' better understanding of multiple realities and world experiences. Following the article are responses of various researchers to proposals that Prof. Greene makes in her paper. In her paper entitled "The Artistic-Aesthetic and Curriculum," Maxine Greene is concerned about ways of moving young people to self-reflectiveness and critical awareness by focusing on the role of artistic-aesthetic on contemporary curriculum. According to Greene, inclusion of the artistic-aesthetic in contemporary curriculum will help students' better understanding of multiple realities and world experiences. Following the article are responses of various researchers to proposals that Prof. Greene makes in her paper. Maxine Greene Maxine Greene Sun, 22 May 1977 17:25:24 -0400 curriculum, Maxine Greene, Artistic-Aesthetic, Self-Reflectiveness, Critical Awareness, Multiple Realities http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2764 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2763 An aesthetic commitment is not a moral commitment although it may seem so to believer and observer alike. This dangerous confusion of appearance with ethic, which pervades society and mutilates reality, and the distinction which rational, responsible individuals must make between them are the subject of this article by Maxine Greene. An aesthetic commitment is not a moral commitment although it may seem so to believer and observer alike. This dangerous confusion of appearance with ethic, which pervades society and mutilates reality, and the distinction which rational, responsible individuals must make between them are the subject of this article by Maxine Greene. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Maxine Greene, Aesthetic Commitment, Moral Commitment, Ethic, Appearance http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2763 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2738 In this paper, Maxine Greene is concerned with the place of literature in aesthetic education and with the potential roles to be played by literary and dramatic forms in interdisciplinary programs. In this paper, Maxine Greene is concerned with the place of literature in aesthetic education and with the potential roles to be played by literary and dramatic forms in interdisciplinary programs. Maxine Greene Maxine Greene Sat, 22 May 1976 17:25:24 -0400 Maxine Greene, Literature In Aesthetic Educat, Interdisciplinary Programs http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2738 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2722 In this paper, Maxine Greene emphasizes the importance of arts in improving young students' imagination and aesthetic sense. She points to the fact that there is a growing realization that early experiences with art are in an important sense foundational to the later development of aesthetic experience. An aesthetic experience takes place in a province of meaning too often closed to young people in our schools. Teachers must take risks if they are to enable students to open themselves to art forms, to overcome false notions, to take a "humanistic view." Art education, like aesthetic education, can create domains where there are new possibilities of vision and awareness. In this paper, Maxine Greene emphasizes the importance of arts in improving young students' imagination and aesthetic sense. She points to the fact that there is a growing realization that early experiences with art are in an important sense foundational to the later development of aesthetic experience. An aesthetic experience takes place in a province of meaning too often closed to young people in our schools. Teachers must take risks if they are to enable students to open themselves to art forms, to overcome false notions, to take a "humanistic view." Art education, like aesthetic education, can create domains where there are new possibilities of vision and awareness. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Maxine Greene, art education, Art Forms, Aesthetic Literacy, Aesthetic Experience http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2722 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2720 In this speech, Maxine Greene proposes that young people be engaged in participatory action and with art, using the opportunities from the media, which will help them discover their own identities and connect with the rest of the world. Art is depicted as a mode of human action. In this speech, Maxine Greene proposes that young people be engaged in participatory action and with art, using the opportunities from the media, which will help them discover their own identities and connect with the rest of the world. Art is depicted as a mode of human action. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Speech, Maxine Greene, aesthetics, Inhumanities, Participatory Action, Media And Art http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2720 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2700 In this article, Maxine Green challenges the present arts curricula and points to the important fact that imaginative literature must be included among the arts taught in schools. She concludes with open questions regarding arts curricula and whether they can or should be discipline-based. In this article, Maxine Green challenges the present arts curricula and points to the important fact that imaginative literature must be included among the arts taught in schools. She concludes with open questions regarding arts curricula and whether they can or should be discipline-based. Maxine Greene Maxine Greene Fri, 22 May 1987 17:25:24 -0400 imaginative literature, Maxine Greene, Arts Curricula, Discipline-based, Art Worlds http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2700 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2683 This panel paper proposes that the several arts be given a central place in the high school curriculum and that they be conceived in an integral relationship with the traditional subjects. The argument has to do with the ways in which participation in and encounters with the arts contribute to the quest for meaning, the ways in which they provide perceptual education, and the ways in which they enable individuals to orient themselves critically and creatively to the environment and the social world. The primary concern is the possibility of reconceiving the high school curriculum so as to make the arts a significant part of each young person's everyday reality . This panel paper proposes that the several arts be given a central place in the high school curriculum and that they be conceived in an integral relationship with the traditional subjects. The argument has to do with the ways in which participation in and encounters with the arts contribute to the quest for meaning, the ways in which they provide perceptual education, and the ways in which they enable individuals to orient themselves critically and creatively to the environment and the social world. The primary concern is the possibility of reconceiving the high school curriculum so as to make the arts a significant part of each young person's everyday reality . Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 arts, Maxine Greene, High School Curriculum, Quest For Meaning, Perceptual Education http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2683 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2673 In this article, Maxine Greene argues strenuously for the arts and the presence of art forms in classrooms from a post-modern point of view. In this article, Maxine Greene argues strenuously for the arts and the presence of art forms in classrooms from a post-modern point of view. Maxine Greene Maxine Greene Sat, 22 May 1993 17:25:24 -0400 arts, imagination, Maxine Greene http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2673 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2659 This is the Fall 1993 course syllabus for Aesthetics and Education (TF 4086), and it includes introductory notes on course themes. Appended to the syllabus can be found Fall 1991 final take-home questions for the same course. This is the Fall 1993 course syllabus for Aesthetics and Education (TF 4086), and it includes introductory notes on course themes. Appended to the syllabus can be found Fall 1991 final take-home questions for the same course. Maxine Greene Maxine Greene Sat, 22 May 1993 17:25:24 -0400 Maxine Greene, Fall 1991, Fall 1993, Aesthetics and Education, TF 4086 http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2659 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2657 This is the Fall 1991 course syllabus for Changing Styles in Philosophy, Literature, and the Visual Arts (TF 5086). It includes introductory notes on course themes, lists readings and course requirements. Appended to the syllabus can be found Fall 1991 final take-home questions for the same course. This is the Fall 1991 course syllabus for Changing Styles in Philosophy, Literature, and the Visual Arts (TF 5086). It includes introductory notes on course themes, lists readings and course requirements. Appended to the syllabus can be found Fall 1991 final take-home questions for the same course. Maxine Greene Maxine Greene Wed, 22 May 1991 17:25:24 -0400 Maxine Greene, Fall 1991, Changing Styles, Visual Arts, TF 5086 http://pocketknowledge.tc.columbia.edu/home.php/viewfile/2657 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/486 In her article published in "Educational Leadership," Greene argues that the arts have a crucial role to play in the search for international understanding or in world education because of the contribution engagement with the arts can make to a sense of identity, a sense of self. Self-confrontation of the sort literature makes possible is the source of the understanding which many have defined as world education's prime concern. In her article published in "Educational Leadership," Greene argues that the arts have a crucial role to play in the search for international understanding or in world education because of the contribution engagement with the arts can make to a sense of identity, a sense of self. Self-confrontation of the sort literature makes possible is the source of the understanding which many have defined as world education's prime concern. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Education, teaching, arts, humanities, Educational Leadership, self-creation, literature, sense of self, global village, indifference, self-commitment http://pocketknowledge.tc.columbia.edu/home.php/viewfile/486 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/485 Discussion of the national standards for arts education. Greene provides some modern historical context and explores the issues surrounding why the arts either are ignored, or have extrinsic standards imposed that are too restrictive. Discussion of the national standards for arts education. Greene provides some modern historical context and explores the issues surrounding why the arts either are ignored, or have extrinsic standards imposed that are too restrictive. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 Education, arts, humanities, national standards, standards education, aesthetics http://pocketknowledge.tc.columbia.edu/home.php/viewfile/485 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/469 This article is a revised version of the talk Greene gave to the Illinois Institute for Advanced Study in Aesthetic Education. She discusses the function of imaginative literature, which may be to provide the unique opportunity for people to engage with awareness and appreciation of illusioned worlds and in doing so, learn more about themselves and their own lives. This article is a revised version of the talk Greene gave to the Illinois Institute for Advanced Study in Aesthetic Education. She discusses the function of imaginative literature, which may be to provide the unique opportunity for people to engage with awareness and appreciation of illusioned worlds and in doing so, learn more about themselves and their own lives. Maxine Greene Maxine Greene Wed, 22 May 1968 17:25:24 -0400 imagination, literature, Aesthetic education, imaginative, human understanding, literary art http://pocketknowledge.tc.columbia.edu/home.php/viewfile/469 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/467 "What is the use of educational research if it cannot raise images of the normative, images of what might be?" In this paper, Greene carries out a discussion that leads to this question. She points out multiple views of imagination, and discusses how reading works of literature makes us use our imagination. We do not seek out predefined meanings secreted in the texts, rather meanings become events and happenings, as interpretation proceeds. The author concludes that imagination can nourish the conviction that things can be changed. "What is the use of educational research if it cannot raise images of the normative, images of what might be?" In this paper, Greene carries out a discussion that leads to this question. She points out multiple views of imagination, and discusses how reading works of literature makes us use our imagination. We do not seek out predefined meanings secreted in the texts, rather meanings become events and happenings, as interpretation proceeds. The author concludes that imagination can nourish the conviction that things can be changed. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 research, imagination, Maxine Greene, art, sense-making http://pocketknowledge.tc.columbia.edu/home.php/viewfile/467 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/466 Greene concludes her Lincoln Center Institute series by discussing what she sees as a community-in-the-making of wide-awakeness and exploration; of those who are involved in convincing others of the enormous importance of art experiences for learning as well as being in the world. Greene concludes her Lincoln Center Institute series by discussing what she sees as a community-in-the-making of wide-awakeness and exploration; of those who are involved in convincing others of the enormous importance of art experiences for learning as well as being in the world. Maxine Greene Maxine Greene Mon, 22 May 1995 17:25:24 -0400 Education, teachers, Speech, lecture, instruction, workshop, schools, arts, Lincoln Center Institute, reflective, active participation http://pocketknowledge.tc.columbia.edu/home.php/viewfile/466 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/464 Discussion of how reflective encounters with the arts can open spaces for people, open perspectives in the given, enhance one's sense of transaction with the human and the physical world around. Uses examples including the painting "True West," the novel "The English Patient," and the dance "Peach Flower Landscape." Discussion of how reflective encounters with the arts can open spaces for people, open perspectives in the given, enhance one's sense of transaction with the human and the physical world around. Uses examples including the painting "True West," the novel "The English Patient," and the dance "Peach Flower Landscape." Maxine Greene Maxine Greene Mon, 22 May 1995 17:25:24 -0400 Education, teachers, Speech, lecture, instruction, workshop, schools, creative, Lincoln Center Institute, reflective, aesthetics, expression, the arts, perspective http://pocketknowledge.tc.columbia.edu/home.php/viewfile/464 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19? http://pocketknowledge.tc.columbia.edu/home.php/viewfile/452 Discussion of connections between the openings to mathematic structures and forms in mathematics education and the openings to aesthetic structures and forms in aesthetic education. The dynamic is similar - the seeking, the reaching out, even the longing for pure exactitude, pure form. In both cases one begins with the body - the sensed, perceived, felt, seen and heard. One thematizes, symbolizes, conceptualizes what is grasped in accord with the language at hand. One might call it a movement from an informal domain, a domain of "natural language," to a patterned domain, rule-produced in the case of mathematics, imaginatively configured in the case of the arts. Discussion of connections between the openings to mathematic structures and forms in mathematics education and the openings to aesthetic structures and forms in aesthetic education. The dynamic is similar - the seeking, the reaching out, even the longing for pure exactitude, pure form. In both cases one begins with the body - the sensed, perceived, felt, seen and heard. One thematizes, symbolizes, conceptualizes what is grasped in accord with the language at hand. One might call it a movement from an informal domain, a domain of "natural language," to a patterned domain, rule-produced in the case of mathematics, imaginatively configured in the case of the arts. Maxine Greene Maxine Greene Wed, 31 Dec 1969 19:00:00 -0500 mathematics, meaning, Aesthetic education, reflective, imagined, conceived, the arts, Logic, rule-governed, form http://pocketknowledge.tc.columbia.edu/home.php/viewfile/452 http://pocketknowledge.tc.columbia.edu/home.php/browse/33220/19?