By Mary Aswell Doll
Like Letters in working Water explores ways that fiction (prose, drama, poetry, delusion, fairytale) yields transformative insights for academic thought and perform. via a sequence of intensely unique, robust essays drawing on curriculum idea, literary research, psychology, and feminist thought and perform, Doll seeks to confront a quite often held bias that interpreting literary fictions is "mere" leisure (not a studying experience). She means that fiction has significant educating energy since it connects readers with their alliances inside of themselves and this connection attends to social, outer matters addressed via conventional pedagogies with higher, deeper knowledge. Her elaboration during this publication of the concept that of currere--the lived event of curriculum--through literature, drama, and fantasy is a tremendous contribution to the sector of curriculum idea.
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Additional resources for Like Letters in Running Water: A Mythopoetics of Curriculum (Studies in Curriculum Theory Series)
Rosa understands the full condition of White women's enslavement inside the patriarchal family. 238). Women like the Cold field sisters share a slave's fatebound not by chains but by psychic arrest. Their development as humans must, according to the code of their tradition, be stalled lest they come to see how limited they really are. Although they enjoy certain economic privileges, such as riding in carriages and fingering expensive merchandise, the White women of the South are tethered like breed mares by their gender.
By day "we" behave one way according to the constraints of a White superego; by night "our" Black id cavorts. Such psychosexual relationships in the South have been observed by Faulkner critics and curriculum theorists alike, several of them of Freudian persuasion (Haymes, 1995; hooks, 1990; Jenkins, 1981; Pinar, 1991, 1993; Poirier, 1971; Taylor, 1991; West, 1989). Skulking about at night, "we'' blind ourselves by day. Faulkner captures the effect such repression has on women in "Dry September" when Minnie Cooper, at the fairyland cinema scene, laughs hysterically.
It has to do with false icons. Suzanne Jones (1985) observes that Faulkner's slow motion technique is a way of < previous page page_20 next page > < previous page page_21 next page > Page 21 dramatizing the status quo. I call this technique the frozen tableau, which serves to monumentalize the icons of traditionthe wealthy landowners and their various possessions. Placed in figurative stone, these icons achieve a kind of historicity, respectability and permanence in viewers' and readers' eyes. Like the other methods of traditioning, this one has led to the fiction known as "The South," founded in fact on hatred, repression, and inventions of the truth.