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AUTHOR Stewart, Richard D., Comp.; Smith, Carl B., Ed.TITLE Mythic-Archetypal Methods for the Language Arts. Hot

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EDRS PRICE MF01/PC05 Plus Postage.DESCRIPTORS Creative Thinking; Distance Education; Elementary

Secondary Education; Higher Education; Imagination;Inservice Teacher Education; *Language Arts;Mythology; *Student Experience; *Teaching Methods;Writing Assignments

IDENTIFIERS Archetypes; Writing Contexts

ABSTRACTThis "Hot Topic Guide" on mythiz-archetypal methods

for the language arts (which address students' inner lives to promotesharing of feelings, intuition, and imagery production in theclassroom) is designed for implementation either in a workshopatmosphere or through individual study. Included are suggestions forusing the guide as a professional development tool; a lecture givingan overview on the topic; copies of articles and existing ERIC/RECpublications on the topic; and a 41-item selected annotatedbibliography of material on the topic from the ERIC database. (RS)

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HOT TOPIC GUIDE NO. 54

MYTHIC-ARCHETYPAL METHODS FOR THE LANGUAGE ARTS

Richard D. Stewart, Comp.; Carl B. Smith, Ed.

U S DEPARTMENT OF EDUCATION

EDUCATIONAL RESOURCES INFORMATIONCENTER ERIC

This document has bean reproduced asreceived from the person or Orgar11/.1110Originating IIMinor changes have boon made 1,,mlwescKvonorlqualov

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(formerly "LEARNING PACKAGES")

The Hot Topic Guide is a program designed for implementation either in a work-shop atmosphere or through individual study. With the comments and suggestions ofnumerous educators, the.Hot Topic Guide has evolved to incorporate the practicalneeds of teachers into its format. Please take the time to work through the contents ofthis guide and you will find yourself well on your way to designing and implementinga variety of classroom projects centering on this topic.

41.01pful Guidelines for Workshop UseSuggestions for using this Hot Topic Guide as aprofessional development tool.

erview/LectureMythic-Archetypal Methods for the language Artsby Richard D. Stewart

tides and ERIC DocumentsFantasy and the Brain's Right Hemisphere

Myth, Metaphor, Memory: Archaeology of the Self

Archetypes and Assignments: Writing about Personal Archetypes AidsStudents in Writing Composition Papers and Understanding literature

Shaping the Self: Using Steppingstones and Autobiography to Create andDiscover Archetypes in An Illustrious Monarchy"

What Would Happen to the American Psyche if, along withHomerooms, Flog Saluting, and I.Q. Testing, Schools had DailyDream Sharing?

liographyA collection of selected references and abstractsobtained directly from the ERIC database.

il

Mythic-Archetypal Methods for the Language Arts

by Richard D. Stewart

Lecture

Recent trends in language arts teaching such as whole

language and student-centered instruction emphasize meaning-making

through social transaction as the basis of all language learning.

These approaches offer a welcome change from the teacher-oriented,

"conduit" mciel of instruction still common in most language arts

classrooms. In this model, teachers see students as waiting

vessels to be filled with information through the conduits of

lectures, worksheets, textbooks, and the like. The work of whole

language and student-centered educators has helped many language

arts teachers overcome use of the conduit model; this has led tr

greater student involvement in teaching and learning. Despite

their benefits, these socially-based methods, which claim to be

more holistic than traditional models, still usually ignore a

major part of students' lives their inner imagery, feelings, and

intuitions.

Whole language (Harste, Woodward, & Burke, 1984) and student-

centered instruction (Moffett, 1973) deal almost exclusively with

students' socially or externally directed mental abilities and

interests, to the neglect of their inner resources. For example,

Frank Smith, a major figure in the whole language movement, "sees

learning as social rather than solitary. 'We learn from the

company we keep,' he explains" (quoted in Gursky, 1991, p. 25).

Similarly, whole language advocates Harste et al. (1984) feel that

1

4

reading and writing are social processes, and that for teachers,

seeing language as a social event has far-reaching implications.

Thus most students, even those in whole language or student-

centered classrooms, are taught to use mainly their intellectual

and social skills and to ignore their feelings, intuitive

insights, and image - making abilities. Methods like individualized

instruction allow students to learn at their own rate, but even

this technique is geared to gaining information from external

sources. In most teaching situations, little attention is paid to

students' "inner world" (Vaughan, 1979).

The discussion to follow will consider approaches to language

arts teaching that are based on "mythic" or "archetypal" ways of

experiencing and knowing. These techniques address students'

inner lives more directly than do the methods discussed above, and

thus can help to promote feelings-sharing, intuition, and imagery

production in the classroom.

Origins of Mythic-Archetypal Approaches

In attempting to balance the decades-old emphasis on mental

skills and rote learning in language education, many teachers and

researchers are starting to address the intuitive, holistic, or

"right brain" functions of students (e. g., King, 1990; Roberts,

1989; Vaughan, 1979). One area being explored is the "depth"

psychologies begun by Sigmund Freud (1963 [1917]) and C. G. Jung

(1966), and developed further in recent years by James Hillman

(1979), Marie-Louise von Franz (1986), and others. Depth

approaches to psychology and education deal with states such as

dreaming and calm introspection, as well as the normal waking

state that most teaching addresses.

Depth therapies and teaching methods can help people tap into

inner imagery, symbolism and speech to promote increased learning

capacity, creativity, and personal gnowth. Such access can lead

to profound changes in students and others who make use of what

they learn from their inner "symbolic quest" (Whitmont, 1969). As

educator Robert Sardello (1985) states, "education is an area ripe

for and in need of the reflections of depth psychology" (p. 423).

A good example of the power of depth approaches in the field

of psychotherapy is provided by Walsh (1976):

After a couple of months [of therapy], I began to perceive a

constant flux of visual images. One of the most exciting

memories is that of a sudden recognition that these images

exquisitely symbolized what I was feeling and experiencing in

each moment. Here was a previously unsuspected gold mine of

information about myself and the meaning of my experience

(p. 666).

Interest in teaching people to produce such imagery is currently

growing among educators, psychotherapists, sports psychologists,

and physicians (Korn & Johnson, 1983).

As Witmer & Young (1985) state, the human ability to form

internal images has the potential to help people develop more

adaptive behavior, cope with stress, solve problems more

creatively, and enhance their performance and achievement in many

areas of life. Imagery techniques vary, but they all involve

turning inward to observe what is going on when the constant

chatter of everyday thinking is stopped, or at least slowed down.

The images that emerge from a quieted mind and body can be highly

meaningful for students and may enhance their creativity and

personal growth.

At first glance, much of the contents of our inner world can

be interpreted by referring to people, things, and events in the

outer environment. It is true that there is a personal or

externally derived part of our inner lives that contains bits of

memory and impressions from interactions with family and other

members of society. But if we continue to examine the contents of

our inner experience, for example, after waking up from a dream,

we may find certain imagery that does not fit into a personal

frame of reference. As the Jungian analyst J. L. Henderson (1970)

says, such images "seem to lead a life of their own" (p. 666).

Jung (1966) called these images "archetypal," and according to

depth psychologists, they are "the true objects of the inner

world" (Henderson, 1970, p. 667), Jung (1966) coined the term

"collective unconscious" for the level of awareness from which

this imagery springs, because he felt it was common to all human

beings.

Jung based his claims about the collective unconscious on

extensive study of his own mental and emotional processes, and

those of many people whom he interviewed. According to Jung, the

"archetypes," or archetypal potentials for image-making found in

the collective unconscious provide the basis for worldwide myths,

4

Imagery, and symbols: "archetypes [are the] universal patterns

behind the most important mythic motifs. Myth follows certain

identifiable tendencies and takes form in similar shapes because

humanity at all times and places has shared a common unconscious

fund of experience" (Birenbaum, 1988, p. 104).

Jung spent a lot of time studying world mythology and was

amazed to find that mythological images from non-Western cultures

such as ancient India and China appeared regularly in the dreams

and fantasies of modern, civilized Europeans, the vast majority of

whom had never been exposed to these myths (Wilber, 1979). Jung's

informants did not have the accurate knowledge of mythology that

was revealed in their dreams, paintings, poetry, and journals.

This information was not learned during their lifetimes, so Jung

concluded that somehow certain basic mythological motifs must stem

from innate structures or potentials inherited by each member of

the human race (Wilber 1979).

Jung and others in the tradition of depth psychology (e.g.,

Hillman, 1975 and Stevens, 1982) have found that the archetypal

level of the collective unconscious is more basic to our lives

than the personal unconscious mentioned above, where we simply

store experiences from daily life:

The human brain is millions of years old, and over that vast

expanse of time it necessarily evolved certain basic

'mythological' ways of perceiving and grasping reality, just

as our hands evolved in special ways to grasp physical

objects. These basic imaginative, mythological ways of

5

grasping reality are the archetypes, and because every

person's basic brain structure is similar, every person may

house within him the same basic mythological archetypes

(Wilber, 1979, p. 125).

Thus, according to depth psychologists, the collective motifs of

humanity, the gods and goddesses, heroes and villains, deities and

demons portrayed outwardly in the world's myths are contained, in

condensed form, in the depths of our own being. And "whether we

know it or not, they continue to move us deeply in ways both

creative and destructive" (Wilber, 1979, p. 126). The modern

mythologist Joseph Campbell (1988) has demonstrated the

universality of archetypal themes in many books on cross-cultural

myth and folklore and in interviews on public television.

Likewise, Feinstein, Krippner, & Granger (1988) discuss the

importance of mythmaking as a basis for human development. The

authors' present the concept of "personal mythology," which is

derived from the work of Jung (1966), and involves an individual's

unique forms of mythmaking as a reflection of wider cultural myths

and personal experience. Their approach may be traced to

initiation rites and other practices from ancient cultures and

depth psychology. As Feinstein et al. (1988) state, unlike

cognitive scientific terms like "scripts," "attitudes," or

"beliefs," myth is able to encompass the archetypal aspects of

experience that go beyond early conditioning and cultural setting.

The archetypal level of awareness, as discussed above, involves

the deeper parts of our nature where primal sources of image-

6

making, or archetypal patterns, operate to form the collective

motifs of myths, fairy tales, folk epics, and the like.

According to Feinstein et al. (1988), personal mythologies

are the individual's equivalent of the cultural mythologies of

various nations. An individual's personal mythology can be seen

as his or her culture's mythology in microcosm. It is through our

personal mythologies that we interpret sensory experience, give

order to new information, find inspiration and direction in life,

and orient ourselves to aspects of the universe that are beyond

our understanding. This process occurs at the personal level,

just as it does for whole cultures at the collective level.

The notion of personal mythology may be applied to the

mythmaking procedures discussed in the articles in this package.

Developing a personal mythology involves using a body of personal

myths to form a system for organizing one's conception of reality

and guiding day-to-day behavior. By using cross-cultural myths,

fairy tales, and folklore, you can help your students bring their

personal mythologies into clearer focus and inspire them to use

their own or other people's myths in creative writing.

The aim of this learning package is to help you use such

archetypal or mythological ways of knowing and experiencing in the

language arts classroom, so that your students may learn more

about the collective heritage of their own culture and those of

others, and thus tap into universal sources of wisdom and

experience. This process can enhance students' creativity, and

allow them to identify more easily with people from other parts of

7

the world. In this way, students can gain a more global

perspective on their lives and an expanded sense of their place in

the universe. As language educator Nancy King (1990) says,

"working with myths to stimulate images and stories (metaphor and

memory) enables students from cultures around the world to

discover more about who they are and continue the lifelong process

of 'making themselves"' (p. 72).

Mythic-Archetypal Techniques for Classroom Use

Concerning the value of myth as an instructional tool, Nancy

King (1990) states that myths and folk tales are a powerful source

of wisdom and comfort that can be used to nourish and stimulate

imagery and the expression of students' inner experience, As

discussed above, the outward-directed awareness of students is

generally stressed in language arts classrooms, so that inner

sources of feeling, insight, and creativity are ignored. But

working with myths can bring students back into contact with these

inward forces. The mythic-archetypal classroom methods described

below are ways to help students access their inner life

experiences in a collaborative learning environment within the

academic curriculum (King, 1990). Several of the pieces in the

package (i. e., King, 1990; Crow, 1983; Crow, 1986) were designed

originally for use at the college level, but may be adapted

successfully to the middle or high school levels as well.

The first piece in this collection, "Fantasy and the Brain's

Right Hemisphere," by R. Baird-Shuman, sets the stage for the

articles to follow by introducing you to the importance of myth as

8

411

a function of right hemispheric brain activity. The author

discusses the roots of imagination, feeling, myth-making, and

intuition in the brain's right or "holistic" hemisphere. Through

the use of myth, fantasy, and fairy tales in the language arts

classroom, you can help students unleash dormant potentials that

have been suppressed by years of over-emphasis on "left-brain" or

linear forms of thinking in most of their school work. As Schuman

states, the teacher who is aware of the importance of having the

two brain hemispheres operate in synchrony can go a long way

toward helping students live more creative and fulfilling lives

both inside and outside of the classroom; and myth-making is a

central part of this process.

The package's second article, "Myth, Metaphor, Memory:

411Archeology of the Self," by Nancy King (1990), discusses Feinstein

et al.'s (1988) personal mythology approach (outlined above) and

adapts it for use in the language arts classroom. Students create

stories, dramas, and images, share memories and life experiences,

and write narratives based on unresolved life issues. As King

(1990) says, the folk tales and myths provide the stimulus, and

the classwork offers the occasion for students "to discover and

develop their authentic voices in an environment free of premature

judgment" (p. 57). King's technique involves rewriting, inner

imaging, and reflection by students to uncover the universal

meaning contained in their own personal symbols, and the personal

meaning to be discovered in universal symbols (King, 1990).

The next piece in the collection, "Archetypes and

9

Assignments" by Edith Crow, introduces you to the study of

archetypal patterns in literature and ways to teach writing that

are grounded in students' experience of archetypal themes in their

own lives. Employing the theories of Jung discussed earlier, the

author describes the general nature of archetypes, and provides a

writing assignment that guides students in writing about the

"archetype of initiation." This cross-cultural archetypal pattern

reflects humanity's need for rites of passage into new stages of

life. Students are asked to look at their lives as texts, choose

one initiation experience, and describe it in detail. As Crow

(1986) says, using archetypes in this way can lead students to

define their values and initiate them onto "the path of wisdom"

(p. 10).

The fourth piece in the collection, "Shaping the Self% Using

Steppingstones and Autobiography to Create and Discover Archetypes

in 'An Illustrious Monarchy," also by Edith Crow, shows you how

to help students use "steppingstones" or "markers" to divide their

lives into significant periods, and write about them by exploring

dreams, fantasies, and "twilight imagery" (images that arise

during the "twilight state" just before sleep). Through Crow's

journal-writing procedure, 'tudents can uncover mythic-archetypal

patterns such as the hero's journey, initiation, and death-

rebirth. Thus, by moving from subjective, unconscious experience

to the objective process of writing, students can see the links

between their innermost feelings, images, and thoughts and the

public world of autobiography and literature.

10

13

The last article in this package, by Fltricia Pirmantgen,

discusses dream sharing in the classroom as a way to help students

uncover the mythic themes underlying their inner processes. The

author's own work with dreams in the classroom led her to

speculatca on the idea that people's dreams are the primary basis

of a culture's mythology: "Could it be that our culture's

folklore and myth are cut off from a primary source--the people's

dream experiences, which express the cosmic meanings underlying

human life--those same meanings that inspire art and literature?"

(Pirmantgen, 1976, p. 51).

Pirmantgen's (1976) dreamwork approach to enhancing students'

mythic-archetypal ways of knowing and experiencing involves three

processes: (1) developing a class's awareness, recognition, and

memory of dream states and content, (2) creative work with

students' own dream material, and (3) drawing parallels between

students' dream content and the English curriculum. The author

admits that working with students' dreams will usually be a

peripheral part of the language arts curriculum. But she also

feels that dreamwork is important because it helps students open

themselves up to an area of their being that is rich in personal

meaning and closely allied to their creative a!oilities.

In conclusion, the materials in this package address a much

neglected area of students' lives - -their inner intuitive and

image-making abilities and emotional states. As Jung and the

other thinkers discussed above insist, mythic forms of knowledge

and experience resonate with the deepest levels of our nature as

11

'4

human beings, because they reflect the archetypal or primal forces

within us. As we and our students learn to access these inner

resources, we may develop in the process a greater understanding

and sense of our oneness with other cultures and with the universe

as a whole.

12

References

Birenbaum, H. (1988). Myth and mind. Lanham, MD: University

Press. A literature professor's look at myth as it relates

to his own literary theories, personal life, and classroom

teaching.

Campbell, J. (1988). The inner reaches of outer space.

The summation of Joseph Campbell's views on the nature of

mythology, the imagination, metaphor, art, and religion.

Campbell discusses the Jungian notion of archetypal themes or

motifs, and shows how they are common to all cultures,

religions, and times.

Crow, E. (1983). Shaping the self: Using steppingstones and

autobiography to create and discover archetypes in "an

illustrious monarchy." Paper presented at the Annual

Meeting of the Conference on College Composition and

Communication (34th, Detroit, MI, March 17-19). (ERIC

Document Reproduction Service No. ED 278 016)

Crow, E. (1986). Archetypes and assignments: Writing about

personal archetypes aids students in writing composition

papers and understanding literature. Paper presented at the

Annual Meeting of the Conference on College Composition and

Communication (37th, New Orleans, LA, March 13-15). (ERIC

Document Reproduction Service No. ED 274 981)

13

Feinstein, D., Krippner, S. & Granger, D. (1988). Mythmaking and

human development. Journal of Humanistic Psychology, 28(3),

23-50. Discusses the authors' concept of "personal

mythology," which involves an individual's unique forms of

mythmaking as a reflection of wider cultural myths and

personal experience.

Freud, S. (1963 [1917]). Introductory lectures on

psychoanalysis. London: Hogarth Press. Probably the best

introduction to Freud's work. Covers the psychology of slips

of the tongue and pen, dream interpretation, and Freud's

general theory of neuroses, or psychological problems as

based in sexual repression.

Gersie, A. & King, N. (1990). Storymaking in education and

therapy. London: Jessica Kingsley. Offers myths and stories

for use in education and psychotherapy as ways to enhance

students' and clients' personal expressiveness, creativity,

and growth. Includes practical exercises and projects for

classroom use.

Gursky, D. (1991). After the reign of Dick and Jane. Teacher

Magazine, 2(9), 22-9. Discusses whole language as an

alternative to traditional teacher-dominated language arts

teaching from historical and practical perspectives.

14

II

Harste, J., Woodward, V. A., & Burke, C. L. (1934). Language

stories and literacy lessons. Portsmouth, NH: Heinemann.

A study of preschool literacy learning and its implications

for teachers, researchers, and curriculum designers. A

pioneering work in the whole language tradition.

Henderson, J. L. (1970). Inner perception in terms of depth

psychology. Annals of the New York Academy of Sciences, 169

(Article 3), 664-72. Describes the psychological function by

which inner perceptions are made and the nature of

unconscious imagery, symbols, and thoughts.

Hillman, J. (1975). Loose ends: Primary papers in archetypal

psychology. Dallas, TX: Spring. A collection of lectures

and essays discussing Hillman's reformulation of C. G. Jung's

depth psychology. Topics include dream research,

parapsychology, and the concept of the "puer eternus," or

eternal boy, which is said to characterize many contemporary

men.

Jung, C. G. (1966). The spirit in man, art, and literature. New

York: Pantheon. In this collection of essays, Jung outlines

his views on inspiration and creativity in art, literature,

and science, asserting that the dynamics of creativity rely

largely on unconscious, archetypal processes.

15

16

King, N. (1990). Myth, metaphor, memory: Archeology of the

self. Journal of Humanistic Psychology, 30(2), 55-72.

Examines what the author calls "symbolic meaning" as it

relates to students' creative expression in the form of

educational theory, course development, and case examples

from King's own classes at the University of Delaware.

Korn, E. R. & Johnson, K. (1983). Visualization: The use of

imagery in the health professions. Homewood, IL: Dow-Jones

Irwin. Describes ways to use visualization techniques in

psychotherapy, medicine, and other fields, all of which can

be adapted to classroom practice in the language arts.

Moffett, J. (1973). A student-centered language arts curriculum,

grades K-6: A handbook for teachers. Atlanta, GA: Houghton

Mifflin. Promotes a model for a K-6 English curriculum that

sees all expressive experience as central to the process of

language education. Encourages the use of mime,

improvisation, drama, and small group discussion as ways to

encourage students in a structured set of activities to

enhance personal expressiveness.

Pirmantgen, P. (1976). What would happen to the American psyche

if, along with homerooms, flag caluting, and I. Q. testing,

schools has gaily dream sharing? In G. Hendricks & J.

16

19

Fadiman (Eds.), Transpersonal education: A curriculum

for feeling and being (pp. 59-63). Englewood, NJ: Prentice-

Hall. Pirmantgen examines the use of dreamwork in the

language arts classroom through sharing, story writing,

journal keeping, poster painting, etc. The author emphasizes

dreams as ways to channel students' creativity and enhance

their personal growth.

Roberts, T. B. (1989). Multistate education: Metacognitive

implications of the mindbody psychotechnologies. Journal of

Transpersonal Psychology, 21(1), 83-102. Discusses the

concept of mindbody states, or specific conditions in which

the mind and body (viewed as a single entity) exist, such as

dreaming and presleep states. Examines ways in which

' psychotechnologies" such as yoga, meditation, and

biofeedback can be used in educational settings to tap into

these states and enhance memory, learning capacity,

creativity, etc.

Sardello, R. (1985). Educating with soul: A phenomenological

reflection on higher education. Teacher's College Record,

86(3), 423-39. The author reflects on the implications of

Jungian-archetypal psychology for higher education by

examining the value of error in the learning experience, the

power of the spoken word to promote personal transformation,

and other topics.

17

Stevens, A. (1982). Archetypes: A natural history of the self.

New York: Quill. Offers a fascinating synthesis of Jungian

psychology, with its doctrine of archetypes, or universal

patterns contained in the human unconscious, and modern

discoveries in psychology concerning the nature of instinct

and innate traits. Argues for a biological basis for

archetypes.

Vaughan, F. E. (1979). Awakening intuition. Garden City, NJ:

Anchor. Vaughan guides the reader to greater understanding

and realization of his or her intuitive powers through

specific exercises, combined with a discussion of the role of

intuition in creativity, problem solving, etc. Demonstrates

that intuition can be trained through practical examples and

techniques.

Von Franz, M. L. (1970). An introduction to the interpretation

of fairy tales. Dallas, TX: Spring. Asserts that fairy

tales are the purest expressions of archetypal symbols and

processes. Thus analyzing the symbols in fairy tales can

lead to deeper understanding of our unconscious lives.

18

2

Mythic/Archetypal Reading Listfor Language Arts Teachers

Allan, J. & Bertoia, J. (1992). Written paths to healing:

Education and Jungian child counseling. Dallas, TX:

Spring Publications. A pioneering book that integrates

Jungian/archetypal theory with school counseling and language

arts instruction. Discusses the use of journal and letter

writing, guided imagery, drawing, and other classroom

activities to help students enhance their creativity, deal

with life issues, and smoothe the transition to young

adulthood.

Birenbaum, H. (1988). Myth and mind. Lanham, MD: University

Press. A literature professor's look at myth as it relates

to his own literary theories, personal life, and classroom

teaching.

Feinstein, D. & Krippner, S. (1988). Personal mythology: Using

ritual. dreams, and imagination to discover your inner story.

Los Angeles: Jeremy P. Tarcher. Discusses the authors'

concept of "personal mythology," which involves an

individual's unique forms of mythmaking as a reflection of

wider cultural myths and personal experience. Offers many

practical myth-making exercises that can be used for your own

inner exploration and self-development, or adapted for

classroom use.

19

Gersie, A. & King, N. (1990). Storymaking in education and

therapy. London: Jessica Kingsley. Offers myths and stories

for use in education and psychotherapy as ways to enhance

students' and clients' personal expressiveness, creativity,

and growth. Includes practical exercises and projects for

classroom use.

King, N. (1990). Myth, metaphor, memory: Archeology of the

self. Journal of Humanistic Psychology, 30(2), 55-72.

Examines what the author calls "symbolic meaning" as it

relates to students' creative expression in the form of

educational theory, course development, and case examples

from King's own classes at the University of Delaware.

Stevens, A. (1982). Archetypes: A natural history of the self.

New York: Quill. Offers a fascinating synthesis of Jungian

psychology, with its doctrine of archetypes, or universal

patterns contained in the human unconscious, and modern

discoveries in psychology concerning the nature of instinct

and innate traits. Argues for a biological basis for

archetypes.

Vaughan, F. E. (1979). Awakening intuition. Garden City, NJ:

Anchor. Vaughan guides the reader to greater understanding

and realization of his or her intuitive powers through

20

specific exercises, combined with a discussion of the role of

intuition in creativity, problem solving, etc. Demonstrates

that intuition can be trained through practical examples and

techniques.

Von Franz, M. L. (1970). An introduction to the interpretation

of fairy tales. Dallas, TX: Spring Publications. Asserts

that fairy tales are the purest and simplest expressions of

archetypal symbols and processes; thus analyzing the symbols

in fairy tales can lead to deeper understanding of our

unconscious lives.

21

24

PERMISSION TO REPRODUCr. THIS ED236628MATERIAL HAS BEEN GRANTED BY

R. Baird Shuman

TO THE EDUCATIONAL RESOURCESINFORMATION CENTER (ERIC)

FANTASY AND THE BRAIN'S RIGHT HEMISPHERE

by R. Baird Shuman

Fantasy comes from a Greek word, phantazein, that means to make visible. The

world of fantasy is the world of images and forms, the world of the active imagination, the

world in which the verbal and the visual coalesce. At its best, fantasy commingles the

activities of the left brain, which is dominant in most right-handed people, with those of the

right brain, which is a stepchild of most current educational schemata, and, indeed, of an age

devoted to scientific inquiry and to a reverence for hard, measurable data.

Left Brain, Right Brain

The left brain, or more accurately, the left hemisphere of the brain, is the seat of

human reason. It is responsible for logical and verbal ability in most people. It is rational

and analytical, objective and linear. Scientific and mathematical detail are products of the left

brain. Conventional schools emphasize the measurable, which is also the testable. They

reward those who are dominantly left-brained and not infrequently penalize those who are

right- brained - -the dreamers, the intuitive, those who express themselves better through

images than through words. To say that a student daydreams, a right-brain activity, is not a

compliment in most school settings.

The right brain is the center of much human feeling and emotion. Its vision is holistic

rather than segmented or compartmentalized. It works more through synthesis than through

analysis, and it tends to be analogical rather than logical. Its orientation is more to space than

Shuman 2

to time, and it relies heavily on the visual rather than on the verbal.

Ideally, the right and left brains, if trained equally, would, and in some people, do

function in a complementary manner. An Einstein is capable of mastering the mathematics

and other left brain skills necessary for him to pursue physics in depth; however, at the

moment when the "ah-ha" association is made, when the brain makes the intuitive .Jap

beyond the boundaries and limitations of verbal and mathematical activity, the right brain

comes into play and from it comes the intuition and the synthesis that enable an Einstein or

Picasso or a Leonardo to rush beyond the commonplace and to leap boldly into new precincts

of understanding.

Creative genius is often viewed with suspicion by the society that produces it. This is

understandable. Most creative genius emanates from a hemisphere of the brain that lies

underdeveloped in the vast majority of people. The products of this hemisphere are not linear

and are not always explainable verbally. Therefore, a predictable time-lag exists between the

time a great artist or a great thinker demonstrates his or her greatness and the time the public

at large is ready to accept it. Thinkers and experimenters at the beginning of a movement

such as cubism or relativity or cybernetics are, in essence, creating new worlds, and a public

mired in older and surer worlds usually fail not only to understand the new worlds but also

may resist them strenuously and may denounce their creators.

Nevertheless, a society with no builders of new worlds, no shapers of new realities is

a static society and will ultimately be a backward society. Those societies that cling most

stalwartly and doggedly to their traditions are societies that, over the years, contribute

decreasingly to human progress.

The Hemispheric Orientation of Today's Schools

Contemporary schools are geared almost exclusively to training the brain's left

hemisphere. Early in their educations, children are made to know that reason is preferred

over emotion, that analysis is rewarded over synthesis, that hard data are relied on to the

exclusion of intuitions, that the objective is acci.pted while the subjective is suspect, and that

the verbal or mathematical is deemed more valid than the spatial or artistic. If youngsters

G

Shuman 3

come into the world, as Wordsworth suggested, "trailing clouds of glory from God who is

their home," the schools for the most part do the best job they can of dispersing those clouds

of glory as early in a child's life as possible.

A friend of mine spent twelve years doing a longitudinal study of a group of

youngsters who, in Grade One, were designated gifted. When his study was nearing its end,

I asked him what salient conclusions he was arriving at. He responded by saying that several

salient conclusions suggested themselves, but that, viewing the group of students he had

come to know extremely well over the extended period of his study, one nagging question

recurred. I asked him what that question was, and he told me, "I wonder where the wonder

went?"

He went on to explain that most of the students in his sample were doing well in

school, but they were aging at an early age. They were conforming to educational structures

that they had short years before questioned. They were becoming linear in their thinking;

they were rapidly becoming convergent thinkers rather than the independent, divergent

thinkers that most of them seemed to be in the early years of the study. Something had

happened to them, and my friend, Charles Keller, was troubled at what this something was.

That such was the case with this group of students is not to say that all students suffer

the same fate; but it is undeniable that many do. The blame cannot all be laid on the doorstep

of the schools. The stages of development through which young people pass, as Piaget has

pointed out in detail, are quite structured and predictable, and in some of these stages,

regardless of what sort of education they are receiving, children part with some of their own

personhood in order to blend more harmoniously with the group. They do not wish to stand

out, so they conform. This phenomenon occurs in all cultures, and its occurrence is perfectly

natural. It occurs within certain specific ranges of age with sufficient predictability that

generalizations can be drawn from it.

Schools, however, often play along with these stages of development to the detriment

of the full education of children. We could even now be training our young people more

completely were we to understand more fully the ways in which the human brain, as a

physical entity, operates. Increasingly, data are pouring in to suggest the specifics of how the

27

Shuman 4

brain functions, but not enough educators are paying heed to these data and making

connections between them and their own professional pursuits.

What Do We Know About the Brain?

We know that the brain is, among other things, a great computer. It carries on, even

in the youngest child, complex operations that are too sophisticated to be replicated in any

existing manmade machine. Machines can make judgements based on facts, and computers

can store systematically a staggering array of facts. However, many human judgements are

based on facts combined with intuition, and thus far, intuition has not been programmable

into a computer. For the time at least, people are the masters, computers the servants.

Neurophysiologists and psychophysiologists have shed a great deal of light on how the

brain works. In the last quarter-century, with the help of highly sophisticated

instrumentation, the medical profession has come closer and closer to pinpointing the exact

functions of small sections of the brain that were understood in only the most general terms

short decades ago.

It seems clear to most researchers, for example, that data fed into the mind will be

stored and can be recalled, no matter how remote they are, through proper procedures. Few

people exist who have not sought some specific detail from their memory banks only to find

that they cannot call the detail forth. However, given time and given some diversion from the

quest for this detail, suddenly it will come breaking through into the conscious mind, usually

quite unexpectedly.

Karl Pribram, known for his extensive work with stroke victims who sometimes have

one hemisphere of the brain almost destroyed, has reached interesting conclusions about the

mind's ability to accommodate distractions and to be selective in what it processes. He notes

that when the elevated railway along New York's Third Avenue was torn down, the police

began to get late night telephone calls reporting strange occurrences such as suspected break-

ins and suspicious noises. Pribram's research showed that the calls were clustered around the

specific time that, prior to the dismantling of the elevated, the late-night train passed. In this

case, the unconscious was conditioned to a noise, and its absence caused restiveness.

Shuman 5

Those who examine consciousness and human knowledge soon come to realize that

everything we know of the so-called real world is known only after it passes through the

human brain. Our perception of reality becomes reality for each of us, which is the reason

that perceptions of identical objective realities will differ, why that which is beautiful to one

person will be unappealing to another.

The Literature of Fantasy

Very young children, whose minds are being formed rapidly and whose capacity to

learn is astounding, spend a considerable amount of their time fantasizing. Some may go as

far as to have imaginary friends with whom they carry on extended conversations and to

whose reality they are willing to attest. These friends usually disappear between the ages of

three and four, but until their disappearance, they are real to the child.

During this same period, most children, regardless of their culture, are introduced to

fantastic legends that carry a substantial cargo of the values of the group into which the child

has been born. In western culture, the Mother Goose rhymes, fairy tales by the Brothers

Grimm, Charles Perrault, Hans Christian Andersen, Andrew Lang, and James Stephens, and

Walt Disney fantasies comprise the nucleus of a child's introduction to literary fantasy.

Imaginary characters people these talesfairies, elves, leprechauns, dryads, sylphs, wood

sprites, little people and, in some tales from the Arab world, djinn. Many of the stories of

these tales are wish-fulfillment stories. Some of the characters in them have magical powers,

exactly the kind of powers most young children wish for when they are in trouble and want

to escape it or when they are earthbound and fantasize about flying. Magical qualities confer

power, and children, quite early in their development, feel the need for power as strongly as

any need they experience.

Children hear rather than read their earliest tales. Often these tales are told to them,

although some of them are read from books. In such reading, children receive their first

informal reading instructioi, learning quickly that pages are read from left to right, from top

line to bottom -- unless, of course, they are in a culture in which pages are read from right to

left or are read vertically.

Shaman 6

But regardless of how the tales are presented, they help children to build new worlds,

and these new worlds are extremely visual ones. The underpinnings of literary understanding

are being built in a child's earliest brush with literature, but also the child's imagination is

being nurtured by this first real exposure to the literature of his or her world. Probably at

this very moment if you think of a nursery rhyme--Jack and Jill, Little Miss Muffet, Jack

and the Beanstalk--you think visually of it more than verbally. The right hemisphere is

engaged immediately because it is predominantly in this hemisphere that the initial experience

and impact of the story occurred.

Fantasy demands visualization; and in doing so, it engages the whole brain rather than

just the dominant hemisphere. The earliest kinds of fantasy to which most children are

exposed, fairy tales, also demand synthesis, an activity of the right brain. Bruno Bettelheim

in The Uses of Enchantment recognizes that "the figures and events of fairy

tales...personify and illustrate inner conflicts, but they suggest ever so subtly how these

conflicts may be solved, and what the next steps in the development toward a higher

humanity might be" (p. 26). In leading children to a resolution of the conflicts to which

Bettelheim alludes, the fairy tale demands synthesis, demands that children make an

association between the tale and their own inner conflicts and then act on the information to

which making the association has led them.

For young children, this sort of synthesizing is extremely helpful because it allows

them to act out their conflicts in imaginary ways. The earliest literature to which children are

exposed is a literature of violence and often of cruelty. This is true whether one is talking

about the fairy tales of the Brothers Grimm or of Hans Christian Andersen or whether one is

talking about the imaginary world of Walt Disney cartoons. But this violence and cruelty

does children good rather than harm because, as Bettelheim concludes, "The fairy tale

proceeds in a manner which conforms to the way a child thinks and experiences the world;

this is why the fairy tale is so convincing to him" (p. 45). This acting-out in literature

becomes a safety valve rather than a stimulus to violent behavior in children.

Having developed a strong background in fantasy literature even as pre-schoolers,

most children begin school with a good base on which teachers can build. In the early

Shuman 7

grades, fairy tales, fables, and myths should comprise the story-telling and eventually the

reading activities. Early on, probably as early as the fourth grade, selections from some of

the world's greatest myths will intrigue students, although this early exposure should be

selective and the selections short. For example, from the Odyssey, one might tell the story

of the homecoming of the hero, Odysseus, after an absence of many years, and of how no

human recognized him, but of how his old dog knew him instantly. This sort of selection

will strike a responsive chord in young children, many of whom have pets and most of whom

are fond of animals.

As students move into the middle school or junior high school years, they are much

taken by fantasy. They devour comic books of the Superman variety, and it would be well

for teachers at this stage to introduce them to other Superman-like literature such as the

Icarus myth from classical mythology or the Hercules myth. Superman combines the desire

to fly, a chief concern in the Icarus story, with superhuman strength, which could lead one to

the Hercules story. The two classical myths have interesting correspc ndences with the

Superman concept, with which any middle school student will be familiar. Students familiar

with the mythic Superman will come to understand something about the universality and

durability of mythic patterns when they are led back to classical myths that correspond to

modern ones. Therefor, it is well at this stage of students' development for teachers to pair

traditional literature such as classical mythology with the popular mythic literature that is a

part of their normal frame of reference.

During the middle school years, students are also passing through the period when

initiation is much on their minds. They are achieving young manhood or womanhood. They

are passing from one significant stage of their existence to another, and throughout time rites

of this passage have been chronicled in literature. At this stage, much Arthurian legend will

appeal directly to students. Mircea Eliade writes, "The ordeals that the Heroes undergo in

Arthurian Romance are innumerable- -they have to cross a bridge that sinks underwater or is

made of a sharp sword or is guarded by lions and monsters.... All these scenarios suggest

passage to the beyond...and when such journeys are undertaken by living beings, they always

form part of an initiation" (Rites and Symbols of Initiation, 125). The trials of Arthurian

3;

Shuman 8

characters speak directly to teenagers, who are experiencing the same biological awakenings

as the young Launcelot, for example, and who read with a deep sense of identification about

such heroes who face their difficulties and prevail. Their trials are much more taxing than

the trials of a typical teenager, and this overcoming of such substantial difficulty by mythic

characters helps the teenager to develop a holistic view of his own situation and to deal with

it better.

Students who have made the excursion into Arthurian Romance are nicely poised to

begin Tolkien's Hobbit trilogy, a long work which most teenagers read voraciously with

little encouragement, and T.H. White's The Sword in the Stone. These are natural

complements to an early exposure to Arthurian Romance and are popular with both male and

female students.

Science Fiction

Another popular type of fantasy literature is science fiction. The commercial success

of such recent films as Star Wars, Return of the Jedi, and E.T., whose $360 million gross

in the first year and a half after its release makes it the biggest money-making film in

American history, clearly shows the great public enthusiasm for science fiction. Students

read such literature with abandon, and they can easily be guided into reading the best of

science fiction, books like Evgenii Zamytin's We, William Morris's News from Nowhere,

and such fine writings of David Lindsay as Devil's Tor, The Haunted Woman, or The

Violet Apple and the Witch. H.G. Wells should not be neglected, particularly The Time

Machine, The Wonderful Visit, and The Invisible Man.

Because science fiction often deals directly with questions of governance in regions

such as outer space, it can be a springboard into Utopian literature such as Plato's Republic,

Thomas More's Utopia, or Samuel Butler's Erewhon or Erewhon Revisited. Certainly the

teacher needs to build sequentially from recent fantasy literature up to some of the classics

which educated people are expected to have read.

3 4;

Shuman 9

Why Fantasy Literature?

Fantasy literature can be justified as a part of the curriculum because so much quality

literature falls under its rubric. It can be further justified because it is so natural a part of the

literary background of nearly everyone and because it exists in so many forms that examples

of it can be found to appeal to people at any level of literary development and sophistication.

Robert Crossley defends literary study and particularly the study of fantasy by saying,

"The goal of literature courses, including fantasy courses, is not interpretation but

evaluation. Interpretation is merely an instrumental skill; we interpret so that we may see and

enjoy and judge" ("Teaching the Course in Fantasy; An Elvish Counsel," Extrapolation, 22

Fall 1981, p. 245). He goes on to contend that "the course in literary fantasy should widen

the artistic horizons of our students...rather than rearrange the same old materials, studied

from a supposedly fresh perspective" (p. 247).

It is my contention that a systematic study of fantasy literature can not only widen the

artistic horizons of our students, as Crossley suggests, but that it can also help the mind to

develop more fully than it will if it is not permitted the flights of fancy, the imaginative

excursions that such literature provides. The study of such literature will jar students out of

linear thinking, will help them to move towards synthesizing ideas, will encourage them to

think holistically rather than compartmentally, and in so doing will communicate to them in

positive ways that right-brain orientation is valued equally with left-brain orientation. The

teacher aware of how the two hemispheres of the brain operate is in an excellent position to

help students achieve a kind of mental growth that will result in their leading fuller and more

productive lives characterized by independent and original thinking.

MY

TH

, ME

TA

PHO

R, M

EM

OR

Y:

Arc

heol

ogy

of th

e Se

lf

NA

NC

Y K

ING

is a

Pro

fess

or o

f T

heat

re in

the

Hon

ors

Prog

ram

at t

he U

nive

rsity

of

Del

awar

e.Sh

e ha

s w

ritte

n th

ree

book

s, m

any

artic

les,

and

has

co-a

utho

red

Stor

ymak

ing

in E

duca

tion

and

The

rapy

(19

88),

whi

ch is

bei

ng p

ublis

hed

by th

eSt

ockh

olm

Ins

titut

e of

Edu

catio

n. S

he h

as ta

ught

sym

bolic

lear

ning

and

cre

ativ

e ex

pres

sion

in th

eU

nite

d St

ates

, Can

ada,

Uni

ted

Kin

gdom

, Nor

way

,D

enm

ark,

and

Sw

eden

. She

is a

sto

ryte

ller

and

ast

orym

aker

. Her

Ph.

D. f

rom

the

Uni

on I

nstit

ute

isin

Sym

bolic

Lea

rnin

g.

Sum

mar

y

Myt

hs a

nd ta

les

are

a ri

ch a

nd p

ower

ful s

ourc

e of

wis

dom

and

com

fort

whi

ch c

an b

e us

ed to

nou

rish

and

stim

ulat

e im

ager

y an

dex

pres

sion

of

stud

ents

' inn

er w

orld

exp

erie

nce

with

in th

e fr

ame-

wor

k of

hig

her

educ

atio

n. T

his

artic

le e

xam

ines

sym

bolic

lear

ning

and

crea

tive

expr

essi

on in

the

form

. of

theo

ry, c

ours

e de

velo

pmen

t,an

d ca

se e

xam

ples

.

Our

out

war

d-or

ient

ed c

onsc

ious

ness

, add

ress

ed to

the

de-

man

ds o

f th

e "(

lay,

may

lose

touc

h w

ith th

ese

inw

ard

forc

es;

and

the

myt

hs, s

tate

s Ju

ng, w

hen

corr

ectly

rea

d, a

re th

em

eans

to b

ring

us

back

in to

uch.

The

y ar

e te

lling

us

in p

ic-

ture

lang

uage

of

pow

ers

of th

e ps

yche

to b

e re

cogn

ized

and

inte

grat

ed in

our

,live

s, p

ower

s th

at h

ave

been

com

mon

toth

e hu

man

spi

rit f

orev

er, a

nd w

hich

rep

rese

nt th

at w

isdo

mof

the

spec

ies

by w

hich

man

has

wea

ther

ed th

e m

illen

ni-

ums.

Thu

s th

ey h

ave

not b

een,

and

can

nev

er b

e, d

ispl

aced

by.th

e fi

ndin

gs o

f sc

ienc

e, w

hich

rel

ate

rath

er to

the

outs

ide

wor

ld th

an to

the

dept

hs th

at w

e en

ter

in s

leep

. Thr

ough

adi

alog

ue c

ondu

cted

with

thes

e in

war

d fo

rces

thro

ugh

our

drea

ms

and

thro

ugh

a st

udy

of m

yths

, we

can

lear

n to

kno

wan

d co

me

to te

rms

with

the

grea

ter

hori

zon

of o

ur o

wn

Jour

nal o

f Il

uman

islic

Psy

chol

ogy,

Vol

. 30

No.

2, S

prin

g 19

90 5

5.72

0 19

90 S

age

Publ

icat

ions

, inc

.

35

65

56M

yth,

Met

apho

r, M

emor

yN

ancy

Kin

g57

deep

er a

nd w

iser

, inw

ard

self

. And

ana

logo

usly

, the

soc

iety

that

che

rish

es a

nd k

eeps

its

myt

hs a

live

will

be

nour

ishe

dfr

om th

e so

unde

st, r

iche

st s

trat

a of

the

hum

an s

piri

t.(C

ampb

ell,

1972

, p. 1

3)

Thr

ough

the

ages

, peo

ple

have

bee

n te

lling

myt

hs a

nd ta

les

as a

way

of

unde

rsta

ndin

g th

eir

wor

ld a

nd w

hat i

t mea

nsto

be

hum

an.

The

se s

tori

es, c

onta

inin

g w

isdo

m d

istil

led

thro

ugh

cent

urie

s, o

ffer

an u

nexp

ecte

d pe

rspe

ctiv

e on

the

pres

ent

and

the

futu

re b

y po

sing

esse

ntia

l que

stio

ns c

ouch

ed in

sym

bolic

term

s. A

t the

Uni

vers

ityof

Del

awar

e, s

tude

nts

enro

lled

in th

e H

onor

s Pr

ogra

m a

re o

ffer

edI

he o

ppor

tuni

ty to

take

cou

rses

in s

ymbo

licle

arni

ng a

nd c

reat

ive

expr

essi

on w

hich

hav

e tit

les

such

as

"Myt

h an

d E

xpre

ssio

n,"

"G iv

ing

Form

to E

xper

ienc

e,"

"Pla

ying

with

Sto

ries

," a

nd "

Cre

atin

gT

heat

re F

rom

Myt

h."

The

cou

rses

ena

ble

stud

ents

to u

se m

yths

toex

plor

e an

d ex

pres

s th

eir

idea

s ab

out s

ymbo

lic m

ater

ial a

nd o

ym-

hI

ic m

eani

ng, t

hat i

s, a

bout

the

rela

tions

hip

betw

een

the

sym

bol

and

wha

t it r

epre

sent

sper

sona

lly, c

ultu

rally

and

uni

vers

ally

.T

he n

eed

for

such

exp

erie

nce

is r

efle

cted

in a

spe

ech

give

n by

Jam

es 0

. Fre

edm

an o

n th

e oc

casi

on o

f hi

s in

augu

ratio

n as

15t

hpr

esid

ent o

f D

artm

outh

Col

lege

:

I'm v

ery

conc

erne

d th

at o

ne th

ing

liber

al e

duca

tion

does

not

suf

fi-

cien

tly a

ddre

ss is

the

need

for

stu

dent

s to

dev

elop

bot

h a

priv

ates

elf

and

a pu

blic

sel

f, a

nd to

fin

d a

way

to h

ave

thos

e se

lves

con

vers

ew

ith e

ach

othe

r an

d fo

rm a

who

le h

uman

bei

ng. W

e re

ad, o

n al

l sid

esto

day,

that

stu

dent

s ar

e en

tirel

y in

tere

sted

in v

ocat

iona

lism

and

care

eris

m. I

f th

at's

the

case

, tho

se s

tude

nts

are

not s

uffi

cien

tlyde

velo

ping

a p

riva

te s

elf,

a s

elf

that

can

be

alon

e at

3 o

'clo

ck in

the

mor

ning

. ..

.

It's

impo

rtan

t tha

t stu

dent

s de

velo

p th

e ca

paci

ty to

be

alon

ew

ithth

emse

lves

, to

addr

ess

grie

f, to

add

ress

que

stio

ns o

f tr

aged

y in

thei

rlif

e, to

add

ress

the

ques

tions

of

the

rela

tions

hip

betw

een

the

gene

r-at

ions

in th

eir

own

lives

. And

I w

orry

that

too

man

y of

toda

y's

unde

rgra

duat

es a

re p

rim

arily

con

cern

ed w

ith th

ings

whi

ch d

on't

give

them

muc

h op

port

unity

as

part

do

liber

al e

duca

tion,

tode

velo

pth

eir

priv

ate

selv

es.

One

way

to h

elp

stud

ents

dev

elop

acc

ess

to th

eir

inne

r lif

eex

peri

ence

s w

ithin

the

acad

emic

cur

ricu

lum

is to

use

myt

hsan

dill

es in

a c

olla

bora

tive

lear

ning

env

iron

men

t: B

y en

teri

ngin

to th

e..l

ory

and

wor

king

with

the

sym

bolic

mat

eria

lcon

tain

ed w

ithin

the

rily

i lis

aad

tale

s, s

tude

nts

are

(i lu

red

the

oppo

rtun

ity to

take

a n

ew.1

nil

diff

eren

t loo

k at

them

selv

es, a

t the

ir li

ves,

and

at t

he p

eopl

e

who

wer

e an

d ar

e pa

rt o

f th

eir

wor

ld. T

he s

tude

nts

mak

est

orie

s

and

dram

as, c

reat

e vi

sual

and

soun

d im

ages

, sha

re m

emor

ies

and

life

expe

rien

ces,

and

wri

test

orie

s ba

sed

on u

nres

olve

dis

sues

. The

old

tale

s co

ntai

n th

e st

imul

us;t

he c

lass

wor

k pr

ovid

es th

eoc

casi

on

whe

reby

stu

dent

s ar

e en

able

d to

disc

over

and

dev

elop

thei

r au

-th

entic

voi

ces

in a

n en

viro

nmen

tfre

e of

pre

mat

ure

judg

men

t.

TH

E L

EA

RN

ING

CO

NT

RA

CT

If w

e ar

e go

ing

to a

sk s

tude

nts

to e

xplo

re th

eir

inne

rwor

lds,

we

have

to c

reat

e an

env

iron

men

twhi

ch s

truc

ture

s th

eirp

artic

ipat

ion

very

exp

licitl

y. I

tis

not p

rodu

ctiv

e si

mpl

y to

"do

your

ow

n th

ing.

"

Edu

catio

n is

, aft

er a

ll, th

e sy

stem

atic

enha

ncem

ent o

f a

stud

ent's

know

ing,

whi

ch a

ims

to b

ring

abou

t the

dev

elop

men

t oft

heor

y,

insi

ght,

and

prac

tice

in r

elat

ion

tosp

ecif

ic a

reas

of

know

ledg

ean

d

in a

ccor

danc

e w

ith a

mut

ually

agre

ed u

pon

cont

ract

. Wha

tis

the

lear

ning

con

trac

t in

the

area

of s

ymbo

lic le

arni

ng a

ndcr

eativ

e

expr

essi

on?

Wha

t doe

s A

rche

olog

yof

the

Self

hav

e to

do

with

sym

bolic

lear

ning

and

cre

ativ

eex

pres

sion

?T

hese

two

ques

tions

are

inte

r-re

lkite

d, b

ut a

re b

est

answ

ered

sepa

rate

ly. A

lthou

gh m

y co

urse

sin

the

Hon

ors

Prog

ram

enha

nce

the

deve

lopm

ent o

f w

ritin

g,cr

itica

l rea

ding

, and

disc

ussi

on, I

know

, as

Ster

nber

g (1

988)

say

s,"s

ome

peop

le te

nd to

be

bette

rat

repr

esen

ting

info

rmat

ion

spat

ially

, or

in th

e fo

rra

ofm

enta

l im

ag-

ery;

oth

er p

eopl

ete

nd to

be

bette

r at

repr

esen

ting

the

sam

ein

form

atio

n lin

guis

tical

ly, o

r in

the

form

of

sent

ence

s or

prop

osi-

tions

. The

refo

re, s

tude

nts

need

the

oppo

rtun

ity to

expl

ore

lear

ning

abou

t the

ir o

wn

lear

ning

. The

yal

so n

eed

to le

arn

how

tota

ke w

hat

is o

utsi

de (

text

, res

earc

h,in

form

atio

n), d

isco

ver

wha

t is

insi

de(t

hink

ing,

fee

ling,

) an

d to

mak

e a

synt

hesi

s. T

he p

roce

ss o

f be

com

-

ing

an "

Arc

heol

ogis

t of

one'

sSe

lf"

enab

les

one

to lo

ok a

tpe

rson

al

sym

bolic

mea

ning

whi

ch is

deri

ved

from

taki

ng a

fre

sh lo

ok a

tone

's

expe

rien

ce, a

ttitu

des,

idea

s,an

d m

emor

y, T

he m

eani

ng w

egi

ve to

and

deri

ve f

rom

sym

bols

isin

terw

oven

with

wha

t we

know

abou

t

ours

elve

s. W

hen

wha

t we

unde

rsta

nd to

be

our

stor

ych

ange

s, n

ew

mea

ning

is in

evita

ble.

An

arch

eolo

gist

exa

min

es r

emai

ns,

ruin

s

and

rem

nant

s of

tim

es p

ast,

From

thes

e bi

ts a

ndpi

eces

, the

arch

eolo

gist

mak

es in

terp

reta

tions

and

crea

tes

expl

anat

ions

to

acco

unt f

or w

hat l

ife

mig

htha

ve b

een

like

at a

par

ticul

artim

e an

d

37

58M

yth,

Met

apho

r, M

emor

y

plac

e. E

vent

ually

', th

ese

expl

anat

ions

are

wov

en to

geth

er to

cre

ate

a la

rger

sto

ry, u

sing

kno

wn

fact

s in

com

bina

tion

with

the

imag

in-

ings

of

trai

ned'

obs

erve

rs.

MY

TH

, ME

TA

PHO

R A

ND

ME

MO

RY

Sam

Kee

n an

d A

nne

Val

ley

Fox

(197

3) w

rite

, "'lb

be

a pe

rson

isto

hav

e a

stor

y to

tell.

We

beco

me

grou

nded

in th

e pr

esen

t whe

nw

e co

lor

in th

e ou

tline

s of

the

past

and

the

futu

re. M

ytho

logy

can

add

pers

pect

ive

and

exci

tem

ent t

o yo

ur li

fe."

(p.

8)It

is u

sefu

l to

diff

eren

tiate

thre

e le

vels

of

stor

ymak

ing

and

stor

ytel

ling:

Pub

lic (

myt

h), P

erso

nal (

met

apho

r), a

nd P

riva

te(m

emor

y). O

ne c

an, t

here

fore

, tel

l con

fide

ntia

l mat

eria

l in

a pu

blic

way

by

telli

ng a

per

sona

lly m

eani

ngfu

l myt

h or

tale

with

out

reve

alin

g in

appr

opri

ate

info

rmat

ion.

By

crea

ting

a m

etap

hori

cre

spon

se to

a m

yth

or ta

le, o

ne c

an b

ecom

e aw

are

of te

lling

mom

ents

, cru

cial

issu

es, a

nd e

mot

iona

l inv

estm

ent.

Shar

ing

this

kind

of

stor

y al

so a

llow

s in

timat

e is

sues

to b

e di

scus

sed

at th

epe

rson

al le

vel w

ithou

t rev

ealin

g sp

ecif

ic in

form

atio

n. I

bel

ieve

that

wor

king

with

myt

hs to

cre

ate

met

apho

rs s

timul

ates

mem

ory,

whi

ch h

elps

beg

in a

jour

ney

of s

elf-

disc

over

y w

ithin

the

cont

ext o

fth

e ed

ucat

iona

l cla

ssro

om.

I ch

oose

to u

se o

ld s

tori

es, m

yths

, and

tale

s as

the

basi

s of

assi

gnm

ents

and

cla

ss w

ork

for

the

follo

win

g re

ason

s:

(1)

(2)

(3)

The

idea

s em

bedd

ed w

ithin

thes

e st

orie

s co

ntai

n es

sent

ial w

isdo

mw

hich

has

sur

vive

d ce

ntur

ies

of te

lling

.T

he n

atur

e of

the

mat

eria

l mak

es it

. pos

sibl

e fo

r st

uden

ts to

dis

-co

ver

and

reco

ver

pers

onal

con

nect

ion

to a

sto

ry, a

nd to

cre

ate

indi

vidu

al m

eani

ng.

Myt

hs a

nd ta

les

pose

que

stio

ns a

bout

the

mea

ning

of

life

whi

ch a

rean

swer

ed a

new

by

each

per

son

each

tim

e th

ey w

ork

with

the

stor

y.Sh

arin

g th

ese

mea

ning

s m

akes

pos

sibl

e a

new

app

reci

atio

n of

dive

rsity

.(4

) W

orki

ng w

ith s

tori

es f

rom

cul

ture

s ot

her

than

our

ow

n ex

pand

s ou

rno

tion

of w

ays

in w

hich

soc

iety

can

be

orga

nize

(' an

d ex

peri

ence

d.W

e ca

n re

-exa

min

e ou

r id

eas

abou

t our

pla

ce in

the

univ

erse

and

our

conn

ectio

n to

oth

er p

eopl

es a

nd o

ther

age

s.(5

) M

ythi

c m

ater

ial i

s po

wer

ful.

It c

onta

ins

a ch

arge

whi

ch r

eson

ates

with

in th

ose

open

to r

ecei

ve it

.(6

) T

he s

ingu

lari

ty o

f th

e m

yth

enco

urag

es li

sten

ers

to f

ocus

on

one

aspe

ct o

f hu

man

exp

erie

nce

and

to g

o de

ep w

ithin

it.

38

Nan

cy K

ing

59

(7)

Hea

ring

myt

hs a

nd ta

les

prov

ides

nou

rish

men

t for

the

psyc

he a

nden

ergy

to e

xplo

re in

ner

wor

ld r

esou

rces

.(8

) W

orki

ng a

ctiv

ely

with

the

idea

s in

here

nt to

the

myt

h pr

ovid

espa

rtic

ipan

ts w

ith a

n ex

peri

ence

of

know

ing

that

is d

irec

t, pe

rson

al,

shar

ed, a

nd c

ontin

ually

ope

n to

cha

nge.

The

use

of

myt

hs a

nd ta

les

in s

ymbo

lic le

arni

ng a

nd c

reat

ive

expr

essi

on is

pre

dict

ed o

n st

uden

ts w

orki

ng a

ctiv

ely

with

a s

tory

,ta

king

the

stor

y in

to th

emse

lves

and

not

icin

g th

e en

suin

g re

so-

nanc

e. T

hus,

the

stor

y pr

ovid

es th

e gr

oup

with

sha

red

mat

eria

lw

hich

stim

ulat

es s

ubse

quen

t exp

lora

tion

whi

ch o

ften

res

ults

inne

w k

now

ledg

e ab

out o

ne's

sel

f.Fo

r ex

ampl

e: 'l

b ex

plor

e no

tions

of.

fear

and

cou

rage

, I u

sed

the

stor

y of

Li C

hi, T

he S

erpe

nt S

laye

ra C

hine

se m

yth

abou

t a y

oung

girl

who

sav

es h

er v

illag

e fr

om f

urth

er d

estr

uctio

n by

sla

ying

afe

arso

me

serp

ent w

ho h

as te

rror

ized

the

coun

trys

ide

for

man

yye

ars.

One

of

the

task

s w

as to

wri

te a

n ed

itori

al c

omm

emor

atin

gth

e he

roic

act

ion

of L

i Chi

. Mos

t of

the

artic

les

prai

sed

her

for

brav

ely,

cou

rage

, dar

ing,

and

com

pass

ion

(she

gat

here

d up

the

bone

s of

all

the

mai

dens

pre

viou

sly

sacr

ific

ed s

o th

ey c

ould

be

prop

erly

bur

ied)

. But

one

of

the

edito

rial

s to

ok h

er to

task

for

dest

royi

ng th

e st

atus

quo

. The

w n

iter

sugg

este

d th

at e

very

one

had

lear

ned

to li

ve w

ith th

e se

rpen

t, th

e pr

ice

of o

ne 1

4-ye

ar-o

ld m

aide

nw

as n

ot s

uch

a la

rge

pric

e to

pay

for

pea

ce. W

hy c

ould

n't s

he h

ave

left

wel

l eno

ugh

alon

e? W

ho k

new

wha

t cat

astr

ophe

wou

ld s

oon

com

e to

take

the

serp

ent's

pla

ce?

Eve

ryon

e in

the

room

was

sho

cked

,ye

t one

stu

dent

ask

ed w

hat t

he w

rite

r w

as a

frai

d of

. I e

xpec

ted

his

answ

er to

be

fram

ed b

y de

fens

iven

ess,

den

ial,

or a

nger

, but

wha

the

sai

d w

as, "

I gr

ew u

p in

the

Sout

h. M

y fa

ther

told

me

wha

tha

ppen

ed to

Bla

cks

who

, tri

ed to

mak

e th

ings

bet

ter.

I th

ink

peop

lest

ill g

et in

to tr

oubl

e w

hen

they

stic

k th

eir

neck

s ou

t. Sh

e sh

ould

have

left

thin

gs a

s th

ey w

ere.

She

cou

ld b

e in

for

big

trou

ble

and

so c

ould

her

peo

ple.

" O

ne o

f th

e gi

rls

in th

e cl

ass

answ

ered

him

.

"Kill

ing

even

one

14-

year

-old

gir

l eac

h ye

ar f

or p

eace

is n

ot a

ccep

tabl

e.Sh

e w

as r

ight

to tr

y to

cha

nge

thin

gs I

bel

ieve

that

evi

l flo

uris

hes

whe

n go

od p

eopl

e do

not

hing

.""B

rave

talk

. Wha

t do

you

do to

mak

e th

e w

orld

bet

ter?

""N

othi

ng ..

. ye

t."

One

of

the

expl

icit

bene

fits

of

wor

k in

sym

bolic

lear

ning

and

crea

tive

expr

essi

on is

that

stu

dent

s ar

e en

cour

aged

to b

ecom

e3(

4

00M

yth,

Met

apho

r. M

emor

y

Nan

cy K

ind

61

awar

e of

the

com

plex

ity o

f th

eir

reac

tions

. By

read

ing

myt

hs a

ndta

les

from

man

y cu

lture

scov

erin

gth

emes

suc

h as

jeal

ousy

,gr

eed,

bra

very

, env

y, c

unni

ng, a

ndhe

alin

git i

s po

ssib

le f

or s

tu-

dent

s to

put

con

vent

ion

and

trad

itiop

asi

de f

or th

e m

omen

t, to

look

at th

e ra

nge

of p

ossi

ble

hum

an b

ehav

ior,

and

to u

nder

stan

d, a

bit

mor

e cl

earl

y, w

hat

it m

eans

to b

e hu

man

.Thi

s ne

w k

now

ledg

efu

rthe

rs s

elf-

deve

lopm

ent a

nd c

anbe

a s

tep

tow

ard

com

pass

ion

and

wis

dom

.W

e ha

ve b

een

forc

ed to

rec

ogni

ze,f

rom

stu

dyin

g pr

e-W

orld

War

II G

erm

any,

that

edu

catio

nin

and

of

itsel

f is

no

guar

ante

eth

atci

tizen

s w

ill r

eact

with

com

pass

ion,

cou

rage

,or

clar

ity w

hen

face

d

with

a d

emag

ogue

. Kno

wle

dge

isno

t syn

onym

ous

with

wis

dom

.

We

mus

t., th

eref

ore,

dev

ise

ava

riet

y of

way

s to

inte

grat

eth

ough

ts,

feel

ings

, ide

as, a

ttitu

des,

and

unde

rsta

ndin

gs a

s an

inhe

rent

par

t

of th

e ed

ucat

iona

l pro

cess

.Se

para

ting

"int

elle

ctua

l" a

ctiv

ityfr

om

"art

istic

" ac

tivity

, div

erge

ntth

inki

ng f

rom

con

verg

ent t

hink

ing,

or

mem

oriz

atio

n fr

om s

ynth

esis

enc

oura

ges

am

ind-

hear

t spl

it w

hich

has

alre

ady

prov

en to

be

the

dow

nfal

l of

one

civi

lized

cou

ntry

.Fl

aim

Gin

ott (

cite

d in

Rob

erts

& R

ober

ts, 1

987)

cle

arly

artic

u-

late

s th

e ch

alle

nge:

Dea

r T

each

ers,

I L

m a

sur

vivo

r of

a c

once

ntra

tion

cam

p.M

y ey

es s

aw w

hat n

o m

an

shou

ld w

itnes

s:G

as c

ham

bers

bui

lt by

lear

ned

engi

neer

s.C

hild

ren

pois

oned

by

educ

ated

phys

icia

ns.

Infa

nts

kille

d by

trai

ned

nurs

es.

Wom

en a

nd b

abie

s sh

ot a

ndbu

rned

by

high

sch

ool a

nd c

olle

gegr

adua

tes.

So, I

am

sus

pici

ous

of e

duca

tion.

My

requ

est i

s th

at te

ache

rshe

lp s

tude

nts

beco

me

hum

an.

You

r ef

fort

s m

ust n

ever

pro

duce

lear

ned

mon

ster

s, s

kille

d ps

ycho

-

path

s, e

duca

ted

Eic

hman

na.

Rea

ding

, wri

ting,

ari

thm

etic

are

impo

rtan

t onl

y if

they

ser

ve to

mak

e ou

r ch

ildre

n m

ore

hum

ane.

(p.3

)

As

we

wor

k w

ith m

yths

and

tale

s fr

om c

ount

ries

and

cultu

res

all o

ver

the

wor

ld, w

e ta

kein

to a

ccou

nt p

ossi

ble

man

ipul

atio

n of

myt

h fo

r a

part

icul

ar in

tent

ion

by p

urpo

sefu

lly e

xplo

ring

dive

rse

and

vari

ous

hum

an r

espo

nses

and

reac

tions

. We

expl

icitl

yco

nnec

t

hear

t with

min

d, a

nd id

eas

with

fee

lings

, as

we

read

and

hear

how

hum

an b

eing

s th

roug

h th

ece

ntur

ies

have

exp

erie

nced

and

con

-fr

onte

d lif

e's

even

ts a

nd is

sues

(bei

ng b

orn,

gro

win

g up

,ch

oosi

ng

a m

ate,

cre

atin

g a

life,

gro

win

g ol

d,fa

cing

dea

th).

As

stud

ents

,gra

pple

with

trou

bles

ome

issu

es, t

hey

begi

n to

unde

rsta

nd m

ore

abou

t the

ir o

wn

com

plex

and

para

doxi

cal

selv

es. T

hey

begi

n to

empa

thiz

e, r

athe

r th

anco

ndem

n re

flex

ivel

y,w

hen

they

rea

d or

hear

of

jeal

ous

mot

hers

,dom

inee

ring

fat

hers

, dev

ious

brot

hers

, or

angr

y si

ster

s.A

s pa

rt o

f th

e pr

oces

sof

lear

ning

toac

know

ledg

e an

d

acce

pt th

e da

rker

, mor

ene

gativ

e si

des

ofch

arac

ters

in s

tori

es,

stud

ents

can

som

etim

eslo

ok a

t the

mse

lves

with

new

and

dee

per

unde

rsta

ndin

g. I

t is

not t

hat

they

just

ify

wro

ng a

ctio

ns.

Rat

her,

they

beg

in to

see

the

larg

er p

ictu

re a

nd th

eyal

low

them

selv

es to

say,

"I'm

sorr

y,"

or "

I w

ish

I ha

dn't

done

that

," o

r "I

fel

t Iha

d no

othe

r ch

oice

at t

hetim

e."

Acc

ordi

ng to

Fei

nste

in,K

ripp

ner,

and

Gra

nger

(198

8) "

the

guid

-

ing

myt

hs th

at o

rder

pers

onal

rea

lity

are

cons

tant

ly b

eing

cha

l-

leng

ed a

s ne

w e

xper

ienc

es a

reen

coun

tere

d. J

ust a

s th

ere

is a

cont

inuo

us b

iolo

gica

ltr

ansf

orm

atio

n fr

omco

ncep

tion

to d

eath

,

ther

e is

a c

ontin

uous

evol

utio

n of

inte

rnal

myt

hic

stru

ctur

es."

As

stud

ents

wor

k w

ithm

yths

whi

ch a

re c

hose

nfo

r th

em a

nd th

ose

whi

ch th

ey c

hoos

e, th

ere

is r

ecog

nitio

n th

atpe

rspe

ctiv

e ab

out o

ur

past

and

pre

sent

actio

n ca

n ch

ange

.Man

y st

uden

ts b

ecom

ele

ss

defe

nsiv

e, m

ore

able

to s

eem

ultip

le p

oint

s of

vie

w,

and

mor

e

tole

rant

of

past

foi

bles

,esp

ecia

lly w

hen

the

grou

pw

ith w

hom

they

shar

e th

eir

stor

y m

urm

urs

with

com

pass

ion,

as

they

rem

embe

r

thei

r ow

n em

barr

assi

ng o

rsha

mef

ul m

omen

ts.

Tel

ling

stor

ies

thro

ugh

myt

h, m

etap

hor,

or

mem

ory

with

in a

n

acad

emic

env

iron

men

tal

low

s. g

roup

mem

bers

who

com

e fr

om

man

y di

ffer

entd

isci

plin

es to

sha

re, d

iscu

ss,a

nd r

efle

ct o

n w

hat i

t

mea

ns tc

be

hum

an a

t a p

artic

ular

time

in h

isto

ry; t

odi

scov

er h

ow

age

or s

ocia

lpos

ition

aff

ects

fre

edom

,cho

ice,

and

opp

ortu

nity

;to

cons

ider

how

rel

atio

nshi

psen

larg

e or

cha

nge

one'

s im

med

iate

wor

ld; a

nd to

exa

min

eho

w a

ssum

ptio

nsba

sed

on w

hat o

neha

s

know

n as

a c

hild

affe

ct o

ne's

per

cept

ions

of th

e w

orld

and

how

it

wor

ks.

As

stud

ents

bec

ome

mor

eaw

are

of p

erso

nal

and

univ

ersa

l

sym

bolic

mea

ning

,th

ey b

egin

to m

ake

conn

ectio

ns w

ithin

them

-

selv

es a

nd w

ith o

ther

cultu

res

and

ages

at

the

leve

l of

com

mon

hum

an e

xper

ienc

e.M

any

stud

ents

hav

ecom

men

ted,

aft

er w

orki

ng

with

sto

ries

fro

mT

hird

Wor

ld c

ultu

res,

that

they

are

sur

pris

edby

the

kins

hip

they

fee

lwith

thes

e pe

ople

s so

rem

ote

in ti

me

and

spac

e

from

them

selv

es.

Aft

er h

eari

ng s

ever

alst

orie

s fr

om A

mer

ican

41

41)

62M

yth,

Met

apho

r, M

'-'.'n

9rY

Indi

an g

roup

s, o

ne s

tude

nt s

aid

with

gre

atpa

in, "

My

God

, I d

idn'

tkn

ow w

hat w

e de

stro

yed.

" T

here

is a

deve

lopi

ng s

ense

that

they

no lo

nger

nee

d to

feel

so

isol

ated

and

lone

ly. T

hey

can

expe

rien

ce

thei

r liv

es a

s pa

rt o

f th

e sh

ared

jour

ney

take

n by

all

hum

an b

eing

sev

eryw

here

. Tho

ugh

we

may

wal

kal

one,

we

need

not

wal

k by

ours

elve

s. T

here

is c

ompa

ny to

be

foun

d,if

we

lear

n w

here

and

how

to lo

ok. A

lthou

gh th

isle

arni

ng is

not

exp

erie

nced

to th

e sa

me

degr

ee b

y al

l stu

dent

s w

orki

ngw

ith m

yths

, mos

t stu

dent

s ac

-kn

owle

dge

that

rea

ding

sto

ries

of

peop

le, s

o ve

ry d

iffe

rent

fro

mth

emse

lves

, giv

es th

em p

ause

; mak

es it

hard

er to

dis

mis

s th

em o

utof

han

d, to

labe

l the

m "

prim

itive

."St

uden

ts n

eed

the

oppo

rtun

ity to

com

bine

and

con

nect

who

they

arew

ith w

hat t

hey

know

and

with

wha

t the

y le

arni

n w

ays

that

allo

w f

or in

divi

dual

exp

ress

ion,

com

mun

al in

tera

ctio

n, a

nd s

piri

-tu

al e

nric

hmen

t. H

avin

g th

isex

peri

ence

with

in a

n ac

adem

ic c

ur-

ricu

lum

allo

ws

stud

ents

to d

evel

opsk

ills

need

ed to

ask

insi

ghtf

ulqu

estio

ns, p

lan

and

com

plet

e pr

ojec

ts,

wri

te p

aper

s, e

xplo

re p

ro-

cess

es, a

nd c

ultiv

ate

the

capa

city

for

cri

tical

ref

lect

ion

and

asse

ss-

men

t. St

uden

ts f

ocus

on

the

proc

ess

of le

arni

ng, a

s w

ell a

s on

fin

alou

tcom

es. Q

uest

ions

and

issu

es a

rese

para

ted

from

sol

utio

ns to

give

peo

ple

time

to c

onsi

der

poss

ibili

ties,

and

to e

ncou

rage

fle

xi-

bilit

y, s

pont

anei

ty, c

reat

ivity

, and

eas

eof

exp

ress

ion.

ON

E A

SSIG

NM

EN

T: T

WO

RE

SPO

NSE

S

To

expl

ore

how

stu

dies

in s

ymbo

licle

arni

m, a

nd c

reat

ive

expr

es-

sion

wor

k in

pra

ctic

e, le

t usc

onsi

der

an a

ssig

nmen

t I g

ive

tost

uden

ts

taki

ng a

cou

rse

calle

d "G

ivin

gFo

rm to

Exp

erie

nce.

" T

he in

itial

hom

ewor

k as

sign

men

t is

to s

elec

t am

yth

or ta

le w

hich

res

onat

esw

ithin

one

self

, and

to w

rite

a p

aper

expl

orin

g w

ays

in w

hich

the

chos

en m

yth

or ta

le li

ves

with

in.

I as

k st

uden

ts to

dev

elop

con

nec-

tions

bet

wee

n th

emse

lves

and

thei

r se

lect

ed s

tory

thro

ugh

mem

o-ri

es, i

deas

, fee

lings

, atti

tude

s,an

d ex

peri

ence

s w

hich

ari

sefr

om

inte

ract

ion

with

the

stor

y.St

uden

ts a

re e

ncou

rage

d to

pai

ntim

-

ages

, im

prov

ise

onm

usic

al in

stru

men

ts, a

nd/o

rco

nstr

uct t

hree

-

dim

ensi

onal

sym

bols

as

part

of

thei

rex

plor

atio

n. A

t the

sam

e tim

e,I

chal

leng

e th

em to

be

awar

eof

inne

r ce

nsor

ing

and

to e

xpre

ssal

l

mat

eria

l with

out j

udgm

ent.

Thi

sfi

rst p

aper

is g

iven

to a

pee

r tu

tor

who

com

men

ts o

n ho

w w

ell

the

stud

ent h

as d

evel

oped

his

or

her

4'1

111/

Nan

cy K

ing

63

thes

is. T

he s

tude

nt th

en r

ewri

tes

the

pape

r an

d su

bmits

bot

hve

rsio

ns to

me.

I p

oint

out

the

need

for

dee

per

refl

ectio

n, m

ore

com

plex

que

stio

ning

, and

con

nect

ions

,the

n re

turn

the

pape

r to

the

stud

ent,

who

rew

orks

it. F

or m

ost,

this

thir

d dr

aft c

onst

itute

s th

efi

nal v

ersi

on o

f th

e pa

per.

But

, asi

zeab

le m

inor

ity w

ill s

ubm

it on

e

or tw

o m

ore

rew

rite

s un

til I

am

sat

isfi

edw

ith th

e qu

ality

of

thei

r

refl

ectio

ns

Exa

mpl

e 1:

"A

rach

ne, A

then

a an

dM

e"

One

you

ng w

oman

cho

se th

e st

ory

of A

rach

neth

e hu

man

who

defi

ed th

e go

ddes

s A

then

a,w

ho th

en tu

rns

her'i

nto

a sp

ider

as

puni

shm

ent.

In th

e fi

rst t

hree

vers

ions

of

the

pape

r th

e st

uden

tw

rote

sup

erfi

cial

ly, w

ithou

tm

uch

pers

onal

invo

lvem

ent.

She

was

visi

bly

anno

yed

by m

y co

mm

ents

.T

his

"A"

stud

ent w

as n

otus

ed

to r

ewor

king

her

pap

ers.

In

resp

onse

to c

omm

ents

on

the

firs

tthr

ee

draf

ts w

ritte

n by

the

peer

tuto

ran

d m

ysel

f, s

he f

ocus

ed p

rim

arily

on im

prov

ing

wri

ting

mec

hani

cs; s

ugge

stio

ns to

shar

e m

emor

ies

and

to w

rite

abo

ut p

erso

nal

expe

rien

ce w

ere,

for

the

mos

t par

t,ig

nore

d. D

urin

g he

r ve

ry r

eluc

tant

rew

orki

ng o

f th

e fo

urth

dra

ft,

a pa

infu

l mem

ory

surf

aced

.W

hile

wri

ting

abou

t Ara

chne

'sl'c

k of

con

cern

for

any

one

othe

r

than

her

self

, the

stu

dent

rem

embe

red

the

time

whe

n bu

llies

had

atta

cked

and

inju

red

her

youn

ger

brot

her

in a

fig

ht. S

he h

adw

alke

d aw

ay, i

gnor

ing

his

plea

sfo

r he

r he

lp. P

art o

f th

e se

veri

tyof

her

pai

n in

rem

embe

ring

this

inci

dent

was

the

cert

ain

know

l-

edge

that

she

was

str

onge

r th

enth

e bu

llies

and

cou

ld h

ave

stop

ped

the

figh

t had

she

so

chos

en.

Alth

ough

she

trie

d to

dis

rega

rdth

e

epis

ode,

as

she

wor

ked

mile

r pa

pers

he f

ound

she

cou

ld n

ot p

ut it

out o

f he

r m

ind.

Eve

ntua

lly,s

he w

rote

abo

ut th

e in

cide

nt, I

nhe

r

pape

r, s

he n

oted

that

she

had

nev

er to

ld a

nyon

eab

out t

he e

xper

i-

ence

and

had

nev

erta

lked

abo

ut it

with

her

bro

ther

.W

hat w

as

clea

r to

her

, how

ever

, was

that

the

mem

ory

wou

ld n

ot g

o aw

ay, n

ow

that

she

had

allo

wed

her

self

tore

mem

ber.

Rat

her

than

giv

e m

e he

r pa

per

in c

lass

, she

mad

e an

appo

int-

men

t to

see

me

in m

yof

fice

, lea

ving

a m

essa

ge w

ithth

e se

cret

ary

that

she

had

som

ethi

ngim

port

ant a

nd p

riva

te to

tell

me.

We

had

seve

ral p

revi

ous

conf

eren

ces

whe

re s

he h

ad a

lway

s be

enre

laxe

d

and

talk

ativ

e, N

ow s

he s

at in

the

chai

r, lo

okin

g at

her

fee

t,te

nse

64M

yth,

Met

apho

r, M

emor

y

and

unce

rtai

n. I

thou

ght s

he w

as h

avin

gtr

oubl

e fi

nish

ing

her

pape

r an

d I

aske

d, "

Do

you

need

mor

e tim

e?"

"No.

" Sh

e sa

t in

sile

nce.

I w

aite

d fo

r he

r to

say

mor

e."I

s th

ere

a pr

oble

m?"

Iin

quir

ed.

"No.

" M

ore

sile

nce.

The

n sh

e si

ghed

and

sai

d,"Y

es."

"Wou

ld y

ou li

ke to

tell

me

abou

t it?

" I

aske

d."1

wro

te th

e pa

per,

like

you

told

mg.

Her

e."

She

hand

ed m

e a

fift

een-

page

pap

er, n

eatly

type

d.Sh

e st

ood

up to

leav

e. I

did

n't k

now

wha

tw

as g

oing

on,

but

she

was

clea

rly

upse

t.I

trie

d to

hel

p. "

1 se

e th

at th

is p

aper

is m

uch

long

er th

an th

e ot

hers

.I

belie

ve y

ou'v

e m

ade

subs

tant

ial c

hang

es.

If y

ou w

ould

rat

her

I no

tre

ad it

, I'll

ret

urn

it to

you

now

and

giv

e yo

u fu

llcr

edit

for

your

wor

k."

She

look

ed a

t me,

dis

belie

ving

my

wor

ds.

"You

mea

n I

coul

d ju

st ta

ke it

with

me.

Now

?""Y

es."

I g

ave

her

back

the

pape

r.Sh

e he

sita

ted

and

then

pla

ced

it on

my

desk

."Y

ou c

an r

ead

it. I

t's o

k."

She

left

. I b

egan

to r

ead

the

pape

r. S

ome

min

utes

late

r sh

e re

ap-

pear

ed. B

y th

en I

had

rea

d ab

out t

he f

ight

. I c

ould

see

the

ques

tions

in h

er e

yes

and

felt

com

pelle

d to

rep

ly.

"You

are

n't t

he o

nly

pers

on to

do

som

ethi

ngsh

itty,

you

kno

w. I

cou

ldte

ll yo

u lo

ts o

f st

orie

s ab

out t

imes

I w

as le

ssth

an m

arve

lous

. But

wha

t. ul

timat

ely

mat

ters

is h

ow w

e de

al w

ithou

rsel

ves

once

we

adm

it w

hat w

e've

don

e. L

et m

e fi

nish

you

r pa

per

and

then

we'

llta

lk."

Our

sub

sequ

ent d

iscu

ssio

n w

as f

ram

ed b

yhe

r w

orri

es a

bout

the

fina

lho

mew

ork

assi

gnm

ent f

or th

e cl

ass.

Eac

h st

uden

tis

aske

d to

str

uc-

ture

a p

roje

ct e

volv

ing

from

a q

uest

ion

rais

ed b

y th

e w

ork'

in th

eco

urse

. She

had

no

ques

tions

and

wan

ted

me

to a

dvis

e he

r. "

I ca

n't

help

you

unt

il yo

u ha

ve a

que

stio

n.W

hat m

atte

rs to

you

?" N

oan

swer

. "W

hat i

nter

ests

you?

" Si

lenc

e. "

Wha

t bot

hers

you

?" S

helo

oked

at m

e in

cred

ulou

sly.

"You

kno

w w

hat's

bot

heri

ng m

el"

"Use

it,"

I q

uick

ly s

ugge

sted

."W

hat d

o yo

u m

ean?

" sh

e as

ked,

her

voi

ced

lace

d w

ith a

nger

."W

hy n

ot ta

ke th

e in

cide

nt a

nd tu

rn it

into

ara

dio

play

? Y

ou c

an a

skso

me

peop

le in

the

clas

s to

read

the

scri

pt w

hile

e re

st o

f us

hav

eou

r ey

es c

lose

d, im

agin

ing

the

scen

e. N

o on

e ha

s to

kno

w th

eba

ckgr

ound

of

the

proj

ect."

"Wha

t. if

they

ask

?""Y

ou h

ave

time

to th

ink

abou

t you

r ch

oice

s.It

's y

our

deci

sion

. I w

on't

say

a w

ord.

"Sh

e sh

ook

her

head

. "I

can'

t do

it. Y

ou're

no

help

." a

nd s

torm

ed o

ut.

Thr

ee d

ays

late

r sh

e re

turn

ed, t

hrus

t a m

anus

crip

tin

to m

y ha

nds,

and

glar

ed d

efia

ntly

at m

e. "

Her

e. R

ead

it."

Whi

le s

he s

tare

d I

read

her

scr

ipt.

It w

asaw

kwar

d an

d un

even

, but

the

emot

iona

l cha

rge

was

cle

arly

ther

e. "

Are

you

read

y to

hea

r so

me

sugg

estio

ns?"

44

1111

Nan

cy K

ing

65

"Wha

t kin

d?"

"You

nee

d to

rea

d yo

ur s

crip

t out

loud

. Mat

eria

l wri

tten

tobe

spo

ken

is d

iffe

rent

fro

m w

ords

wri

tten

to b

e re

ad. Y

ou w

illhe

ar w

here

chan

ges

need

to b

e m

ade.

If

you

don'

t wan

t to

shar

e it

just

yet

,rea

dth

e pa

rts

in d

iffe

rent

voi

ces

into

a ta

pe r

ecor

der.

Pay

atte

ntio

n to

wha

t mov

es y

ou, w

here

you

lose

inte

rest

, wha

t you

don

'tun

der-

stan

d."

She

took

the

scri

pt a

nd le

ft m

y of

fice

, ban

ging

dow

n th

e st

eps

with

a f

rust

ratio

n I

wel

l und

erst

ood.

Whe

n th

e tim

e ca

me

to s

hare

pro

ject

s, s

he a

sked

us

tocl

ose

our

eyes

and

hea

r he

r pl

ay. H

erw

ords

wer

e po

wer

ful.

Pain

fill

ed a

llth

e sp

aces

. The

re w

as s

ilenc

e w

hen

the

last

wor

dsfa

ded.

Peo

ple

slow

ly o

pene

d th

eir

eyes

. Whe

n th

e fi

rst q

uest

iOn

aske

d w

as,

"Is

this

bas

ed o

n a

real

exp

erie

nce?

" I

clos

ed m

ine.

I co

uld

feel

her

eye

s on

me.

I o

pene

d m

y ey

es,

look

ed a

t her

and

smile

d, le

tting

her

kno

w a

s be

st I

cou

ld, s

here

ally

did

hav

e a

choi

ce.

Her

ans

wer

, whe

n it

cam

e, w

as a

bri

ef, "

Yes

."E

xpec

ting

to b

e co

ndem

ned

out o

f ha

nd, s

he lo

oked

sur

pris

edw

hen

the

next

que

stio

n w

as, "

Hav

e yo

u sh

ared

you

rfe

elin

gs w

ith y

our

brot

her?

""N

o,"

she

said

. "I

feel

too

awfu

l abo

ut w

hat I

did

."T

here

was

a c

ompa

nion

able

sile

nce

whi

le th

e cl

ass

cons

ider

ed th

esi

tuat

ion.

The

n so

meo

ne s

ugge

sted

, "W

hy n

ot s

end

your

brot

her

your

pla

y?"

She

shoo

k ae

r he

ad, "

I co

uldn

't do

that

.. B

esid

es, w

e ge

tal

ong

pret

tyw

ell n

ow. T

alki

ng a

bout

this

wou

ld ju

st m

ess

ever

ythi

ng u

p.W

hat's

the

poin

t? I

t's m

y pr

oble

m."

Aga

in th

ere

was

sile

nce,

as

if th

e gr

oup

was

str

uggl

ing

alon

gw

ith th

eir

clas

smat

e. T

hen

som

eone

spo

ke, "

You

r br

othe

r al

read

y kn

ows

wha

tyo

u di

d. H

e kn

ows

you

know

. He

can'

ttal

k ab

out i

t; yo

u w

on't

talk

abou

t itb

ut y

ou b

oth

rem

embe

r. I

t's g

ot to

be

getti

ng in

you

rway

."Sh

e ag

reed

. "W

ell t

hen,

just

tell

him

wha

t hap

pene

d,ab

out w

ritin

gyo

ur p

aper

, mak

ing

this

pla

y. L

et h

imkn

ow h

ow h

orri

ble

you

feel

.A

ll yo

u ha

ve to

do

is d

escr

ibe

wha

t you

're g

oing

thro

ugh.

It's

up

tohi

m to

mak

e th

e ne

xt m

ove.

If

he w

ants

to f

orgi

vean

d fo

rget

, he'

llle

t you

kno

w. I

f no

t, yo

u di

d th

e be

st y

ou c

ould

for

now

.T

hat's

all

you

can

do."

The

gro

up n

odde

d in

agr

eem

ent,

rein

forc

ing

this

cou

rse

of a

ctio

n.Sh

e bu

rst o

ut, "

But

wha

t I d

id w

as s

o aw

ful.

I ra

n aw

ayan

d le

t my

little

brot

her

get b

eat u

p by

a b

unch

of

boob

s I

coul

d ha

ve s

topp

edw

ithon

e ha

nd ti

ed b

ehin

d m

e."

"Tha

t was

fiv

e ye

ars

ago,

" sa

id o

ne o

f th

e st

uden

ts. "

You

can'

t cha

nge

the

past

. All

you

can

do is

ack

now

ledg

e w

hat y

ou d

idth

en a

nd h

ope

you'

ll do

bet

ter

next

tim

e."

41

66M

yth,

Met

apho

r, M

emor

y

Ano

ther

stu

dent

sug

gest

ed, "

Tel

l you

r br

othe

r In

w s

orry

you

are

, how

you

wis

h yo

u ha

dn't

let h

im d

own.

"

A r

athe

r sh

y st

uden

t spo

ke u

p qu

ickl

y, a

s if

not

to a

llow

him

self

time

to th

ink

abou

t wha

t he

was

goi

ng to

say

. "I

rem

embe

r w

hen

my

brot

her

and

I go

t int

o a

figh

t, af

ter

he to

ok m

y fo

otba

ll w

ithou

tas

king

and

lost

it. I

was

so

mad

I h

it hi

m h

ard.

Whe

n he

lost

his

bala

nce

I pu

shed

him

dow

n to

the

floo

r. A

s he

fel

l he

hit h

is e

yean

d bl

ood

pour

ed o

ut. W

hen

I sa

w a

ll th

e bl

ood

I ra

n ou

tsid

e an

dth

rew

up.

My

pare

nts

had

to ta

ke h

im to

the

hosp

ital t

o be

stit

ched

up. E

ven

thou

gh w

e sh

ared

the

sam

e ro

om w

e di

dn't

talk

abo

ut it

for

a lo

ng ti

me.

One

day

, out

of

the

blue

, I to

ld h

im I

was

sor

ry. H

esa

id h

e w

as s

orry

too,

for

losi

ng m

y ne

w f

ootb

all.

It w

as s

uch

are

lief

to b

e ab

le to

talk

."O

ther

s to

ld th

eir

own

stor

ies

of b

etra

yal a

nd g

rief

. It w

as c

lear

that

the

wom

an's

sto

ry e

voke

d m

any

mem

orie

s w

hich

peo

ple

wan

ted

to s

hare

. She

sat

sile

ntly

as

she

liste

ned

and

then

sai

d,"T

hank

s, y

ou g

uys.

Tha

nks.

"

Exa

mpl

e 2:

"T

he P

ower

of

Eri

sich

thon

"

Ano

ther

stu

dent

in th

e sa

me

clas

s ch

ose

the

stor

y of

Eri

sich

tlion

, the

man

who

cut

dow

n th

e gr

ove

of tr

ees

sacr

ed to

Cer

es, k

illin

g th

e ny

mph

who

dw

elle

d w

ithin

. For

his

act

ion,

Cer

esco

ndem

ned

Eri

sich

thon

to c

rave

foo

d, to

eat

con

tinua

lly, w

ithou

tsa

tisfa

ctio

n or

fee

ling

full

until

he

died

, con

sum

ing

his

own

body

.Fr

om th

e be

ginn

ing,

the

stud

ent w

as d

eepl

y in

trig

ued

by th

em

yth,

a n

eces

sary

con

side

ratio

n fo

r ch

oosi

ng a

sto

ry w

ith w

hich

tow

orky

et h

e co

uld

not u

nder

stan

d w

hy th

e st

ory

had

such

apo

wer

ful e

ffec

t on

him

. He

was

a s

erio

us a

nd c

omm

itted

stu

dent

,a

phys

ics

maj

or, w

ho w

orke

d on

the

firs

t dra

ft tr

ying

to f

igur

e ou

thi

s co

nnec

tion

to th

e ta

lebu

t with

out s

ucce

ss, a

ccor

ding

to h

ism

id-t

erm

eva

luat

ion.

Des

pite

man

y co

nfer

ence

s w

ith h

is p

eer

tuto

ran

d w

ith m

e, a

nd d

espi

te th

ree

subs

eque

nt d

raft

s du

ring

the

sem

este

r, h

e ne

ver

felt

satis

fied

with

any

ver

sion

of

his

wri

ting.

In

his

fina

l eva

luat

ion

of th

e co

urse

he

wro

te:

The

myt

h as

sign

men

ts w

ere

extr

emel

y di

ffic

ult f

or m

e. T

he m

yth

Ise

lect

ed a

s ha

ving

per

sona

l sig

nifi

canc

e ra

ked

up in

ner

turm

oil

whi

ch I

had

bur

ied.

Dur

ing

the

past

yea

r, I

had

bee

n hu

rt a

nd m

yfa

ith in

the

wor

ld s

ever

ely

shak

en. I

had

lost

muc

h of

my

prev

ious

abili

ty to

com

mun

icat

e ef

fect

ivel

y; a

per

son

mus

t com

mit

a pi

ece

of

4i,

Nan

cy K

ing

67

him

self

to th

at c

omm

unic

atio

n. I

had

lost

my

abili

ty to

do s

o be

caus

eI

was

sca

red

of b

eing

vul

nei-

able

. Whe

n I

bega

nex

peri

enci

ng d

iffi

-cu

lty w

ith th

e E

risi

chth

on p

aper

, I r

esol

ved

that

I w

ould

kee

ppu

shin

g un

til e

ither

my

diff

icul

ty o

r m

y sa

nity

disa

ppea

red.

Eve

n-tu

ally

the

stor

y of

the

man

with

out m

eani

ng w

as w

ritte

n.(F

or th

ese

cond

wri

ting

assi

gnm

ent s

tude

nts

have

to w

rite

an

auto

biog

raph

yof

a c

hara

cter

in th

eir

chos

en m

yth

as if

they

wer

eth

e ch

arac

ter

inol

d ag

e, a

t a s

igni

fica

nt m

omen

t, lo

okin

g ba

ck o

nth

eir

life

in o

rder

to u

nder

stan

d a

trou

blin

g qu

estio

n or

eve

nt.

The

stu

dent

s th

enm

ake

an o

ral p

rese

ntat

ion,

in c

hara

cter

, with

the

clas

s lis

teni

ng in

role

as

mem

bers

of

the

tow

n co

unci

l or

som

e ot

hera

ppro

pria

te b

ody

as d

esig

nate

d by

the

stud

ent.)

Aft

er th

at, i

t was

eas

ier

to b

egin

toex

plai

n th

e si

gnif

ican

ce o

f th

e m

yth

(to

my

life)

. Ist

ill h

ave

not

succ

eede

d in

dea

ling

with

all

the

myt

h ev

oked

, but

Iha

ve w

on th

efi

rst b

attle

and

I k

now

that

if I

kee

p w

orki

ng, I

will

soo

n be

fre

e.I

have

sta

rted

to r

egai

n so

me

of m

y pr

evio

usab

ility

to e

xpre

ssm

ysel

f. T

he b

lock

ing

of m

y co

mm

unic

atio

nsk

ills

was

the

mos

tfr

ustr

atin

g ev

ent I

hav

e ev

er e

xper

ienc

ed, a

nd m

yfr

ustr

atio

n w

ascl

osin

g m

e up

mor

e an

d m

ore.

With

this

fir

st s

tep

that

I h

ave

now

take

n, m

y fr

ustr

atio

n ha

s al

read

y st

arte

d to

dis

sipa

te.

Whe

n I

fina

lly w

rite

my

com

plet

e re

actio

n to

Eri

sich

thon

, Iw

ill p

urge

mys

elf

of m

y gr

eate

st in

ner

dark

ness

. I a

m lo

okin

gfo

rwar

d to

that

day

.

Just

bef

ore

grad

es w

ere

due

to b

e ha

nded

into

the

reco

rds

offi

cehe

wro

te a

pap

er w

hich

con

clud

ed:

Eri

sich

thon

lies

at t

he e

nd o

f a

path

of

apat

hetic

disr

egar

d fo

r th

eva

lue

of o

ther

s an

d th

e na

tura

l joy

of

the

wor

ld.

I to

ok a

few

desp

airi

ng s

teps

dow

n th

at p

ath

until

I w

as s

hock

edin

to r

ealiz

ing

wha

t I w

as d

oing

. Ells

icht

hon

repr

esen

ts w

hat I

reso

lve

I w

ill n

ever

beco

me.

In

a da

rk h

our,

I s

aw m

y sh

adow

and

it w

ashi

s. I

t is

that

visi

on th

at I

hav

e de

dica

ted

all m

y lo

ve to

pro

ving

fals

e.

Aft

er a

yea

r of

stu

dyin

g on

ly s

cien

ce a

ndte

chni

cal c

ours

es, i

nth

e co

urse

of

a m

eetin

gwith

me,

the

stud

entc

oncl

uded

that

he

had

to p

rovi

de h

imse

lf w

ith a

bet

ter

bala

nce

if h

e w

ante

d to

hav

e go

odgr

ades

and

be

inte

rest

ed in

wha

t he

was

lear

ning

.He

disc

over

edfo

r hi

mse

lf th

at, i

n or

der

to f

unct

ion

at h

is c

hose

nle

vel o

f ex

cel-

lenc

e, h

e ne

eded

to ta

ke c

ours

es n

ot o

nly

insc

ienc

e an

d m

ath

but

also

in c

reat

ive

expr

essi

on (

wri

ting

or m

usic

).

TH

E V

AL

UE

OF

CR

EA

TIV

E E

XPR

ESS

ION

Stor

ytel

ling,

imag

emak

ing,

and

sto

rym

akin

g ar

eal

l act

iviti

esw

hich

pro

mot

e th

e in

tegr

atio

n of

thou

ghts

, ide

as,a

nd f

eelin

gs. I

n

4'

v68

Myt

h, M

etap

hor;

Mem

ory

the

proc

ess

of m

akin

g or

telli

ng, t

he m

aker

/telle

r ha

s to

cre

ate

alte

rnat

ives

, to

mak

e ch

oice

s w

hich

ena

ble

the

wor

k to

be

com

-pl

eted

. No

one

else

can

mak

e th

ese

choi

ces.

Stu

dent

s le

arn

tode

pend

on

thei

r ow

n in

tuiti

on, r

eact

ion,

nee

d, c

urio

sity

, and

eth

ical

and

mor

al s

ense

. Aft

er o

ne te

lls o

r w

rite

s a

stor

y, m

akes

a d

ram

a,cr

eate

s a

mov

emen

t pie

ce, c

ompo

ses

a ch

ant,

song

, or

piec

eof

mus

ic, o

ne k

now

s m

ore

abou

t one

self

and

one

's v

iew

of

and

plac

ein

the

wor

ld th

an p

revi

ousl

y. E

ach

time

a st

ory

is to

ld (

and

I us

eth

e w

ord

stor

y in

the

larg

est s

ense

) so

met

hing

of

the

telle

r is

inve

sted

in th

e sh

arin

g. N

o te

lling

can

be

repe

ated

in e

xact

ly th

esa

me

way

. Bot

h th

e te

lling

of

and

the

liste

ning

to a

sto

ry e

nabl

eth

e pa

rtic

ipan

ts to

cre

ate

inte

rnal

imag

es w

hich

thus

eng

age

the

imag

inat

ion.

Alth

ough

the

telle

r an

d th

e lis

tene

r pe

rcei

ve th

eex

peri

ence

acc

ordi

ng to

thei

r pr

ior

hist

ory,

the

shar

ing

of th

ispe

rcep

tion

carr

ies

with

it th

e po

tent

ial f

or f

urth

er k

now

ledg

e,gr

owth

and

dev

elop

men

t. C

reat

ing

inte

rnal

res

pons

es th

roug

him

agin

g en

ergi

zes

and

nour

ishe

s th

e m

ind

and

psyc

he, o

r in

ner

wor

ld. A

s pa

rt o

f le

arni

ng to

acc

ept d

iffe

renc

e, s

tude

nts

begi

n to

unde

rsta

nd th

e ro

le o

f ch

oice

in e

xpre

ssio

n; "

my

stor

y" a

s di

ffer

en-

tiate

d fr

om "

your

sto

ry."

Not

nec

essa

rily

bet

ter

or w

orse

, but

man

ifes

tly d

iffe

rent

.I

belie

ve th

at J

ames

Fre

edm

an w

as c

orre

ct, t

hat i

t is

the

plac

eof

the

univ

ersi

ty to

hel

p st

uden

ts to

dev

elop

thei

r pr

ivat

e se

lves

.B

ut, h

ow d

o w

e do

this

in a

n ed

ucat

iona

l env

iron

men

t whi

chva

lues

, abo

ve a

ll, th

e de

velo

pmen

t of

inte

llect

ual s

kills

? W

e ar

e,af

ter

all,

not t

hera

pist

s in

a th

erap

eutic

set

ting;

we

are

educ

ator

sin

a u

nive

rsity

cla

ssro

om.

One

way

to d

evel

op p

riva

te s

elve

s an

d, a

t the

sam

e tim

e, te

ach

stud

ents

to o

bser

ve, d

escr

ibe,

and

ref

lect

is th

roug

h th

e ex

peri

ence

of c

olla

bora

tive

lear

ning

. The

Hon

ors

Prog

ram

fac

ulty

of

the

Uni

-ve

rsity

of

Del

awar

e se

es th

is p

roce

ss a

s a

nece

ssar

y le

arni

ngex

peri

ence

for

all

of th

eir

stud

ents

bef

ore

they

leav

e th

e un

iver

sity

.O

ur r

esea

rch

(lis

teni

ng to

'stu

dent

res

pons

es, s

tudy

ing

stud

ent

eval

uatio

ns, a

nd d

iscu

ssin

g fa

culty

obs

erva

tion

of c

lass

room

be-

havi

or)

show

s th

at s

tude

nts

bene

fit'

from

the

need

to b

e he

ldac

coun

tabl

e an

d re

spon

sibl

e, to

pro

duce

wor

k w

hich

evo

lves

fro

mth

eir

own

ques

tions

. Int

erac

tions

with

pee

r tu

tors

, def

inin

g se

lf-

gene

rate

d qu

estio

ns, a

nd th

e ex

plor

atio

n of

per

sona

l con

cern

s in

fina

l pro

ject

s al

l hel

p to

cre

ate

an e

nvir

onm

ent w

here

stu

dent

s ar

een

cour

aged

to o

ffer

eac

h ot

her

genu

ine

and

auth

entic

res

pons

es.

4(

Nan

cy K

ing

69

Sim

ulta

neou

sly,

the

stud

ents

lear

n to

be e

xplic

itly

awar

e of

edu

ca-

tiona

l pro

cess

and

the

deve

lopi

ngw

ork

of o

ther

s w

ithin

the

sam

egr

oup.

The

stu

dent

sga

in f

irst

han

d kn

owle

dge

ofho

w to

use

the

reso

urce

s co

ntai

ned

with

in th

e la

rge

grou

p in

ord

er to

exte

nd,

sust

ain,

que

stio

n, s

uppo

rt, a

ndch

alle

nge,

and

thus

giv

e au

then

ticvo

ice

to th

eir

own

visi

on.

In m

any

inst

itutio

ns, s

tude

nts,

espe

cial

ly th

ose

in th

e fi

rst a

nd

seco

nd y

ears

, are

sel

dom

ask

edw

hat t

hey

thin

k, d

o no

t tru

stth

emse

lves

to h

ave

mea

ning

ful i

deas

,and

wor

k m

ainl

y in

a c

om-

petit

ive

mod

e. T

he c

ombi

natio

n of

the

teac

hing

tech

niqu

e of

col

lab-

orat

ive

lear

ning

with

the

mat

eria

lof

sym

bolic

lear

ning

and

cre

-at

ive

expr

essi

on p

rovi

des

apo

wer

ful e

duca

tiona

l exp

erie

nce

for

stud

ents

who

are

usu

ally

enc

oura

ged

to n

arro

w,r

athe

r th

an w

iden

,

thei

r ed

ucat

iona

l foc

us.

AR

CH

EO

LO

GY

OF

TH

E S

EL

F

The

term

"A

rche

olog

y of

the

Self

' cam

eab

out w

hen

I be

gan

toex

plor

e ho

w I

mig

ht r

egai

n ac

cess

to m

yea

rly

begi

nnin

gs. I

wan

ted

to k

now

mor

e ab

out m

ych

ildho

od, y

et a

ll I

had

wer

e bi

tsan

d pi

eces

of p

hoto

s, v

ague

fee

lings

,sh

adow

y m

emor

ies,

and

a r

ecur

ring

sens

e th

at "

som

ethi

ngha

ppen

ed."

As

I lo

oked

at t

he s

tori

esw

hich

attr

acte

d m

e an

d th

e th

emes

whi

chhe

ld m

e ca

ptiv

e, I

beg

an to

fee

l

like

an a

rche

olog

ist.

Inst

ead

oflo

okin

g at

bon

es a

nd r

emna

nts

ofpa

st c

ultu

res,

I w

as lo

okin

g at

my

own

"bon

es a

nd r

emna

nts.

" T

he

mor

e I

expl

ored

the

anal

ogy,

the

mor

e ap

t it s

eem

ed.

Just

as

the

arch

eolo

gist

can

nev

er k

now

the

lives

of

peop

le in

a g

iven

cultu

re

as th

ose

in th

ecu

lture

.kne

w th

eir

own

lives

, so

Ico

uld

not g

o ba

ck

into

my

own

past

as

an a

dult,

nor

coul

d I

rely

on

rela

tives

; mos

t of

the

witn

esse

s w

ere

dead

oru

nwill

ing

to r

efle

ct b

ack

onex

trem

ely

diff

icul

t tim

es. I

was

told

to "

forg

etab

out w

hat y

ou c

an't

chan

ge.

Get

on

with

life

." Y

et I

wan

ted

and

need

ed to

kno

w a

bout

my

earl

ylif

e, a

nd I

did

n't k

now

how

to k

now

.W

hile

str

uggl

ing

with

a w

ay in

to m

y m

emor

y,I

was

str

uck,

at

the

end

of o

ne s

emes

ter,

by

a pa

ttern

I ob

serv

ed w

hile

look

ing

at

the

deta

iled

eval

uatio

ns w

ritte

nby

stu

dent

s ta

king

my

cour

ses.

I no

ticed

that

man

y of

them

wro

teab

out h

ow th

e w

ork

in th

eir

cour

se h

ad im

prov

ed,

shar

pene

d, a

nd d

eepe

ned

thei

rab

ility

to

rem

embe

r: o

ld s

tori

es to

ld b

ygr

andp

aren

ts, p

eopl

e, e

vent

s, e

ven

49

70M

yth,

Met

apho

r; M

emor

yN

ancy

Kin

g71

nigh

tmar

es. I

won

dere

d if

this

mig

ht b

e a

way

ope

n to

me.

I b

egan

to e

xplo

re, a

ctiv

ely,

way

s in

whi

ch m

yth

and

met

apho

r m

ight

crea

te a

cces

s to

mem

ory.

Thr

ough

wri

ting,

imag

emak

ing,

and

play

mak

ing

I di

scov

ered

that

acc

ess

to m

y ow

n m

emor

y w

asre

cove

rabl

e, e

ither

thro

ugh

dire

ct r

emem

beri

ng o

r th

roug

h th

ecr

eatio

n of

met

apho

r.A

s "A

rche

olog

ist o

f th

e Se

lf,"

a s

tude

nt h

as th

e po

ssib

ility

to q

ues-

tion

assu

mpt

ions

and

pre

sum

ptio

ns r

egar

ding

his

or

her

plac

e in

the

wor

ld. S

tude

nts

can

begi

n to

thin

k ab

onut

the

idea

that

wha

tth

ey h

ave

been

told

abo

ut th

emse

lves

may

not

be

thei

r tr

uth;

that

stor

ies

told

abo

ut th

em b

y pa

rent

s, r

elat

ives

, tea

cher

s, a

nd f

rien

dsar

e st

orie

s to

ld b

y ot

hers

. The

ir o

wn

pers

pect

ives

may

, and

oft

en d

o,di

ffer

. Stu

dent

s ar

e en

cour

aged

to lo

ok a

t how

sel

f-un

ders

tand

ing

is a

ffec

ted

by th

e re

flec

tions

, com

men

ts, a

nd v

isio

n of

oth

er p

eopl

e.M

ore

than

one

stu

dent

has

pro

test

ed a

gain

st th

is e

xter

nal v

iew

,ye

t had

no

way

to e

xplo

re th

e di

ffic

ultie

s su

ch d

iscr

epan

cy w

roug

htw

ithin

.

CO

LL

AB

OR

AT

IVE

LE

AR

NIN

G

Tel

ling

stor

ies

from

thei

r ow

n po

ints

of

view

off

ers

stud

ents

the

oppo

rtun

ity to

dis

cove

r fo

r th

emse

lves

som

ethi

ng o

f w

ho th

ey a

re,

wha

t mat

ters

to th

em, a

nd w

hat i

t mea

ns to

them

to b

e a

hum

anbe

ing.

The

y le

arn

to a

sk th

emse

lves

: Wha

t do

I th

ink?

How

do

Ife

el?

How

do

I m

ake

sens

e of

con

flic

ting

and

para

doxi

cal p

oint

s of

view

? H

ow d

o / c

ome

to c

oncl

usio

ns?

Whe

n th

ey s

hare

this

mat

eria

lw

ith p

eers

, a s

ense

of

bein

g fe

llow

soj

ourn

ers

unfo

lds.

A s

ense

of

com

mun

ity d

evel

ops.

Stu

dent

s di

ffer

entia

te q

uest

ions

and

com

-m

ents

whi

ch e

volv

e fr

om th

e ur

ge to

ext

end

the

lear

ning

, fro

mth

ose

who

se g

oal i

s m

erel

y cr

itici

sm. W

ith c

olla

bora

tive

lear

ning

as th

e te

achi

ng m

etho

d, a

ll le

arni

ng is

pub

lic. W

hen

one

stud

ent

acqu

ires

kno

wle

dge

and

deve

lops

ski

lls, a

ll ha

ve th

e op

port

unity

to d

o so

, whe

ther

by

activ

ely

part

icip

atin

g or

by

activ

ely

obse

rvin

g,de

scri

bing

, and

ref

lect

ing.

In h

is d

iscu

ssio

n of

gro

wth

-enh

anci

ng c

once

pts,

Will

ard

Fric

k(1

982)

wri

tes:

One

's c

once

ptua

l fra

mew

ork,

in o

ther

wor

ds, o

pens

up,

alte

rs, a

ndsh

apes

one

's p

erce

ptio

ns. T

his

prin

cipl

e, it

wou

ld s

eem

, hol

ds tr

uefo

r an

y co

ncep

tual

mod

el. T

hus,

a c

once

ptua

l ori

enta

tion

cent

ered

5rl

on g

row

th-e

nhan

cing

con

cept

sal

ters

one

's p

erce

ptio

ns o

f th

ese

lf a

nd

its p

oten

tialit

ies.

(p.

43)

Sym

bolic

lear

ning

foc

uses

on

anin

divi

dual

's c

once

ptua

l fra

me-

wor

k; it

ena

bles

the

stud

ent

to d

isco

ver

the

mea

ning

inhe

rent

in

her

or h

is p

erso

nal s

ymbo

ls,

and

the

pers

onal

mea

ning

to b

e

disc

over

ed in

uni

vers

al s

ymbo

ls.

Cre

ativ

e ex

pres

sion

pro

vide

s a

conc

eptu

al a

nd e

xper

ient

ial e

xper

ienc

ew

hich

enc

oura

ges

stud

ents

to e

xplo

re w

ays

in w

hich

thes

e m

eani

ngs

can

be e

xpre

ssed

in a

vari

ety

of f

orm

s (p

oetr

y,sh

ort s

tory

, scu

lptu

re, v

isua

l im

ager

y,m

usic

, dra

ma,

dan

ce)

and

med

ia (

clay

, pai

nt,,f

ilm, w

ords

, mov

e-m

ent,

soun

d).

CO

NC

LU

SIO

N

Jung

(19

79)

said

,"T

he in

divi

dual

is th

e on

ly r

ealit

y."

He

mai

n-

tain

ed th

at o

nly

the

drea

mer

kno

ws

the

mea

ning

of

the

drea

m.

Ana

logo

usly

, I b

elie

ve o

nly

the

psyc

he k

now

s th

e st

ory.

The

que

s-

tion

is: H

ow d

o w

e he

lp p

eopl

eto

dev

elop

acc

ess

to th

eir

stor

ies?

With

in a

n ed

ucat

iona

l env

iron

men

t, on

e w

ayto

foc

us o

n th

e te

lling

of o

ne's

sto

ry is

to h

elp

stud

ents

lear

n to

con

nect

thou

ght a

ndfe

elin

g, in

side

and

out

side

, par

tto

who

le, a

nd s

elf

to c

omm

unity

,

and

to th

en e

xpre

ss th

is k

now

ledg

ein

way

s w

hich

are

coh

eren

t,ar

ticul

ate,

and

mea

ning

ful t

oth

emse

lves

and

oth

ers.

By

sepa

rat-

ing

the

mak

ing

and

telli

ngof

the

stor

y fr

om f

urth

er u

se(o

utsi

de

of th

e cl

assr

oom

) of

the

stor

y,th

e te

ache

r he

lps

stud

ents

to d

evel

opth

eir

capa

citie

s an

d ab

ilitie

sfo

r st

orym

akin

g an

d st

ory

telli

ng,

whi

ch a

re im

port

ant a

nd n

eces

sary

com

pone

nts

of a

hea

lthy

and

vita

l lif

e. M

aslo

w (

1962

) st

ates

:

How

ever

this

inne

r co

re, o

r se

lf, g

row

sin

to a

dulth

ood

only

par

tly b

y(o

bjec

tive

or s

ubje

ctiv

e) d

isco

very

,un

cove

ring

and

acc

epta

nce

of

wha

t is

"the

re"

befo

reha

nd. P

artly

it is

als

o a

crea

tion

of th

e pe

rson

him

self

. Lif

e is

a c

ontin

ual s

erie

s of

cho

ices

for

the

indi

vidu

al in

whi

ch a

mai

n de

term

inan

t of

choi

ceis

the

pers

on a

s he

alr

eady

is(i

nclu

ding

his

goa

ls f

or h

imse

lf,

his

cour

age

or f

ear,

his

fee

ling

ofre

spon

sibi

lity,

his

ego

-str

engt

h, o

r"w

illpo

wer

," e

tc.)

. We

can

nolo

nger

thin

k of

the

pers

on a

s "f

ully

dete

rmin

ed"

whe

re th

is p

hras

eim

plie

s "d

eter

min

ed o

nly

byfo

rces

ext

erna

l to

the

pers

on."

The

pers

on,

inso

far

as h

e is

a r

eal p

erso

n,is

his

ow

n m

ain

dete

rmi-

nant

. Eve

ry p

erso

n is

, in

part

,"hi

s ow

n pr

ojec

t" a

nd m

akes

him

self

.

(pp.

180

-181

)

51

72M

yth,

Met

apho

r, M

emor

y

Wor

king

with

myt

hs to

stim

ulat

e im

ages

and

stor

ies

(met

apho

ran

d m

emor

y) e

nabl

es s

tude

nts

to a

ppre

ciat

e st

orie

s fr

omcu

lture

sar

ound

the

wor

ld a

nd to

hon

e th

eir

acad

emic

ski

lls. A

tth

e sa

me

time,

they

hav

e th

e op

port

unity

todi

scov

er m

ore

abou

t who

they

are,

and

to c

ontin

ueth

e lif

e-lo

ng p

roce

ss o

f "m

akin

g th

emse

lves

."W

hen

sym

bolic

lear

ning

and

cre

ativ

e ex

pres

sion

are

par

tof

the

hum

aniti

es c

urri

culu

m, w

e m

ake

it po

ssib

le f

or s

tude

nts

tosh

are

thei

r in

side

sto

ries

with

thos

e w

ho a

re o

utsi

de, t

hus

enla

rgin

gea

chpe

rson

's u

nder

stan

ding

of

wha

t it m

eans

tobe

hum

an.

RE

FER

EN

CE

S

Cam

pbel

l, J.

(19

72).

Myt

hs to

live

by.

New

Yor

k: B

anta

mN

ikin

g.Fe

inst

ein,

D.,

Kri

ppne

r, S

., &

Gra

nger

, D.,

(198

8).

Myt

h-m

akin

g an

dhu

man

dev

elop

men

t. Jo

urna

l of

Hum

anis

tic P

sych

olog

y, 2

8(3)

,23

-50.

Free

dman

, J. (

1987

). I

naug

ural

Spe

ech,

Dar

tmou

th C

olle

ge,A

ugus

t 198

7.Fr

ick,

W. B

. (19

82).

Con

cept

ual f

ound

atio

ns o

fsel

f-ac

tual

izat

ion:

a e

nntr

i-bu

tion

to m

otiv

atio

n th

eory

. Jou

rnal

of

Hum

anis

tic P

sych

olog

y, 2

2,4.

Cer

sie,

A.,

& K

ing,

N. (

1988

). S

toty

nzah

ing

in e

duca

tion

and

ther

apy.

`ito

ckho

lm: S

tock

holm

Ins

titut

e of

Edu

catio

n Pr

ess.

Jung

, C. G

. (19

79).

Man

and

his

sym

bols

.N

ew Y

ork:

Gro

ve.

Kee

n, S

., &

Val

ley-

Fox,

A. (

1973

). T

ellin

g yo

ur o

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stor

y.N

ew Y

ork:

Sig

net

New

Am

eric

an L

ibra

ry.

Rob

erts

, A.,

& R

ober

ts, C

. (19

87).

Cur

ricu

lar

refo

rm. N

atio

nal F

orum

,L

XV

II, 3

.St

ernb

erg,

R. (

1988

). T

he tr

iarc

hic

min

d.N

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Vik

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Rep

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s: N

ancy

Kin

g, H

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s Pr

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are,

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e 19

716.

5

ARCHETYPES AND ASSIGNMENTS: WRITING ABOUT PERSONAL ARCHETYPES

AIDS STUDENTS IN WRITING COMPOSITION PAPERS AND UNDERSTANDING

LITERATURE

by

Edith Crow

Yavapai College

Prescott, AZ 86301

Speech for

Conference on College

Composition and Communication

New Orleans, Louisiana

Mar. 14, 1986

This Document Available through the ERIC Database; Document #ED274981

54

Archetypes and Assignments: Writing about Personal ArchetypesAids Students in Writing Composition Papers and Understanding Literature

If we believe Miriam T. Chaplin's 1986 call to convention for the Conference on College

Composition and Communication, then we as educators profess that, "education occurs

through perpetual intellectual movement along a developmental continuum." Sometimes our

students begin at an extreme edge of the continuum, but our challenge as professors is to

"lead out" (the Latin root of the word) the students as we engage them in a spirit of inquiry.

One way to achieve this engagement is to combine the study of archetypal patterns with the

reading of literature and structuring of assignments based on an archetypal schema. After

explaining this approach, I will define archetypes, particularly the archetype of initiation,

present a sample writing assignment, and share some student responses to that assignment.

In the northern Arizona, rural community college district where I teach, sometimes I

despair of my students' engagement in the thinking process and the thinking skills of

summary; I work initially to insure their mastery of the literal level of meaning in literature.

Last semester's revelation was that some who read this passage in Crane's "The Open Boat"

were unsure what it meant: "In the shadows, face downward, lay the oiler. ...The land's

welcome for it [still and dripping shape] could only be the different and sinister hospitality of

the grave."' "Did the oiler really die?" ask the students. Our students are traditional, non-

traditional, .alive Americans, Spanish-speakers, and senior citizens of average ability to

superior ability, yet they all struggle to understand how a sentence such as the one above

could possibly relate to them.

While my students are reading "The Open Boat" by Crane, I discuss archetypes and

define initiation experiences. I ask them to ferret out initiation experiences in their lives and

select one about which to write. This assignment is the first one in English 102, the second

course in our composition sequence. Not only does the assignment allow me to diagnose

students' weaknesses and their ability to focus on a thesis, but I also learn something about

them without having them write autobiographical pieces. The initiation experience and the

lesson(s) learned become the thesis focus of the paper, not the student's entire life.

To unify this course in composition and literature with the schema of archetypes has been

successful because the schema allows students to relate their personal experiences to texts

outside themselves; the schema helps them to understand that their significant life experiences

are the stuff of which literature is made. Eventually I attempt to stimulate divergent thinking

as they respond more critically to literature.

This approach is grounded in the theory that engagement in a topic, whether reading or

writing, is essential for the learner to make meaning. As Janet Emig says in "Writing as a

Mode of Learning," " we are acquiring as well some empirical confirmation about the

importance of engagement in, as well as self-selection of, a subject for the student learning to

write and writing to learn."' When the student cares about an idea, the engagement in the

topic is more complete; according to Polanyi, there is a "fusion of the personal and the

objective as Personal Knowledge...into every act of knowing there enters a passionate

contribution of the person knowing what is being known, and...this coefficient is no mere

imperfection but a vital component of his knowledge,"3

From my observation, most students become passionately engaged in literature with the

schema of archetypes. I can then move from this initial assignment to essays of literary

criticism, such as character analyses, poetry explications, and thematic implications.

Students see interrelationships, what Buckler means when she says: "Logically, then, one

can conclude that creating a work of literature, reading it, and writing about it are simply

5 ll

41

different manifestations of the same vital human function--the mind's effort to create meaning

from experience."'

Our students need a hook to engage them in creating meaning--or else they ignore the

literature assignment and avoid class when we discuss "The Open Boat." Archetypes can be

that hook. "Archetype" is defined in the broadest sense by Estella Lauter as "the tendency to

form mental images in relation to repeated experiences."' She says that these "images give

rise to rituals and stories if the experience is powerful enough, and these in turn become

mythic if they are widely shared."'

Archetypes are basic patterns from which copies are made. According to Jung, an

archetype is the following:

a figure, whether it be daemon, man or process, that repeats itselfin the course of history wherever creative fantasy is fully manifested.If we subject these images to a closer investigation, we discover themto be the formulated resultants of countless experiences of ourancestors. They are, as it were, the psychic residue of numberlessexperiences of the same type.'

A corollary to the theory of archetypes is that "literary expression is an unconscious product

of the collective experience of the entire human species."' The metaphors we choose to

describe our experiences may differ, but we are all initiated into new knowledges,

experiences, death-rebirth, undertake various tasks, and have some explanation for our

origin/creation myth. Thus, when someone like Thoreau talks about going to Walden Pond

in 1845 to "live deep and suck out all the marrow of life,' we can assume he will sound the

depths not only of the pond but also of his inner life.

When I say archetypal patterns, I do not attach solely male images to the patterns.

Although Jung has been criticized by some for speaking of males, I would agree with Annis

Pratt:

5"

On the one hand, my sister critics have urged me to avoid theJungian-archetypal mode on the grounds that Jung has so grosslyerred in his allocation of stereotyped characteristics to maleand female that his concepts are totally invalid for ourendeavor; on the other hand, I find that The insights of Jung,Frye, and Campbell, if turned upside down to admit of women ashuman participants in the quest for identity and rebirthexperience, are helpful in the elucidation of the psycho-mythological development of the female hero.'

Given that both men and women undertake journeys, most will encounter numerous

initiation experiences in their quests. I assign my students the task of selecting one initiation

experience about which to write. I prepare them to write with the following assignment.

Role Biographer of your life. You are in your80's and considering the significant eventsof your life span. Evaluate the lesson(s)you would transmit to your grandchildrenregarding one initiation experience.

Audience Peers, English instructor.Format Multi-paragraph, thesis-controlled essay

(500-1000 words)Topic One selected initiation experience. Define,

describe, and state knowledge you learnedfrom the experience. Remember to use strongverbs and words that relate to senseexperiences. Avoid abstractions withoutexplaining them ("Life is reality.") Sowhat? Show the reader your particular reality("I was thrown to the ground by the entirefootball team, and they poured Gatorade allover me.") This essay will be evaluated interms of its content, organization,development, expression, and mechanics.(Assignment sheet attached)

In addition to providing a checklist for this paper, which details more specifically the

above five criteria for grading (see attachment), I explain and define initiation carefully. I

read Lionel Trilling's definition of initiation in literature:

This usually takes the form of an initiation into life, that is, thedepiction of an adolescent coming into maturity and adulthood with all the

S

attendant problems and responsibilities that this process involves. Anawakening, awareness, or an increased perception of the world and thepeople in it usually forms the climax of this archetypal situation (e.g.,Holden Caulfield, Huckleberry Finn, Stephen Dedalus, Eugene Gant, TheAwakening by Kate Chopin.'

Dictionary definitions include this idea of awakening to new knowledge; often a special

ritual is required. Webster's New World Dictionary. 2nd College Edition (1980) defines

initiation as "the ceremony by which a person is initiated into a fraternity." The American

Heritage Dictionary., New College Edition (1979) indicates initiation is rudimentary

exposure, instruction, or a ceremony, ritual, test, or period of instruction with which a new

member is admitted to an organization or an office or to knowledge."

Most definitions include either the idea of a passage of a young person from ignorance

about the external world to vital knowledge or an important self-discovery and resulting

adjustment to life or society. Jaffe and Scott, with reference to literature, indicate that "a

character, in the course of the story, learns something that he did not know before,

and...what he learns is already known to and shared by, the larger group of the world."

Brooks and Warren see initiation as a discovery of evil. Leslie Fiedler emphasizes self-

understanding: "An initiation is a fall through knowledge to maturity; behind it there persists

the myth of the Garden of Eden, the assumption that to know good and evil is to be done

with the joy of innocence and to take on the burdens of work and child-bearing and death."

Usually an initiation story has a young protagonist experiencing a change of knowledge

about the world or himself, or a change of character: "An initiation story may be said to

show its young protagonist experiencing a significant change of knowledge about the world

or himself, or a change of character, or of both, and this change must point or lead him

towards and adult world. It may or may not contain some form of ritual, but it should give

some evidence that the change is at least likely to have permanent effects."

If a character is brought to the threshold of maturity but does not change, the effect of

the initiation experience is often shocking. Self-discovery may develop as a chart ,ter is

struggling for self-definition. A decisive initiation moves the protagonist firmly into maturity

and understanding as a result of self-discovery.

For this writing assignment, the student is to look at his or her life as text and find one

initiation experience. The student should describe it vividly with an effective lead. The

lesson or knowledge acquired will probably be part of the thesis focus. The class engages in

a workshop with the checklist and determines if the thesis focus is clearly stated and also

critiques the other elements of the paper. A third attachment to this paper indicates a

student's first effort to respond to this assignment; although her details are weak, she does

state a central idea. Subsequent drafts could improve the paper, but the framework exists.

This particular student has since continued with an American literature course; before she

wrote this paper she freely admitted that she disliked reading literature. Yet by the end of

this course she wrote an acceptable critical analysis of the use of color images in Stephen

Crane's "The Blue Hotel."

Another paper on an initiation experience, which is on the topic of a young boy's first

experience with death, reveals more flair with the language. [Show overhead transparency of

paper.] This student, a re-entry male, became engaged in reading literature and plans to take

more courses, even though he is in a banking and finance program and no more literature is

required. What better skills for life could we be giving our students than a way to relate

passionately to the world around them? These affective ares are those behavioral objectives

so hard to quantify, but what could be more important?

60

We have defined archetypes and initiation and explained the rationale for this approach.

Bettina Knapp in A Jungian Approach to Literature says initiation is defined from the root:

"to go within."' This pattern is part of an anthropological approach to myth and

storytelling, manifestations which are centuries old. As Robert Johnson says, "a person who

grasps the inner meaning of a myth is in touch with the universal spiritual questions life asks

of all of us.""

All people must grapple with these questions; oft:--a, the rite of passage is accompanied

with a ritual ceremony. Most of our students today are not engaged in these rituals, but we

can gently nudge them into thinking about the implications of universal questions. We need

to help them through transition rites; premodern man had formal structures for this

transition, which was obligatory for all youth of the tribe:

To gain the right to be admitted among adults, the adolescent has to passthrough a series of initiatory ordeals; it is by virtue of these rites, andthe revelations that they entail, that he will be recognized as aresponsible member of society. Initiation introduces the candidate intothe human community and into the world of spiritual and cultural values.'

To lead our students into the realm of defining values may be the most significant skill

we transmit as we "lead them out"--or educate-- them. Writing about the archetype of

initiation is one way to begin this education. We will also be giving our students life skills

to analyze and assimilate experiences. We will be initiating our students, not only into

knowledge, but on to the path of wisdom. I agree with Nancy Fisher' that this function is a

significant role of education.

61

S ENDNOTES

'Joseph Conrad, "The Open Boat," in College English. ed. Morris et al., 8th ed.(New York: Harcourt, Brace, Jovanovich, Inc., 1983), p. 221.

'Janet Emig, "Writing as a Mode of Learning," in The Writing Teacher'sSourcebook. ed. Gary Tate and Edward Corbett (New York: Oxford University Press,1981), p.75.

3Polanyi in The Web of Meaning: Essays on Writing. Teaching. Learning, andThinking, by Janet Emig, ed. Goswami and Butler (Upper Montclair, New Jersey:Boynton/Cook Publishers, Inc., 1983), p. 151.

`Patricia Prandini Buckler, "Reading, Writing, and Psycho linguistics: An IntegratedApproach Using Joyce's 'Counterparts,'" in Teaching English in the Two-Year College. Vol.

12, No. 1 (February 1985), p. 23.

5Estella Lauter, Women as Mythmakers. (Bloomington, Indiana: Indiana University

Press, 1984), p. 4.

6Lauter, p. 4.

'Carl Jung in Lionel Trilling's criticism, unpublished handout of Erwin U. Wright,Stephens College, Columbia, Mo., n.d., p. 2.

'Carl Jung handout, p. 1.

9Henry David Thoreau, Walden, in Concise Anthology of American Literature. ed.George McMichael (New York: MacMillan Publishing Co., Inc., 1974), p. 728.

'°Annis Pratt, "Archetypal Approaches to the New Feminist Criticism," BucknellReview. Vol. 21 (1973), p. 3.

"Carl Jung handout, p. 2.

'2Bettina L. Knapp, A Jungian Approach to Literature (Carbondale, Illinois: SouthernIllinois University Press, 1984), p. 8.

"Robert A. Johnson, He: Understanding Masculine Psychology (New York: Harperand Row, 1974), p. 2.

'4Mircea Eliade, Rites and Symbols of Initiation: The Mysteries of Birth and Rebirth(New York: Harper Colophon Books, 1958), p. x.

'Nancy M. Fisher, "ESP, M*A*S*H, and the Wisdom of Literature," in Teaching

En lish in the___g Cone e Vol. 12, No. 2 (May 1985), p. 104.

BIBLIOGRAPHY

Buckler, Patricia Prandini. "Reading, Writing, and Psycholinguistics: An IntegratedApproach Using Joyce's 'Counterparts,'" in Teaching English in the Two-YearCollege. Vol. 12, No. 1 (February 1985), pp. 22-31.

Conrad, Joseph. "The Open Boat," in College English, ed. Morris, et al., 8th edition.New York: Harcourt, Brace, Jovanovich, Inc., 1983.

Eliade, Mircea. Rites and Symbols of Initiation: The Mysteries of Birth and Rebirth. NewYork: Harper Colophon Books, 1958.

Emig, Janet. The Web of Meaning: Essays on Writing, Teaching, Learning, and Thinking.Ed. Goswami an.1 Butler. Upper Montclair, New Jersey: Boynton, Cook Publishers,

Inc., 1983.

. "Writing as a Mode of Learning," The Writing Ed.Gary Tate and Edward Corbett. New York: Oxford University Press, 1981.

Fisher, Nancy M. "ESP, M*A*S*H, and the Wisdom of Literature," in Teaching English inthe Two-Year College. Vol. 12, No. 2 (May 1985), pp. 102-104.

Johnson, Robert A. He: Understanding Masculine Psychology. New York: Harper andRow, 1974.

Jung, Carl. Lionel Trilling's Criticism. Unpublished handout of Erwin U. Wright, StephensCollege, Columbia, Mo., n.d., 11 pages.

Knapp, Bettina L. A Jungian Approach to Literature. Catbondale, Illinois: Southern

Illinois University Press, 1984.

Lauter, Estella. Women as Mythmakers. Bloomington, Indiana: Indiana University Press,1984.

Pratt, Annis. "Archetypal Approaches to the New Feminist Criticism," Bucknell Review,21 (1973), pp. 3-14.

Thoreau, Henry David. Walden in Concise Anthology of American Literature. Ed. GeorgeMcMichael. New York: MacMillan Publishing Co., Inc., 1974.

63

SHAPING THE SELF: USING STEPPINGSTONES AND AUTOBIOGRAPHY TOCREATE AND DISCOVER ARCHETYPES IN "AN ILLUSTRIOUS MONARCHY"

ERIC DOCUMENT REPRODUCTION SERVICE NO. ED 271 016

by

Edith CrowYavapai College

Prescott, AZ 86301

'PERMISSION TO REPRODUCE THIS MATERIALHAS SEEN GRANTED BY

Edith CrowTO THE EDUCATIONAL RESOURCES

INFORMATION CENTER (ERIC)'

64

SHAPING THE SELF: USING STEPPINGSTONES AND AUTOBIOGRAPHY TOCREATE AND DISCOVER ARCHETYPES IN "AN ILLUSTRIOUS MONARCHY"

by

Edith Crow

The private life of one man shall be a moreillustrious monarchy, more formidable to itsenemy, more sweet and serene in its influenceto its friend, than any kingdom in history.'

Ralph Waldo Emerson

In "The American Scholar" essay, an address presented to the

Phi Beta Kappa Society at Harvard in 1837, Emerson discusses the

influence of the private life and suggests that "a man, rightly

viewed, comprehendeth the particular nature of all men."2 Is

this concept a forerunner of-Carl Jung's theory of archetypes?

Is Emerson saying that as we explore ourselves, we will learn to

understand others? Or, in the language of the 1983 Call to

Convention of the Conference on College Composition and

Communication, we can assert that

students grow as they learn to move outside themselvesto become more themselves. It is a process of emergence,divergence, and convergence of worlds in motion)

Emerson was noted for distinguishing the world of "Me" from

everything else, the world of "Not me." Yet he also said that it

is "one soul that animates all men."'

This world--this shadow of the soul, or other me --lies wide around. Its attractions are the keys whichunlock my thoughts and make me acquainted with myself.I run =.tagerly to this resounding tumult. I grasp thehands of those next me [sic], and take my place in the

ring to suffer and to work.5

Although Emerson speaks of "man," this argument is that he was

using the word to speak of generic man; I shall refer to all

people in this discussion of a method for the quest of identity .

in unraveling a student's autobiography.

Thoreau executed some of the practical applications of the

theory of microcosm and macrocosm in Walden. As private and

public worlds collide, clash, and sometimes mesh, we can see how

the journal can be a tool to develop an autobiography.

Techniques such as Ira Progoff's "Steppingstone" exercise can

facilitate the journey into oneself. The journey will frequently

yield experiences that can be defined in archetypal patterns,

such as death-rebirth, initiation, or quest. Archetypes are

basic patterns from which copies are made. According to Jung, an

archetype is the following:

a figure, whether it be daemon, man or process, thatrepeats itself in the course of history wherevercreative fantasy is fully manifested. If we subjectthese images to a closer investigation, we discoverthem to be formulated resultants of countlessexperiences of our ancestors. They are, as it were,the psychic residue of numberless experiences of thesame type.6

A corollary to the theory of archetypes is that "literary

expression is an unconscious product of the collective experience

of the entire human species." 7 The metaphors we use to describe

our experience may differ, but we are all initiated into new

knowledge, experience death-rebirth, undertake various tasks, and

have some explanation for our origin/creation myth. Thus, when

someone like Thoreau talks about going to Walden Pond in 1845 to

6G

"live deep and suck out all the marrow of life," 8 we can assume

he will sound out the depths not only of the pond, but also of

his inner life.

At the outset, I want to clarify that when I say archetypal

patterns, I do not attach male patterns to the quest, initiation,

or death-rebirth patterns. Although Jung has been criticized by

some as speaking of males, I would agree with Annis Pratt in

"Archetypal Approaches to the New Feminist Criticism":

On the one hand, my sister critics have urged me toavoid the Jungian-archetypal mode on the groundsthat Jung has so grossly erred in his allocation ofstereotyped characteristics to male and female thathis concepts are totally invalid for our endeavor;on the other hand, I find that the insights of Jung,Frye, and Campbell, if turned upside down to admitof women as human participants in the quest foridentity and rebirth experience are helpful in theelucidation of the psycho-mythological development ofthe female hero.9

Who is this hero? The "thinking reed," a human being. Author-

editors Pearson and Pope in Who Am I This Time? distinguish

"hero" as an active quester and heroine as a passive one.° For

the purposes of our discussion, we will assume the hero is an

active searcher, which is the archetypal pattern. He/she possess

both anima and animus. A representative example is Mrs. Ramsay,

a quester in To the Lighthouse

who calls up from within herself sufficientlyandrogynous powers to fertilize her childish husband.As a result of this psychic effort, she plunges downto a world where, as Jung described it, the true selfcalls into balance both male and female, anima andanimus, resident in the personality. Having beenable to complete this rebirth journey, Mrs. Ramsaydies....In Woolf, as in Lessing, the quest of the heropasses through sexuality and what Simone de Beauviorwould term imminence to a level which at one and thesame time comprehends and transcends male and female

6"

categories.

The level, whether transcendent or a deep well, is a stage

beyond male or female. Joanna Field in A Life of One's Own calls

it psychic bisexuality."° Charlotte Painter in the Afterward to

Revelations defines that as Field's distinctive ability:

She was able then to see that her happiness dependedentirely on developing skill at balancing these twosexes within her mind, at leanaing how to distinguishwhen one or the other needs to be brought into plan,and as the demands of life's ever-changing situationsarose, she could call upon the rational narrow-focused, analytical, "masculine" side of her mind, orthe wide-focused, yielding, receptive, "feminineside." In such a context, this familiar terminologywhich has angered feminists who do not wish to bestereotyped, now becomes disarmed; it is merelydescriptive, not restrictive.13

To discover within ourselves when and how to call upon these

functio,.s, I propose the Steppingstone technique of Ira Progoff.

In At a Journal Workshop, he defines a Steppingstone as a

specific occurrence or situation which comes to thefore of our minds when we go back over the past andreview the movement of our lives.14

Progoff details a specific method to follow in developing the

Steppingstones or markers. After establishing the "now Moment,"

he suggests listing no more than twelve and no less than eight

significant periods into which one's life can be divided.

A Steppingstone period is a unit of Life/Time, aperiod in our life in which many varied experiencesare contained. The period as a whole is symbolizedby...the particular Steppingstone event whichrepresents the primary and governing quality ofthat time in our life.°

After the Steppingstones or markers have been listed, the

writer develops a brief response for each one; the response

begins with the phrase, "It was a time when..." Using this

technique, I started a course in aviation literature in the fall

of 1981 at Embry-Riddle Aeronautical University in Prescott,

Arizona. The results of the exercise astounded me. Initially,

my idea was td teach students to keep a subjective journal as

well as an objective, written log of flights. I was not

expecting to produce another Antoine de Saint-Exupery with a

prose style like Wind, Sand, and Stars, but I wanted my students

to be able to articulate their multiple experiences. I

hypothesized that one of their Steppingstone periods would have

something to do with their choice of career (aviation): their

quest. In all cases I was correct. The rest of their choices

dealt with death-rebirth, initiation, etc. One student wrote of

his plane icing up while he transported the Doobie Brothers to a

singing engagement: he transformed his understanding of the

mome.it to a death-rebirth pattern. Another student wrote of the

death of his brother, an initiation experience he had never

discussed before.

My theory behind this course was that as I could aid my'

students in seeing that their significant life experiences were

the stuff of which literature is made, they might acquire more

interest in literature, something woefdlly lacking in students

today, as everyone tells us. My supposition proved to be

correct: personal as well as critical patterns emerged into

initiation, journey, death-rebirth, and quest patterns. Students

read avidly to see what metaphors others used to describe their

similar experiences. I have not only tried this approach on a

mixed group of pilots, but I have also found that it works with

69

re-entry women and men as well as traditional students. Everyone

has a story to tell. In the fall of 1977 Diane Ranney and I

taught an experimental course at Yavapai College entitled

"Women's Autobiographies." One student in that class produced

eleven pages in response to a final question about mothers, an

archetypal character. We spent much of that semester on the

pattern of mothers: the students' final examination question was

to write about Anne Sexton's poem: "A woman is her mother;

that's the main thing."

Another semester I had a young student in an independent

study course who wrote the last chapter in her autobiography.

She developed an acute sense of time as she realized how she

could change her life now to avoid the conclusion she had

created. Perhaps this sense of time is different; we create, but

we also discover and change, not only what has happened, but our

angles of vision that illuminate different aspects: our

perception of time is multifaceted. Joanna Field said of her

journal that the "growth of understanding follows an ascending

spiral rather than a straight line."16

To delve into that inner life--pursuing dreams, capturing

twilight images, doing free writing, brainstorming, fantasizing,

dialoguing, creating patterns, what could be more engaging?

Marty Martin hypothesizes that Gertrude Stein might have said

that the inner life is the individual:

But it is that inner life it is that one it is thatthing--that is the actual life of the individual.17

We can use the diary or journal to "lower the barrier to the

70

primal self...to function positively as part of the total being"18

Joseph Campbell considers

imaginative work as a quest, and the artist as a quester."In all the myths of adventure the hero starts outinnocently looking for something lost or following an animalinto the forest, and before he knows it he is in a placenobody has ever been before that is "filled with monsters ordemons that may destroy him." And having entered theregions of the unconscious, the artist responds "to the needto escape from this danger and chaos...and deals with his'interior difficulties' by organizing his life on a higher'level than before."'

Art, not just poetry, as Frost has said, can be a "momentary stay

against confusion." We create order--or patterns. For example,

Emerson, on seeing shells at a beach, was excited to take them

home. But when he arrived there, the shells had lost their

composition. To see them wet on the beach was part of the order.

Journals--leading to autobiography--can help us to see patterns.

Virginia Woolf said in A Writer's Diary in 1934:

Odd how the creative power at once brings the wholeuniverse to order. I can see the day whole,proportioi,Ld--even after a long flutter of the brain.2°

I suggest that those patterns are often archetypal, rooted deep

in the unconscious. Florida Scott-Maxwell, writing of her

imminent death, said:

The most important thing in my life was the richexperience of the unconscious. This was a gift lifegave me and I only had the sense to honor and serveit. It taught me that we are fed by great forces,and I know that I am in the hands of what seemedimmortal .21

Death-rebirth: great forces. As we develop our Steppingstones

and create our autobiographies, we find that we join in a

procession of voyagers that is centuries old. In the 1983 4 C's

Conference Call to Convention, it speaks about writers who shape

and reshape our individual and collective victories and

visions."22 So, too, we are about the business of trying to

understand our place in space on this planet Earth. Thoreau

lived at Walden for over two years. He kept copious journals;

Edward Abbey, who has written 17 journals, says, "I don't know if

I'll ever catch up to Thoreau."23 Thoreau transformed the

experience of sounding the depths of Walden Pond to sounding the

depths of his own self; he later re-created or imposed order on

those experiences and produced Walden, one of the most

affirmative death-rebirth books in literature. He caught a

universal process and the book has what Philip Wheelwright says

is the very essence of myth: "that haunting awareness of

transcendental forces peering through the cracks of the visible

universe. it 24

How to capture .here forces? By working with the visible

universe. Two assumptions to this journal and autobiographical

approach exist. Learning is most vital when it relates to us.

By moving from the subjective to the objective, learning can

occur. This premise is Ken Macrorie's in Searching Writing as he

teaches students the I-search method rather than the research

method, wi:ich has been known to produce yet another lifeless,

dull research paper on child abuse or abortion.

The second premise is that the initial spark of what relates

to me as a journal writer may move me to study essay models and

literature; I will relate my private world to the public one.

Our quest becomes personal, as Mary McCarthy says:

Oh, I suppose everyone continues to be interested in the

72

quest for the self, but what you feel when you're older,I think, is that--how to express this--that you reallymust make the self. It's absolutely useless to look forit, you won't find it, but it's possible in some senseto make it.26

As we make this self, we reveal layers of being, embarrassing

emotions, fears, hopes, failures, triumphs. No one should value

our experience with a grade, an essential requirement for this

process to work at all. We must feel free to select randomly the

steppingstones of our lives. We will not try to be as a Benjamin

Franklin, who wrote his autobiography as "a conscious literary

creation presented for our emulation,"27 according to Jesse

Lemisch. Next time we will perhaps choose different

steppingstones. But it is my contention that whatever markings

we choose, they will be archetypal patterns, situations, or

characters. Perhaps we may even make it our business to create

some of them into stories or poems, imposing yet another order.

No one could expect more of a private life than it be "sweet and

serene... an illustrious monarchy." Each of us is illustrious,

and our autobiography reflects that uniqueness. Joanna Field

said we create a

life, not as slow shaping of achievement to fit mypreconceived purpose, but as the gradual discoveryand growth of a purpose, which I did now know. 28

To be about the business of questing, searching, and discovering

should keep us all busy as we daily compose our autobiography.

73

ENDNOTES

IRalph Waldo Emerson, "The American Scholar," in Masters of

American Literat'..re, Vol. I., ed. Leon Edel et al. (Cambridge,

Massachusetts: The Riverside Press, 1959), p. 335.

2Emerson, p. 335.

3Conference Call to Convention of the 1983 Conference onCollege Composition and Communication, 34th Annual Meeting, March17-19, 1983, Detroit, Michigan, n.d., n.p.

4Emerson, p. 335.

sEmerson, p. 330.

6Carl Jung in Lionel Trilling's criticism, unpublishedhandout of Erwin U. Wright, Stephens College, Columbia, Mo.,n.d., p.2.

7Carl Jung handout, p.l.

8Henry David Thoreau, Walden in Concise Anthology of

American Literature, ed. George McMichael (New York: MacMillanPublishing Co., Inc., 1974), p. 728.

9Annis Pratt, "Archetypal Approaches to the New FeministCriticism," Bucknell Review, Vol. 21 (1973), p. 3.

mCarol Pearson and Katherine Pope, Who Am I This Time?

Female Portraits in British and American Literature (New York:McGraw Hill Book Co., 1976), p. 248.

"Pratt, p. 13.

12Charlotte Painter, "Psychic Bisexuality," Afterward toRevelations: Diaries of Women, ed. Mary Jane Moffat andCharlotte Painter (New York: Vintage Books, 1975), p. 395.

°Painter, p. 395.

14Ira Progoff, At a Journal Workshop: The Basic Text andGuide for Using the Intensive Journal (New York: Dialogue HouseLibrary, 1975), p. 120.

'5Progoff, p. 120.

mPainter, p. 393.

I7Marty Martin, Gertrude Stein Gertrude Stein 'Gertrude Stein

(New York: Random House, 1980), p. 10.

laPainter, p. 398-99.

74

°Painter, p. 399.

"Virginia Woolf, A Writer's Diary in 1982 Virginia WoolfCalendar: Diary, ed. Martha H. Starr and Elizabeth W. Hill (NewYork: Harcourt Brace Jovanovich, 1981), n.p.

21Florida Scott-Maxwell in Revelations: Diaries of Women,ed. Mary Jane Moffat and Charlotte Painter (New York VintageBooks, 1975), p. 365.

22Conference Call to Convention, n.d., n.p.

"Edward Abbey, in "He Tries to Force Choices," Irma Velasco,Arizona Magazine of Arizona Republic, September 12, 1982, p. 26.

UPhi lip Wheelwright in "Myth," Mark Schorer, unpublishedhandout of Erwin U. Wright, Stephens College, Columbia, Mo.,n.d., p. 1.

"Ken Macrorie, Searching Writing (Rochelle Park, New Jersey:Hayden Book Company, 1980), p. 56.

"Mary McCarthy in Searching Writina, Ken Macrorie (RochellePark, New Jersey: Hayden Book Company, 1980), p. 8.

nJesse Lemisch, Introduction to iseniamin Franklin: TheAuLcItiogmollylrli!Othe/ Writings, Benjamin Franklin (New York:New American Library, 1961), p. vii.

"Joanna Field, A Life of One's Own in Revelations: Diariesof Women, ed. Mary Jane Moffat and Charlotte Painter (New York:Vintage Books, 1975), p. 357.

'7 5

BIBLIOGRAPHY

College Composition and Communication, 1983 Conference Call ToConvention, 34th Annual Meeting, March 17-19, 1983.Detroit, Michigan.

Emerson, Ralph Waldo. "The American Scholar" in Masters of.American Literature. Ed. Leon Edel et. al. Vol. I.Cambridge, Massachusetts: The Riverside Press, 1959.

Franklin, Benjamin. The Autobiography and Other Writings. Ed.

Jesse Lemisch. New York: New American Library, 1961.

Jung, Carl. Lionel Trilling's Criticism. Unpublished handout ofErwin U. Wright, Stephens College, Columbia, Mo., n.d., 11

pages.

Macrorie, Ken. Searching Writing. Rochelle Park, New Jersey:Hayden Book Company, 1980.

Martin, Marty. Gertrude Stein Gertrude Stein Gertrude Stein.New York, Random House, 1980.

Moffat, Mary Jane and Charlotte Painter, eds. Revelations:Diaries of Women. New York: Vintage Books, 1975.

Painter, Charlotte, "Psychic Bisexuality," Afterward toRevelations: Diaries of Women. Ed. Mary Jane Moffat andCharlotte Painter. New York: Vintage Books, 1975.

Pearson, Carol and Katherine Pope, eds. Who Am I This Time?Female Portraits in British and American Literature. New

York: McGraw-Hill Book Co., 1976.

Pratt, Annis. "Archetypal Approaches to the New FeministCriticism," Bucknell Review, 21 (1973), pp. 3-14.

Progoff, Ira. At a Journal Workshop: The Basic Text and Guidefor Using the Intensive Journal. New York: Dialogue HouseLibrary, 1975.

Thoreau, Henry David. Walden in Masters of American Literature.Ed. Leon Edel et. al. Vol. I. Cambridge, Massachusetts:The Riverside Press, 1959.

Velasco, Irma. "He Tries to Force Choices," Arizona Magazine,Arizona Republic, September 12, 1982, 7: 22-26.

Woolf, Virginia. A WriLerLsDiainI9a22irginia Woolf

Calendar: Diary. Ed. Martha H. Starr and Elizabeth W.Hill. New York: Harcourt Brace Jovanovich, 1981.

411

Wheelwright, Philip. "Myth," Mark Schorer. Unpublished handout ofErwin U. Wright, Stephens College, Columbia, Mo., n.d., 3

pages.

7G

72

Dre

ams

have

poe

tic in

tegr

ity a

nd tr

uth.

Thi

s lim

bo a

nddu

st-h

ole

of th

ough

t is

pres

ided

ove

r by

a c

erta

in r

ea-

son,

too.

The

ir ex

trav

agan

ce fr

om n

atur

e is

yet

with

ina

high

er n

atur

e. T

hey

seem

to s

ugge

st to

us

an a

bun-

danc

e an

d flu

ency

of t

houg

ht n

ot fa

mili

ar to

wak

ing

expe

rienc

e.E

mer

son

Wha

t Wou

ld H

appe

nto

the

Am

eric

an P

sych

elf,

alo

ng w

ith H

omer

oom

s,F

lag

Sal

utin

g an

d 1.

0. T

estin

g,S

choo

ls H

ad D

aily

Dre

am S

harin

g?z:

4.1;

111:

:?-.

4;y1

24:2

4'".

2.1:

ZIC

A4,

47sM

aR,3

4

Pat

ricia

Pirm

antg

en

Thi

s ar

ticle

exp

lore

s th

e fa

scin

atin

g w

orld

of d

ream

s. E

duca

tors

who

hav

e tr

ied

drea

m w

ork

in th

e cl

assr

oom

kno

w th

at th

ere

is n

o qu

icke

r w

ay to

cap

t Are

the

inte

rest

of a

gro

up o

f stu

dent

s th

an to

sta

rt th

em ta

lkin

g ab

out t

heir

drea

ms.

For

oth

er a

ppro

ache

s to

dre

am w

ork,

see

Ann

Far

aday

'sT

he D

ream

Gam

e, a

nd

The

Cen

teri

ng B

ook

by H

endr

icks

and

Will

sP

atric

ia P

irman

tgen

edi

ts a

new

slet

ter

Dre

ams

and

Inne

r Sp

aces

,w

hich

offe

rs

som

e of

the

fres

hest

idea

s cu

rren

tly a

vaila

ble

inth

e fie

ld o

f dre

am w

ork.

We

drea

m e

very

nig

ht, w

hich

is a

nalo

gous

to h

avin

g ou

r ow

npe

rson

alm

ovie

stu

dio

or r

eper

tory

com

pany

in f

ull-

time

oper

atio

n.Fa

ntas

tic a

ndtr

ue, s

o w

hat k

eeps

mos

t of

us f

rom

usi

ng to

adva

ntag

e su

ch f

abul

ous

faci

litie

s? U

nfor

tuna

tely

, the

sna

g is

that

we

carr

y ou

r cu

lture

'sbi

as a

ndco

nditi

onin

g to

war

d th

e so

-cal

led

irra

tiona

l, so

we

fail

to e

njoy

or

reco

g-ni

ze th

e si

gnif

ican

ce o

f th

ese

"mov

ies"

or

"dra

mas

" th

at a

repr

ovid

ed,

"Wha

tW

ould

Hap

pen

to th

e A

mer

ican

Psy

che

lf, a

long

with

Hom

eroo

ms,

Fla

g Sa

lut-

ing

and

I.Q

. Tes

ting,

Sch

ools

Had

Dai

ly D

ream

Sha

ring

" by

Pat

rici

a Pi

rman

tgen

. Mim

eo-

grap

hed

(Los

Ang

eles

: Pat

rici

a Pi

rmai

agen

). U

sed

with

per

mis

sion

of

the

auth

or. C

opy-

righ

t 197

4 by

Pat

rici

a Pi

rman

tgen

.

49

s50

DA

ILY

DR

EA

M S

HA

RIN

G?

nigh

t aft

er n

ight

, for

our

priv

ate

view

ing.

Eri

ch F

rom

msa

ys it

all

whe

n he

cal

ls d

ream

s, a

long

with

myt

hs a

nd f

airy

tale

s,th

e fo

rgot

ten

lang

uage

.'W

hile

res

earc

h sh

ows

that

drea

min

g is

a r

egul

ar a

ctiv

ity o

rst

ate

ex-

peri

ence

d by

vir

tual

ly a

ll of

us

duri

ng s

leep

,' m

any

peop

le, o

nce

awak

e,

rare

ly r

ecal

l or

wor

k w

ith th

eir

own

drea

ms.

Whe

n dr

eam

con

tent

does

stic

k in

the

min

d, th

e av

erag

e,co

nditi

oned

res

pons

e is

to m

ake

a va

gue

asso

ciat

ion

with

Fre

udia

nps

ycho

logy

and

/or

sex;

em

otio

nally

upse

tting

drea

ms

(nig

htm

ares

) ar

ebl

amed

on

dayt

ime

prob

lem

s or

mal

func

tion

of

the

dige

stiv

e tr

act.

Tho

se d

ream

s vi

vid

enou

ghto

mak

e a

last

ing

impr

essi

onst

ill le

ave

us

at a

loss

for

wha

t to

do w

ith th

em; s

o dr

eam

s ar

esh

oved

in th

e m

ind'

s

unso

lved

mys

tery

file

, rat

her

than

bein

g us

ed f

or th

e di

rect

chan

nel t

hey

prov

ide

to o

ne's

cre

ativ

ity a

ndin

ner

spac

e. P

eopl

e in

our

cultu

re w

ith

som

e no

tion

of h

ow to

wor

k w

ith th

eir

own

drea

mco

nten

t are

pro

babl

y

met

abo

ut a

s of

ten

assp

eake

rs o

f B

asqu

e or

othe

r eq

ually

exo

tic m

inor

i-

ties.

Eve

n in

a f

airl

yso

phis

ticat

ed g

roup

, whe

re th

em

entio

n of

dre

ams

mig

ht n

ot im

med

iate

ly c

all u

pth

at s

uper

stiti

ous

mix

ture

of f

ear

and

fasc

inat

ion

that

thin

gs "

occu

lt"ho

ld f

or W

este

rn m

an, a

per

son

activ

ely

invo

lved

with

his

ow

n dr

eam

sw

ould

stil

l be

cons

ider

edec

cent

ric

unle

ss

he c

ould

giv

e th

e ra

tiona

le o

fps

ycho

anal

ysis

.Si

x ye

ars

ago,

bei

ng s

uch

abi

ased

and

con

ditio

ned

Am

eric

an m

ysel

f,

1 ca

sual

ly s

ugge

sted

to s

ixty

stud

ents

in c

reat

ive

wri

ting

that

thei

r dr

eam

s

wer

e a

poss

ible

sou

rce

of id

eas;

I m

entio

ned

drea

ms

sim

ply

beca

use

they

are

vivi

d ex

peri

ence

s co

mm

onto

eve

ryon

e. T

hat

sugg

estio

n sp

arke

d an

expl

osio

n of

inte

rest

that

led

to r

esea

rch,

exp

erim

enta

tion

and,

eve

n-

tual

ly, m

ade

drea

m w

ork

anin

tegr

al p

art o

f th

e te

achi

ngan

d cu

rric

ulum

wri

ting

that

I d

o.

'Eri

ch F

rom

m,

The

For

gotte

n La

ngua

ge (

New

Yor

k: H

olt,

Rin

ehar

t and

Win

ston

,

1951

), p

. 8. F

rom

m s

ays,

"D

ream

sfa

red

even

wor

se in

the

judg

men

tof

mod

ern

enlig

hten

-

men

t. T

hey

wer

e co

nsid

ered

tobe

plai

n se

nsel

ess,

and

unw

orth

y of

the

atte

ntio

n of

gro

wn-

up m

en, w

ho w

ere

busy

with

suc

h im

port

ant m

atte

rs a

sbu

ildin

g m

achi

nes

and

cons

ider

ed

them

selv

es 'r

ealis

tic' b

ecau

se th

ey s

awno

thin

g bu

t the

rea

lity

of th

ings

they

cou

ld c

onqu

er

and

man

ipul

ate;

rea

lists

who

hav

e a

spec

ial w

ord

for

each

type

ofa

utom

obile

, but

onl

y th

e

one

wor

d 'lo

ve' t

o ex

pres

sth

e m

ost v

arie

d ki

nds

of a

ffec

tive

expe

rien

ce."

'Sci

entis

ts h

ave

been

stu

dyin

r st

ates

duri

ng s

leep

thro

ugh

elec

tric

alre

cord

ings

of

brai

n

and

body

act

ivity

. The

fin

ding

s sh

owdr

eam

ing

can

and

does

hap

pen

in e

very

one'

s sl

eep.

Eve

n pe

ople

who

cla

im th

ey d

o no

tdr

eam

, whe

n aw

aken

ed in

the

lab

duri

ng R

EM

(R

apid

Eye

Mov

emen

t sle

ep)

repo

rt d

ream

s.Se

e R

elat

ed R

eadi

ng f

or s

ome

refe

renc

es.

P

Pat

ricia

Pirm

antg

en51

Abo

ut th

e tim

e m

y gr

owin

g aw

aren

ess

of th

e si

gnif

ican

ce o

f dr

eam

sha

d br

ough

t me

to th

e po

int o

f w

him

sica

lly s

pecu

latin

g ab

out w

hat m

ar-

velo

us tr

ansf

orm

atio

ns m

ight

be

mad

e in

the

Am

eric

an p

sych

e an

d cu

l-tu

re if

sch

ools

wer

e to

sub

stitu

te d

ream

sha

ring

for

1.Q

.te

stin

g, 1

cam

eac

ross

an

artic

le. I

t des

crib

ed a

cul

ture

whe

redr

eam

wor

k do

es p

lay

asi

gnif

ican

t and

maj

or r

ole

in th

e ed

ucat

ive

proc

ess

and

the

life

of a

cul

-tu

re. T

he S

enoi

, 12,

000

peop

le li

ving

in th

e m

ount

ains

of M

alay

, wer

evi

site

d in

193

5 by

a s

cien

tific

exp

editi

on. T

he S

enoi

peo

ple

clai

med

in th

epa

st tw

o to

thre

e hu

ndre

d ye

ars

to h

ave

had

no v

iole

ntcr

ime

or in

ter-

com

mun

al c

onfl

ict.

Kilt

on S

tew

art,

who

was

in th

e ex

pedi

tion,

wro

teab

out t

heir

dre

am w

ork.

". .

.the

abs

ence

of

viol

ent c

rim

e, a

rmed

con

-fl

ict,

and

men

tal a

nd p

hysi

cal d

isea

ses.

. .c

an o

nly

be e

xpla

ined

on

the

basi

s of

. . .a

hig

h st

ate

of p

sych

olog

ical

inte

grat

ion

and

emot

iona

l ma-

turi

ty, a

long

with

soc

ial s

kills

and

atti

tude

s w

hich

pro

mot

e cr

eativ

e.. .

inte

rper

sona

l rel

atio

ns. .

.Bre

akfa

st in

the

Seno

i hou

se is

like

a d

ream

clin

ic, w

ith li

sten

ing

to a

nd a

naly

zing

the

drea

ms

of a

ll th

e ch

ildre

n. A

tth

e en

d of

the

fam

ily c

linic

the

mal

e po

pula

tion

gath

ers

in th

e co

unci

l, at

whi

ch th

e dr

eam

s. .

.are

rep

orte

d, d

iscu

ssed

and

ana

lyze

d."'

Wor

k w

ith d

ream

s ha

d al

so le

d m

e to

look

aga

in a

nd d

iffe

rent

ly a

t the

mat

ter

of m

yth;

her

e w

as a

noth

er q

uest

ion

to b

e as

ked,

ano

ther

rela

tion-

ship

to b

e ex

plor

ed, b

ecau

se a

s tw

o au

thor

s, K

luck

hohn

and

Lei

ghto

n,po

inte

d ou

t, "F

olkl

ore

mus

t be

pres

umed

to o

rigi

nate

in th

e dr

eam

san

dfa

ntas

ies

of in

divi

dual

s.'"

Cou

ld it

be

that

our

cul

ture

's f

olkl

ore

and

myt

h ar

e cu

t off

fro

m a

pri

mar

y so

urce

the

peop

le's

dre

am e

xper

ienc

es,

whi

ch e

xpre

ss, a

s no

thin

k-ta

nk o

r ac

adem

ic p

ersp

ectiv

e ca

n, w

hat w

epr

esen

tly te

rm th

e co

smic

mea

ning

s un

derl

ying

hum

an li

feth

ose

sam

em

eani

ngs

that

insp

ire

art a

nd li

tera

ture

? J.

R. R

. Tol

kien

onc

e ex

plai

ned

that

he

crea

ted

the

Rin

gse

ries

bec

ause

toda

y's

Eng

lish

peop

le w

ere

poor

in m

yth.

Arn

iric

ans

suff

er th

e sa

me

pove

rty;

or

may

be it

's n

ot th

at w

eha

ve f

ew m

yths

, but

that

the

myt

hs w

e ha

ve a

re s

o ba

d, la

ckin

g th

eju

ices

of li

fe. T

hink

of

the

myt

h of

bei

ng m

ale

so s

ucce

ssfu

llym

arke

ted

byP

layb

oy,

or th

e va

riou

s in

ane

imag

es h

eld

up a

s id

eals

in a

dver

tisin

g or

'Ste

war

t's a

rtic

le o

n th

e Se

noi h

as b

een

repr

inte

d in

var

ious

pla

ces;

the

Rel

ated

Rea

ding

Sect

ion

give

s se

vera

l sou

rces

. Ste

war

t con

clud

es, "

In th

e W

est t

he th

inki

ng w

e do

whi

leas

leep

usu

ally

rem

ains

on

a m

uddl

ed, c

hild

ish

or p

sych

otic

leve

l bec

ause

we

do n

ot r

espo

ndto

dre

ams

as s

ocia

lly im

port

ant a

nd in

clud

e dr

eam

ing

inth

e ed

ucat

ive

proc

ess.

"

'Cly

de K

luck

hohn

and

Dor

othe

a L

eigh

ton,

The

Nav

aho

(Cam

brid

ge: H

arva

rd U

nive

r-si

ty P

ress

, 195

1), p

. 136

.

6t.?

52D

AIL

Y D

RE

AM

SH

AR

ING

?

TV

bro

adca

stin

g. I

t see

ms

to m

e w

esh

ould

exp

lore

whe

ther

or

not o

ur

cultu

re's

exc

lusi

on o

f dr

eam

s fr

omse

riou

s an

d cr

eativ

e w

ork

affe

cts

the

qual

ity o

f ou

r do

min

ant m

yths

.It

's w

orth

pon

deri

ng w

hat

kind

of

lead

-

ers

Ken

nedy

, Joh

nson

and

Nix

on w

ould

hav

eas

pire

d to

be

if th

ey h

ad

had

the

infl

uenc

e of

dif

fere

ntm

yths

. We

shou

ld a

sk w

heth

er o

rno

t the

re

exis

ts a

rel

atio

nshi

p be

twee

n dr

eam

wor

k, o

ur c

ultu

re's

dom

inan

tmyt

hs

and

such

phe

nom

ena

as d

rug

addi

ctio

n an

d al

coho

lism

;co

nspi

cuou

s,

com

puls

ive

cons

umpt

ion;

the

psyc

hic

and

phys

ical

vio

lenc

eth

at is

par

t

of o

ur c

ultu

re; t

he r

ape

of th

eec

olog

ical

env

iron

men

t; or

the

prom

inen

t

plac

e w

e gi

ve to

a k

ind

ofre

ligio

n w

hich

, gen

eral

lysp

eaki

ng, i

n so

me

way

s va

ries

littl

e fr

omde

nom

inat

ion

to d

enom

inat

ion

and

is e

ssen

tially

gutle

ss, b

land

and

dev

oid

of q

ualit

ies

that

upl

ift a

ndin

spir

e.

As

Jose

ph C

ambe

ll po

ints

out,

"The

ris

e an

dfa

ll of

civ

iliza

tions

in th

e lo

ng, b

road

cou

rse

of h

isto

ry c

an b

e se

en to

hav

ebe

en la

rgel

y a

func

tion

of th

e in

tegr

ity a

nd c

ogen

cyof

thei

r su

ppor

ting

cano

nsof

myt

h;

for

not a

utho

rity

but

asp

irat

ion

is th

e m

otiv

ator

, bui

lder

and

tran

sfor

-

mer

of

civi

lizat

ion.

A m

ytho

logi

cal c

anon

is a

nor

gani

zatio

n of

sym

bols

,

inef

fabl

e in

impo

rt, b

y w

hich

the

ener

gies

of

aspi

ratio

n ar

eev

oked

and

gath

ered

tow

ard

a fo

cus.

"'

MA

KIN

G A

BE

GIN

NIN

G

Beg

inni

ngs

are

not p

reci

sion

. Beg

inni

ngs

are

not c

onfu

s-

ion.

The

y ar

e da

rkne

ss d

raw

n to

am

inut

e po

int o

f non

-

dark

ness

, and

sile

nce

gath

ered

info

a s

mal

l sou

nd.

She

ila M

oon

The

bes

t pla

ce to

beg

in is

with

you

rsel

f. B

efor

etr

ying

to in

volv

e

adol

esce

nts

in th

eir

drea

ms,

take

time

to in

volv

e yo

urse

lf. F

orth

e sp

ace

of tw

o or

thre

e m

onth

s, p

aycl

ose

atte

ntio

n to

you

r ow

ndr

eam

ing.

Nig

htly

, bef

ore

goin

g to

sle

ep, e

mpt

yyo

ur m

ind

of th

e co

ncer

nsof

the

day;

cle

ar y

ours

elf,

so

tosp

eak,

for

dre

am a

ctiv

ity.

Imm

edia

tely

aft

er

wak

ing,

not

e do

wn

your

dre

amco

nten

t; if

you

pos

tpon

eth

is, t

he

drea

m (

s) w

ill r

eced

e fr

omco

nsci

ousn

ess

and

be lo

st.S

ugge

stio

n; r

ecor

d

'Jos

eph

Cam

pbel

l, T

he M

asks

of

God

: Cre

ativ

e M

ytho

logy

(N

ewY

ork:

The

Vik

ing

Pre

ss, 1

%5)

, p. 5

.

Pat

ricia

Pirm

antg

en53

drea

ms

on s

epar

ate

shee

ts, d

ate

them

, kee

p in

a f

ile f

olde

r. O

ccas

iona

llysk

im th

e co

llect

ion

and

thin

k ab

out t

he d

ream

s, tr

ying

to r

eliv

e on

e or

mor

e of

them

. Try

out

som

e of

the

activ

ities

sug

gest

ed la

ter

in th

is a

r-tic

le f

or u

se w

ith s

tude

nts.

If

othe

rs, t

each

ers,

fri

ends

, are

inte

rest

ed in

som

ethi

ng o

f th

is n

atur

e, m

eet o

ccas

iona

lly in

a s

mal

l gro

up a

nd s

hare

drea

ms.

You

will

not

ice

vari

ous

phen

omen

a. F

or e

xam

ple,

dre

ams,

like

mov

ies,

com

e in

bla

ck a

nd w

hite

or

colo

r.' T

hey

cove

r a

wid

e ra

nge

ofsu

bjec

t mat

ter

and

coul

d be

com

pare

d to

the

sequ

ence

of

roug

h dr

afts

or p

relim

inar

y sk

etch

es th

at a

rtis

ts a

nd w

rite

rs g

o th

roug

h as

they

cla

rify

and

refi

ne w

hat t

hey

are

seek

ing

to e

xpre

ss.

At f

irst

, one

's d

ream

flo

w c

an s

eem

with

out p

atte

rn, s

truc

ture

or

cohe

renc

e, b

ut o

ver

a pe

riod

of

time,

per

haps

wee

ks, m

onth

s or

yea

rs,

one

find

s th

at c

erta

in th

emes

and

mot

ifs

emer

ge, a

lthou

gh f

rom

nig

ht to

nigh

t the

y ca

n be

inte

rmin

gled

and

mix

ed-u

p. I

t see

ms

that

the

psyc

hew

orks

on

seve

ral t

hem

es s

imul

tane

ousl

y, li

ke a

mov

ie s

tudi

o w

ith m

any

prod

uctio

ns in

pro

cess

; in

term

s of

a n

ight

's o

r a

wee

k's

drea

ms,

we

may

be s

eein

g ru

shes

fro

m a

ll th

e pr

oduc

tions

. Per

sist

ence

in r

ecor

ding

and

wor

king

with

one

's d

ream

s ev

entu

ally

mak

es it

pos

sibl

e to

tent

ativ

ely

grou

p on

e's

drea

ms

in s

erie

s on

the

basi

s of

them

e, s

ettin

g, s

tory

or

feel

-in

g va

lues

.A

s a

seri

es o

f dr

eam

s pe

rtai

ning

to a

them

e co

ntin

ues,

an

imag

e in

itca

n ev

olve

, sho

win

g its

elf

in d

iffe

rent

way

s or

bri

ngin

g ch

ange

s in

fee

ling

in th

e dr

eam

sel

f's r

entio

n to

the

imag

e. F

or e

xam

ple,

a f

righ

teni

ngdr

eam

imag

e, s

uch

as a

larg

e, p

ower

ful d

og c

hasi

ng o

ne, c

an g

o th

roug

ha

seri

es o

f tr

ansf

orm

atio

ns f

rom

dre

am to

dre

am u

ntil,

whi

le s

till a

sym

-bo

l of

pow

er, t

he d

og im

age

has

beco

me

frie

ndly

.It

als

o se

ems

that

we

can

ente

r in

to a

dre

am a

nd a

ffec

t its

flo

w, s

o th

atin

the

case

of

a st

uden

t who

dre

amed

of

bein

g ou

t in

a de

pres

sing

rai

n,no

t of

wat

er, b

ut o

f ir

on b

alls

, he

coul

d de

cide

whe

n ne

xt in

that

dre

amst

ate

to d

o so

met

hing

cre

ativ

e ab

out t

he ir

on b

alls

; he

mig

ht c

atch

them

and

build

a s

helte

r of

them

; he

coul

d dr

aw a

line

and

inst

ruct

them

to f

all

on o

nly

one

side

of

the

line;

he

coul

d ca

ll up

the

imag

e of

som

eone

he

trus

ted

and

ask

the

pers

on f

or a

n um

brel

la; h

e co

uld

ask

the

sun

toco

me

out. 'As

I've

beco

me

mor

e aw

are

of a

nd w

orke

d w

ith m

y ow

n dr

eam

s, th

e dr

eam

s th

emse

lves

have

bec

ome

mor

e so

phis

ticat

ed in

thei

r us

e of

. col

or. T

he in

ner

drea

m d

irect

or n

owus

esco

lor

as a

cin

emat

ogra

pher

wou

ld to

cre

ate

a m

ood,

enh

ance

a th

eme

or c

onve

y so

me

qual

ity o

r em

phas

is. F

or v

isua

lly o

rient

ed p

eopl

e th

e dr

eam

wor

ld is

a r

ich

expe

rienc

e.82

54D

AIL

Y D

RE

AM

SH

AR

ING

?

Oth

er p

heno

men

a yo

u m

ayno

tice:

Sym

bols

from

one

's r

elig

ious

trai

ning

sho

w u

p ev

enin

the

drea

ms

of th

ose

peop

le w

ho, c

onsc

ious

lyat

leas

t, w

ould

no

long

erco

nsid

er th

emse

lves

belie

vers

. Cer

tain

setti

ngs,

peop

le o

r ha

ppen

ings

can

retu

rn in

dre

ams

agai

n an

d ag

ain.

Ext

ra-

ordi

nari

ly s

tron

g fe

elin

gslik

e te

rror

, pai

n, jo

yan

d ra

ptur

e ca

n be

expe

ri-

ence

d in

the

drea

m s

tate

.O

ne's

dre

am s

elf

may

be a

sur

pris

e, a

ctin

gin

an u

nexp

ecte

dfa

shio

n or

man

ifes

ting

qual

ities

not

gen

eral

lyas

soci

ated

with

one

self

. Som

etim

espr

oble

ms

or m

atte

rs th

atha

ve c

onsc

ious

ly o

ccu-

pied

the

min

d fo

r a

long

tim

e fi

nd a

solu

tion

in th

e dr

eam

sta

te.

Muc

h

drea

m li

tera

ture

men

tions

the

chem

ist

Kek

ule,

who

was

sea

rchi

ngfo

r th

e

mol

ecul

ar s

truc

ture

of

benz

ene;

his

dre

amof

a s

nake

with

its

tail

in it

s

mou

th, a

n an

cien

t sym

bol

calle

d th

e or

obor

os, w

asth

e cl

ue le

adin

g hi

m

to th

e di

scov

ery

that

the

benz

ene

stru

ctur

ew

as a

clo

sed

carb

on r

ing.

It s

eem

s th

at o

nce

we

show

this

inne

r dr

eam

dire

ctor

or

film

mak

erth

at

we

are

seri

ous

abou

t res

pond

ing

toan

d in

tegr

atin

g hi

spe

rspe

ctiv

e in

to

our

cons

ciou

sat

titud

es a

nd ju

dgm

ents

, ach

anne

l ope

ns u

p in

us.

Whe

n

we

then

ref

er m

atte

rslik

e pe

rson

al r

elat

ions

hips

or c

reat

ive

prob

lem

s

conn

ecte

d w

ith o

urw

ork

to th

e dr

eam

dire

ctor

, we

rece

ive

feed

back

that

is o

ften

ver

ym

uch

to th

e po

int,

extr

emel

y he

lpfu

l and

som

etim

es

som

ethi

ng th

at m

uch

cons

ciou

s ef

fort

and

thou

ght h

as n

ot y

etbe

en

able

to s

how

us.

Dre

ams

will

incl

ude

wha

t we

know

we

know

and

wha

t we

know

we

do

not k

now

. For

inst

ance

, som

eone

who

has

not r

ead

anci

entm

ytho

logy

and

has

no w

ay o

fkn

owin

g sy

mbo

ls o

rm

otif

s fr

om it

may

find

suc

h

sym

bols

app

eari

ng in

his

drea

ms.

' The

inne

r dr

eam

dir

ecto

ris

als

o qu

ick

to in

corp

orat

e re

cent

even

ts, e

xper

ienc

esan

d di

scov

erie

s in

tohi

s dr

eam

cont

inui

ty. M

ost o

f us

,of

cou

rse,

are

fam

iliar

with

the

pers

on w

hois

drea

min

g of

thun

der

and

wak

es u

p to

find

a s

ever

e st

orm

in p

rogr

ess.

Tea

cher

s of

ten

tell

abou

tdre

ams

of d

isru

ptiv

e gr

oups

,of

bei

ng d

efie

d

by th

eir

stud

ents

. Itw

ould

be

inte

rest

ing

tow

rite

a b

ook

or a

rtic

leab

out

the

teac

hing

expe

rien

ce w

hich

is a

colle

ctio

n of

teac

hers

'dr

eam

s an

d

exam

ines

them

for

wha

tth

ey im

ply

abou

t the

cont

empo

rary

edu

cativ

e

proc

ess.

In

term

sof

hel

ping

teac

hers

,es

peci

ally

in s

o vi

tal a

n ar

eaas

stud

ent-

teac

her

rela

tions

hips

,dr

eam

con

tent

mig

htbe

a g

ood

and

basi

c

star

ting

poin

t.

'Jun

gian

psy

chol

ogy

Incl

udes

the

conc

ept o

f the

colle

ctiv

e un

cons

ciou

s, a

leve

l of t

he

indi

vidu

al's

psy

che

that

does

not

der

ive

from

his

pers

onal

exp

erie

nce

but f

rom

whi

ch

cont

ents

can

man

ifest

them

selv

es.

Pat

ricia

Pirm

an ig

en55

DR

EA

M W

OR

K IN

TH

E C

LAS

SR

OO

MC

ON

TE

XT

A s

olut

ion

whi

ch s

olve

s a

prob

lem

inte

llect

ually

, mor

al-

ly o

r ae

sthe

tical

ly b

ut n

ot in

all

thre

e m

odes

is a

fals

eso

lutio

n. T

he th

eore

tical

foun

datio

n fo

r su

ch a

vie

w is

abst

ruse

and

con

trov

ersi

al a

nd p

edag

ogic

ally

the

task

of

blen

ding

In th

e pu

pil w

hat i

s se

para

ted

out i

n th

e cu

lture

Is d

iffic

ult b

ut th

e ne

ed fo

r su

ch u

nific

atio

n is

not

cont

rove

rsia

l,H

arry

S. B

roud

y

The

pro

cess

cov

ers

thre

e ar

eas:

I. D

evel

opin

g a

grou

p's

awar

enes

s, r

ecog

nitio

n an

d m

emor

y of

dre

am s

tate

s an

dco

nten

t.2.

Cre

ativ

e w

ork

with

thei

r ow

n dr

eam

mat

eria

l.3.

Dra

win

g pa

ralle

ls b

etw

een

drea

m c

onte

nt a

nd th

e E

nglis

h cu

rric

ulum

.

Wor

k on

dre

ams

usua

lly h

as to

be

a pe

riph

eral

par

t of

a cu

rric

ulum

,bu

t it's

not

har

d, I

fin

d, e

ven

with

lim

ited

time

to b

uild

a g

roup

's in

-vo

lvem

ent.

Peop

le g

ener

ally

are

fas

cina

ted

by a

nyth

ing

pert

aini

ng to

them

selv

es a

nd th

e oc

casi

onal

sha

ring

of

drea

ms

and

som

e cr

eativ

e w

ork

with

them

has

bee

n su

ffic

ient

to h

old

inte

rest

and

pro

vide

mom

entu

mfo

r a

grou

p pr

oces

s to

evo

lve.

Dev

elop

ing

Aw

aren

ess'

Beg

in b

y sh

arin

g an

inte

rest

ing

drea

m o

f yo

ur o

wn;

mak

e its

imag

esco

me

aliv

e as

you

ret

ell i

t and

try

to c

omm

unic

ate

som

ethi

ng o

f th

eem

otio

nal i

mpa

ct th

at it

had

on

you.

Thi

s w

ill u

sual

ly b

e en

ough

to r

e-m

ind

the

grou

p of

dre

ams

of th

eir

own

that

they

wan

t to

talk

abo

ut.

Eve

n th

ose

who

ret

ain

little

or

no m

emor

y of

dre

am a

ctiv

ity a

t nig

htw

ill h

ave

had

at le

ast o

ne d

ream

mak

e a

last

ing

impr

essi

on. T

he d

ream

shar

ing

stim

ulat

es m

emor

ies

and

the

sess

ion

isn'

t lon

g en

ough

to in

clud

eev

eryt

hing

stu

dent

s ar

e re

min

ded

of, s

o th

ey le

ave,

rel

ucta

ntly

, stil

l tal

k-in

g. 'In m

y ex

perie

nce

toda

y's

stud

ents

are

inte

nsel

y in

tere

sted

in w

hate

ver

pert

ains

to th

eir

inne

r sp

ace.

"S

tar

Tre

k" r

e-ru

ns, s

cien

ce fi

ctio

n, th

e dr

ug c

ultu

re, m

edita

tion

tech

niqu

eslik

e T

M, e

tc.,

have

mad

e th

em c

urio

us a

bout

alte

red

stat

es o

f con

scio

usne

ss; t

hey

arc

genu

inel

y in

tere

sted

in w

orki

ng w

ith th

eir

drea

ms.

8'4

56D

AIL

Y D

RE

AM

SH

AR

ING

?

Thi

s fi

rst m

entio

n of

dre

ams

usua

llyca

lls u

p tw

o se

ts o

f re

actio

ns:

[som

e st

uden

ts]

are

imm

edia

tely

inte

rest

ed o

r at

leas

t cur

ious

and

[so

me

stud

ents

] sa

y th

ey d

o no

tdr

eam

. The

fol

low

ing

step

s he

lp p

eopl

ew

ith

eith

er r

eact

ion

grow

mor

e aw

are

of th

eir

own

drea

m a

ctiv

ity, e

spec

ially

carr

ying

som

e m

emor

y of

it o

ver

into

wak

ing

cons

ciou

snes

s.

A.

Bef

ore

goin

g to

sle

ep, t

hink

of t

hem

ind

as a

cha

lkbo

ard.

Wip

e it

clea

r of

dayt

ime

stuf

f; le

t sle

ep c

ome.

Orth

ink

of th

e m

ind

as a

TV

or

mov

ie s

cree

nw

here

noth

ing

is n

ow b

eing

pro

ject

ed; t

he s

cree

nis

em

pty,

wai

ting

for

the

drea

m im

ages

to b

e pr

ojec

ted

on it

.B

.In

the

mor

ning

, im

med

iate

ly a

fter

wak

ing

up,

take

five

min

utes

to w

rite

or ta

pe w

hate

ver

deta

ils o

fdr

eam

s ar

e st

ill o

n th

e sc

reen

, i.e

.,re

mem

bere

d.

Don

't gi

ve u

p be

caus

e th

ere

is n

othi

ngth

ere

the

first

few

mor

ning

s. P

er-

sist

ence

, eve

ntua

lly, w

ill b

ring

resu

lts.

Onc

e a

wee

k or

eve

ry o

ther

wee

k se

tas

ide

a re

gula

r tim

e to

sha

reso

met

hing

fro

m r

ecen

t dre

ams.

Tel

l one

or

mor

e of

you

r ow

n th

at a

re a

p-pr

opri

ate;

som

eone

who

has

had

a fr

ight

enin

g dr

eam

may

be

relie

ved

..

.if

he

sees

that

oth

ers

also

hav

e th

em.A

t fir

st, s

ome

will

be

shy,

but

if th

ere

is a

n ac

cept

ing/

enjo

ying

tone

toth

e se

ssio

ns, r

etic

ence

s gr

adua

lly

diss

olve

and

in ti

me

ever

yone

is v

ying

for

a tu

rn.W

ithin

wee

ks (

thre

e to

seve

n in

my

expe

rien

ce),

the

"non

-dre

amer

s" d

isco

ver

them

selv

es

drea

min

g. S

ever

al s

ide

effe

cts

of th

e pr

oces

s ev

entu

ally

bec

ome

notic

e-

able

: tho

se w

ho th

ough

t the

mse

lves

uncr

eativ

e an

d la

ckin

g in

imag

ina-

tion

begi

n to

fee

l the

y do

hav

ecr

eativ

e ta

lent

s. T

he g

roup

pro

cess

and

ex-

chan

ge g

row

clo

ser

to tr

ue d

emoc

racy

with

dif

fere

nces

suc

h as

rac

e,so

cial

cla

ss a

nd v

erba

l abi

lity

no lo

nger

such

bar

rier

s or

the

sole

bas

isof

thei

r re

spon

se to

eac

h ot

her.

The

yal

so b

egin

to f

ind

mor

e m

eani

ng in

the

trad

ition

al c

onte

nt o

f E

nglis

han

d co

mpo

sitio

n w

ork.

Aft

er th

e pr

oces

s is

on-

goin

g an

dth

ere

is r

eal i

nter

est i

n dr

eam

s, I

min

gle

the

drea

m-s

hari

ngw

ith s

impl

e ac

tiviti

es li

ke th

e fo

llow

ing:

The

gro

up g

oes

thro

ugh

the

lette

rsof

the

alph

abet

giv

ing

wor

ds th

atbe

gin

with

eac

h le

tter

(aba

cus,

butte

r, c

allu

ses,

etc

.). T

hen

each

one

,

usin

g th

is w

ord

list,

mak

es u

p a

stor

y; e

very

one

read

s hi

s or

her

sto

ries

alou

d. O

r w

e ta

ke a

gro

up o

f ty

pica

l im

ages

that

com

e in

dre

ams

(flo

wer

,

mou

ntai

n, h

ouse

, mys

teri

ous

stra

nger

,ro

ad)

and

with

them

cre

ate

a

stor

y or

an

outli

ne f

or a

film

.°T

he p

oint

of

thes

e ac

tiviti

es is

to g

ive

the

grou

p ex

peri

ence

in c

reat

ing

whe

re th

e co

nsci

ous,

pla

nnin

g pa

rtof

them

selv

es w

orks

alo

ng w

ithth

e

The

se s

torie

s ca

n so

met

imes

be

surp

risin

gly

cohe

rent

and

inte

rest

ing;

for

the

stud

ent

Pat

ricia

Pirm

antg

en57

unkn

own

part

of

them

selv

es, t

hat m

yste

.ious

asp

ect o

f th

e se

lf f

rom

whi

ch d

ream

s m

ay a

lso

flow

. As

we

disc

uss

the

stor

ies

and

the

met

hod

by w

hich

they

wer

e cr

eate

d, s

ever

al q

uest

ions

are

exp

lore

d:

Did

I k

now

this

sto

ry w

as in

me

befo

re I

wro

te it

?W

here

did

it c

ome

from

?C

ould

I h

ave

wri

tten

it w

ithou

t the

list

of

wor

ds?

Cou

ld w

e sp

ecul

ate

that

som

ethi

ng a

kin

to th

is h

appe

ns in

dre

amin

gapr

esen

tly u

nkno

wn

sour

ce o

r po

wer

with

in o

urse

lves

cre

ates

"m

ovie

s" th

atco

nsci

ousl

y w

e do

n't k

now

are

in u

s?Is

the

key

to c

reat

ive

wri

ting

in a

com

bina

tion

of c

onsc

ious

wor

k, m

ater

ials

and

find

ing

a w

ay to

ope

n th

e fl

ow f

rom

that

unk

now

n so

urce

or

pow

er in

one

-se

lf?

At t

his

poin

t in

the

proc

ess,

I m

ight

pla

n a

crea

tive

wri

ting

proj

ect

whi

ch w

ill d

raw

on

thei

r ow

n dr

eam

s fo

r co

nten

t. I

am c

aref

ul, h

owev

er,

not t

o gi

ve c

reat

ive

wor

k re

late

d to

dre

ams

until

I s

ee th

at th

ey a

re r

eally

inte

rest

ed a

nd in

volv

ed.

The

fir

st ti

me

doin

g dr

eam

wor

k w

ith a

gro

up, i

t's w

ell t

o lim

it th

eac

tivity

to th

e si

mpl

e an

d re

gula

r sh

arin

g of

dre

ams.

If

teac

hers

go

slow

ly, g

radu

ally

com

ing

to a

n in

tuiti

ve g

rasp

of

the

proc

ess

rath

er th

antr

ying

too

muc

h to

o so

on, t

hey

will

be

able

to n

utur

e th

e pr

oces

s an

dbr

ing

it to

a f

ruit-

bear

ing

stag

e. B

ut if

we

get a

ll ex

cite

d an

d in

volv

edou

rsel

ves

with

dre

ams,

it's

tem

ptin

g to

flo

od s

tude

nts

with

our

new

lyac

quir

ed in

form

atio

n an

d en

thus

iasm

. Tha

t can

he

harm

ful b

ecau

se it

may

blo

ck th

e w

ay to

the

stud

ents

' ow

n di

scov

ery

of m

eani

ng in

dre

amw

ork;

it's

bes

t not

to s

hare

a lo

t, in

itial

ly, o

f w

hat w

e kn

ow a

bout

drea

ms,

but

to w

ait u

ntil

ques

tions

com

e th

at s

how

a r

eadi

ness

, aco

ntex

t for

taki

ng in

wha

t we

have

to g

ive.

One

mor

e ca

utio

n: I

n gr

oup

wor

k of

this

sor

t the

con

tent

is b

eing

gen

-er

ated

by

teac

her

and

stud

ents

, whi

ch im

plie

s th

e ne

ed f

or a

hea

lthy

grou

p dy

nam

ic, a

rea

l rel

atio

nshi

p be

twee

n th

e te

ache

r an

d th

e gr

oup.

For

the

kind

of

shar

ing

that

's in

volv

ed h

ere,

peo

ple

have

to b

e to

ade

gree

ope

n, tr

ustin

g, e

njoy

ing

and

acce

ptin

g of

them

selv

es a

nd o

ther

s.H

owev

er, i

t sho

uld

be n

oted

that

the

very

pro

cess

of

drea

m s

hari

ngse

ems

to h

elp

crea

te th

e ki

nd o

f at

mos

pher

e th

at is

nee

ded.

Cre

ativ

e W

ork

The

re a

re m

any

way

s of

pro

ceed

ing

here

, Cre

ate

your

ow

n or

sel

ect

w h

oth

inks

writ

ing

impo

ssib

le th

ey c

an b

e a

brea

kthr

ough

.fr

om th

e fo

llow

ing

on th

e ba

sis

of in

clin

atio

n, g

roup

inte

rest

, nee

d. 8

6

58D

AIL

Y D

RE

AM

SH

AR

ING

?

AC

TIV

ITIE

S:

A.

Kee

p a

drea

m d

iary

or

jour

nal.

Rec

ord

drea

ms

in it

, dat

ing

them

, put

ting

dow

n th

e de

tails

that

are

rem

embe

red

or th

e fe

elin

gs th

ey h

eld.

Occ

asio

nally

, re-

view

the

drea

m d

iary

; loo

k fo

r im

ages

or

them

es th

at r

epea

t the

mse

lves

,th

at a

reev

olvi

ng a

nd c

hang

ing.

Wor

k w

ith a

nd a

mpl

ify s

uch

imag

es; s

eeH

. for

the

proc

ess.

B.

Dre

ams

can

be r

e-cr

eate

d as

sho

rt s

torie

s, a

s fil

ms

or fi

lmst

rips

or a

s co

n-tin

uity

for

shor

t, ex

perim

enta

l dra

mas

. A g

roup

mig

htse

lect

from

thei

r dr

eam

sse

vera

l to

wea

ve to

geth

er in

dra

mat

ic fa

rm. G

roup

s co

uld

pres

entt

heir

play

s to

e,w

h ot

her.

.S

ome

drea

m im

ages

mak

e st

rikin

g po

ster

s. C

ombi

ne e

ffort

sw

ith th

e ar

t

and/

or p

hoto

grap

hy d

epar

tmen

ts.

D.

Rol

e-pl

ay, u

sing

the

drea

m m

ater

ial a

s a

star

ting

poin

t for

ach

arac

ter

or

a si

tuat

hn. A

sk th

e st

uden

t who

se d

ream

it is

to s

elec

t gro

up m

embe

rs to

act i

t out

with

him

. Thi

s is

a b

egin

ning

way

of p

robi

ngdr

eam

con

tent

for

mea

n-

ing,

of i

nter

pret

ing

the

drea

m.

E.

Cre

ate

a di

alog

ue b

etw

een

one'

s w

akin

g se

lf an

d on

e of

the

drea

mch

arac

ters

.F

.In

writ

ing

or in

car

toon

ed s

eque

nces

con

tinue

the

drea

m fr

omits

last

rem

embe

red

scen

e. O

r cr

eate

var

iatio

ns o

f it.

G.

Writ

e de

scrip

tions

of u

nusu

al d

ream

cha

ract

ers

or d

ream

set

tings

.H

.W

ork

with

som

e of

the

drea

m im

ages

, am

plify

ing

thei

r m

eani

ng b

ybu

ild-

ing

up a

web

of r

elat

ed a

ssoc

iatio

ns. F

or e

xam

ple,

in o

ne g

roup

afte

r se

vera

lst

uden

ts h

ad h

ad h

ouse

s in

thei

r dr

eam

s, w

e to

ok d

own

ever

ythi

ng w

eco

uld

thin

k of

con

cern

ing

hous

esop

enin

gs s

uch

as d

oors

and

win

dow

s; m

any

room

sw

ith d

iffer

ent p

urpo

ses

such

as

a ki

tche

n w

here

thin

gs w

ere

cook

ed,c

lose

ts w

ith

thin

gs h

idde

n in

them

, the

bat

hroo

m, h

alls

link

ing

room

sto

eac

h ot

her.

We

note

d

that

hou

ses

coul

d ha

ve le

vels

from

und

ergr

ound

bas

emen

ts to

dus

ty,

seld

omen

tere

d at

tics.

The

re w

ere

plac

es in

hou

ses

that

wer

e lit

tle u

sed;

ther

e w

ere

room

s

or fu

rnis

hing

s th

at r

ecei

ved

muc

h us

e. A

hous

e its

elf w

as a

con

tain

er in

whi

chm

ore

than

one

life

pro

cess

was

hap

peni

ngbi

rth,

gro

wth

, con

flict

,lo

ve. A

chi

ld

livin

g in

a h

ouse

wou

ld n

ot k

now

eve

ryth

ing

that

wen

t on

with

in it

s w

alls

. A

grow

n-up

mig

ht h

ave

forg

otte

nm

uch

that

had

gon

e on

with

in it

; he

mig

ht b

eig

nora

nt o

f its

pas

t. un

able

to p

redi

ct it

s fu

ture

. We

reca

lled

liter

ary

asso

ciat

ions

such

as

the

hous

e of

Ush

er. W

e re

mem

bere

d di

ffere

nt h

ouse

s fr

om o

urdr

eam

s

and

expe

rienc

es th

at w

e ha

d ha

d w

ith h

ouse

s. T

hen

we

mad

e th

e tr

ansi

tionf

rom

aho

use

as a

hou

se to

a h

ouse

as

a sy

mbo

l of i

mag

e fo

r on

e's

own

self

or b

eing

, par

-al

lelin

g al

l the

item

s w

e ha

d no

ted

for

hous

es w

ith p

ossi

ble

equi

vale

nts

in th

e

hum

an li

fe o

r ps

yche

.

Suc

h br

ains

torm

ing

sess

ions

in w

hich

eve

ryon

e sh

ares

asso

ciat

ions

with

a s

ymbo

l or

imag

e ar

e he

lpfu

l in

seve

ral w

ayS

, The

ysh

ow h

ow to

begi

n to

ext

ract

mea

ning

from

a d

ream

and

they

dev

elop

the

stud

ents

'in

telle

ctua

l and

em

otio

nal c

ompr

ehen

sion

of i

mag

es a

nd s

ymbo

ls, n

om

atte

r w

hat t

he c

onte

xt-f

ilm, p

oetr

y,no

vels

or

drea

ms.

Pat

ricia

Pirm

antg

en59

Afte

r th

e gr

oup

just

men

tione

d ha

d w

orke

d w

ith th

e im

ages

of h

ouse

,do

g, c

at a

nd tr

ee, a

girl

cam

e on

e da

y, e

xcite

d an

d cu

rious

abo

ut a

dre

amof

was

hing

mac

hine

s. T

he g

roup

wen

t to

wor

k on

the

imag

e an

d in

five

min

utes

the

chal

kboa

rd w

as fi

lled

with

ass

ocia

tions

rel

ated

to w

ashi

ngm

achi

nes.

Whi

le a

dic

tiona

ry o

f sym

bols

is h

elpf

ul fo

r th

e te

ache

r, it

is b

est n

otto

brin

g it

into

the

clas

sroo

m fo

r se

vera

l rea

sons

. Alth

ough

ther

e is

aun

iver

sal m

eani

ng th

at a

ttach

es to

or

is c

omm

unic

ated

by

sym

bols

, the

pers

on w

ho h

as h

ad a

dre

am is

the

one

best

sui

ted

to k

now

wha

t its

imag

es m

ean

for

him

. But

for

stud

ents

and

for

mos

t of u

s, s

o fa

r as

mea

ning

goe

s, o

ur d

ream

s ar

e pu

zzle

s, s

eem

ingl

y be

yond

figu

ring

out.

Car

l Jun

g sa

ys a

dre

am is

a h

int a

nd to

unl

ock

its m

eani

ng w

e ha

ve to

fill

out t

he im

plic

atio

ns o

f the

hin

t. T

he w

ork

the

grou

p di

d w

ith th

e im

ages

of th

e ho

use

and

the

was

hing

mac

hine

s w

as th

at k

ind

of fi

lling

out

.W

hen

a gr

oup

ampl

ifies

eno

ugh

drea

m im

ages

toge

ther

, the

y le

arn

how

to e

xerc

ise

the

skill

for

them

selv

es; i

f the

y lo

ok u

p sy

mbo

ls in

a d

ictio

n-ar

y, th

ey w

ill m

iss

out o

n va

luab

le p

ract

ice

and

expe

rienc

e. A

lso,

whe

nth

ey w

ork

with

a d

ream

imag

e, th

ey a

re g

rapp

ling

with

the

drea

m c

on-

tent

; if t

hey

go to

a d

ictio

nary

, the

y m

ay c

ome

away

with

info

rmat

ion

but t

hey

will

not

nec

essa

rily

have

acq

uire

d a

pers

onal

und

erst

andi

ng o

fth

eir

own

drea

m c

onte

nt.

Dra

win

g P

aral

lels

Bet

wee

n D

ream

Con

tent

and

the

Eng

lish

Cur

ricul

um

It sh

ould

not

be

nece

ssar

y to

mod

ify m

uch

wha

teve

r is

one

's p

rese

ntcu

rric

ulum

; the

re is

suc

h a

wea

lth o

f pos

sibi

litie

s in

the

area

of E

nglis

han

d th

e hu

man

ities

. Muc

h po

etry

; a n

ovel

like

Mob

y D

ick,

the

wor

k of

Sha

kesp

eare

; the

mes

suc

h as

her

o, c

onfli

ct, c

oura

ge;

iuth

ors

like

Fau

lkne

r, C

onra

d, F

rost

, Bla

ke; t

he w

orld

of m

yth;

man

y co

ntem

pora

ryfil

msa

ll be

gin

to ta

ke o

n ne

w s

igni

fican

ce fo

r a

grou

p w

hen

drea

mw

ork

is in

tegr

ated

with

thei

r re

adin

g, w

ritin

g an

d di

scus

sion

. The

stud

ents

see

them

selv

es in

dre

ams

expe

rienc

ing

the

sam

e m

ythi

c, w

eird

,m

yste

rious

, em

otio

nally

cha

rged

wor

lds

and

situ

atio

ns th

at a

re th

e st

uff

of fi

ctio

n an

d po

etry

. In

beco

min

g m

ore

cons

ciou

s of

thei

r ow

n dr

eam

s,th

ey h

ave

foun

d a

reas

on to

iden

tify.

The

y ha

ve a

lso

disc

over

ed h

owdi

fficu

lt it

is to

com

mun

icat

e th

ese

com

plex

sta

tes

and

expe

rienc

es. S

ince

soci

al r

ecog

nitio

n is

mor

e or

less

den

ied

inne

r st

ates

, we

pres

ently

lack

aco

mm

only

acc

epte

d no

men

clat

ure

or w

orki

ng c

once

pts

to r

eadi

ly m

ake88

60D

AIL

Y D

RE

AM

SH

AR

ING

?

our

drea

m s

tate

s in

telli

gibl

e to

each

oth

er. B

ut o

ften

in ly

ric p

oetr

y,in

som

e se

ctio

n of

a n

ovel

or

play

, or

in a

sce

ne fr

om a

film

, we

can

catc

h a

glim

pse

of s

omet

hing

that

rem

inds

us

of a

dre

am e

xper

ienc

e.

I wou

ld a

lso

spec

ulat

e th

atth

e le

vel o

f the

psy

che

whe

redr

eam

s

orig

inat

e is

aki

n to

the

leve

l of s

trat

um o

f the

psy

che

whe

re c

reat

ive

wor

ks a

re in

itiat

ed.'°

The

stu

dent

s,in

mak

ing

cons

ciou

s co

ntac

tw

ith

that

leve

l in

them

selv

es, a

re s

ensi

tized

, are

put

in to

uch

thro

ugh

empa

thy

with

the

crea

tive

expe

rienc

ean

d em

otio

nal s

tate

s ex

pres

sed

in li

tera

ture

and

film

. An

awar

enes

s of

this

adds

to th

e in

telle

ctua

l stu

dyof

lite

ratu

re

a fe

elin

g di

men

sion

that

hel

ps s

tude

nts

gras

p th

e te

xtur

e or

flavo

r of

a

part

icul

ar p

iece

. Stu

dent

s be

gin

to c

atch

the

shim

mer

of s

igni

fican

t

mea

ning

in li

tera

ture

; the

yle

arn

to fe

el r

espe

ct a

nd a

ppre

ciat

ion

for

a

liter

ary

herit

age

that

pre

viou

sly

may

have

see

med

to th

em li

ttle

mor

e

than

irre

leva

nt d

eadw

ood.

It se

ems

to m

e th

at, p

rope

rly h

andl

ed,

drea

m w

ork

in th

e co

ntex

t of

the

Eng

lish

clas

s is

an

area

, a p

lace

, a w

ayto

ach

ieve

a r

eal i

nteg

ratio

nof

the

affe

ctiv

e an

d th

e co

gniti

ve d

omai

nsin

the

educ

ativ

e pr

oces

s.

CLO

SIN

G T

HO

UG

HT

S

No

one

shou

ld m

ake

the

mis

take

of a

ssum

ing

this

art

icle

cov

ers

the

full

rang

e of

pot

entia

lan

d po

ssib

ility

that

is im

plie

d by

drea

m s

tate

s an

d

thei

r co

nten

t. T

here

are

man

y as

pect

sof

the

drea

m e

xper

ienc

e an

d

ques

tions

con

cern

ing

wha

t rea

llydo

es h

appe

n in

the

stat

e of

dre

amin

g

that

are

not

touc

hed

upon

her

e.It

shou

ld b

e m

entio

ned

that

muc

h of

toda

y's

liter

atur

e on

drea

ms

com

es, o

f cou

rse,

from

var

ious

sch

ools

of p

sych

iatr

icth

ough

t; w

hile

du

Eng

lish

teac

h& w

ill h

ave

to r

ely

onth

is fo

r he

lp, i

t is

nece

ssar

y to

kee

pin

min

d th

at d

ream

ing

is a

n ac

tivity

of th

e he

alth

y ps

yche

as

wel

l as

the

dist

urbe

d ps

yche

; the

psy

choa

naly

ticpe

rspe

ctiv

e su

ffers

inev

itabl

e

dist

ortio

n be

caus

e it

is o

ne th

atth

inks

prim

arily

in te

rms

of d

istu

rban

ce,

unhc

alth

and

dis

ease

; it i

s w

ise,

ther

efor

e, n

ot to

mak

e bl

anke

tap

plic

a-

tions

of p

sych

oana

lytic

insi

ghts

or

tota

ke th

em fo

r in

falli

ble

and

univ

er-

sal t

ruth

s. T

he v

ario

us s

choo

lsof

thou

ght d

o no

t yet

them

selv

es a

gree

upon

suc

hba

sics

as

the

orig

in o

f dre

am a

ctiv

ityan

d th

e in

terp

reta

tion

of

drea

m c

onte

nt.

"R.I.

. Ste

vens

on, B

lake

, Poe

, Col

erid

ge,

Moa

n an

d S

aint

-S

uns

are

afe

w to

con

scio

usly

dra

w o

n dr

eam

act

ivity

forc

reat

ive

wor

k.

Pat

ricia

Pirm

antg

en61

We

are

just

at t

he s

tart

of s

yste

mat

ic s

tudy

of t

he v

ario

us a

spec

ts o

fdr

eam

act

ivity

, but

som

e in

tere

stin

g an

d pr

ovoc

ativ

e ph

ysio

logi

cal d

ata

has

alre

ady

emer

ged.

For

exa

mpl

e, in

his

boo

k, D

ream

s an

dth

e G

row

th

of P

erso

nalit

y, g

row

th th

erap

ist E

rnes

t Ros

si s

umm

ariz

esda

ta th

at g

ive

supp

ort t

o th

e vi

ew, h

e sa

ys, t

hat n

ew p

rote

in s

truc

ture

s ar

e ac

tual

lybe

ing

synt

hesi

zed

in th

e br

ain

durin

g th

e dr

eam

sta

te. D

r. R

ossi

say

s,"T

hese

new

org

anic

str

uctu

res

are

the

fore

runn

ers

of c

reat

ive

chan

ge in

our

view

of o

urse

lves

and

the

wor

ld. T

hey

are

the

biol

ogic

alfo

unda

tion

of a

nat

ural

ly o

ccur

ring

proc

ess

of c

onst

ruct

ive

chan

ge in

our

per

sona

l-iti

es a

nd b

ehav

ior.

""D

r. R

ossi

, lik

e m

any

othe

rs w

ritin

g on

dre

ams,

has

had

trai

ning

in th

eJu

ngia

n pe

rspe

ctiv

e on

the

hum

an p

sych

e. It

is m

y ex

perie

nce

that

an

Eng

lish,

hum

aniti

es o

r m

edia

teac

her

begi

nnin

g dr

eam

wor

k w

ill fi

ndm

ore

help

in th

e w

ritin

gs o

f peo

ple

trai

ned

in th

e Ju

ngia

nsc

hool

than

inth

e w

orks

of p

eopl

e fr

om th

e F

reud

ian

scho

ol."

Dre

am w

ork

in th

e cl

assr

oom

doe

s no

t cal

l for

ela

bora

te m

ater

ials

or

text

book

s; it

's li

ttle

mor

e th

an th

e ag

e-ol

d te

achi

ng p

roce

ss o

f the

log

with

the

mas

ter

at o

ne e

nd a

nd th

e st

uden

t at t

he o

ther

. Dre

am w

ork

can

be e

asily

and

cre

ativ

ely

inte

grat

ed in

to m

ost E

nglis

h or

hum

aniti

escu

rric

ulum

. It t

ies

in p

artic

ular

ly w

ell,

of c

ours

e, w

ith fi

lm; s

o w

ell t

hat I

som

etim

es a

sk m

ysel

f whe

ther

or

not t

he d

evel

opm

ent o

f film

is a

n ou

t-w

ard

proj

ectio

n of

cer

tain

inne

r ps

ychi

c pr

oces

ses

and

spac

e/tim

ere

latio

nshi

ps th

at o

pera

te a

t som

e le

vel w

ithin

us

but t

hat w

e ar

e pr

esen

tlyno

t cog

niza

nt o

f.T

he g

oal i

n th

e cl

assr

oom

is to

bui

ld a

con

scio

us, r

espo

nsib

le a

ndac

cept

ing

attit

ude

tow

ard

one'

s dr

eam

s an

d to

try

to u

se th

em a

s a

chan

nel t

o on

e's

crea

tivity

. The

wor

k w

ith d

ream

s in

the

clas

sroo

mco

ntex

t will

not

be

able

to r

educ

e th

e dr

eam

exp

erie

nce

to a

ver

baliz

edke

rnel

that

mak

es a

def

initi

ve s

tate

men

t abo

ut th

e m

eani

ng o

r m

essa

geof

a d

ream

; nev

erth

eles

s, s

ome

feel

ing

and

intu

itive

und

erst

andi

ng o

fdr

eam

con

tent

will

dev

elop

as

stud

ents

wor

k w

ith a

nd r

e-cr

eate

thei

r ow

ndr

eam

s. T

he s

tude

nts

also

find

in th

e ex

perie

nce

a va

luab

le fr

eedo

m to

"Ern

est R

ossi

, Dre

ams

and

the

Gro

wth

of P

erso

nalit

y (N

ew Y

ork:

Per

gam

on P

ress

,In

c., 1

972)

.

"Geo

rge

Ste

iner

sai

d, in

an

inte

rvie

w p

rinte

d in

Psy

chol

ogy

Tod

ay (

Feb

ruar

y, 1

975)

.ab

out J

ung:

"T

he m

ore

I try

to s

truc

twe

a m

odel

for

tran

slat

ion

for

the

way

we

mov

e fr

omla

ngua

ge to

lang

uage

via

imag

es a

nd 4

yinb

ols,

the

mot

,. I f

ind

in J

ung

sugg

estio

ns o

f ext

ra-

ordi

nary

inte

rest

. It l

ooks

as

if Ju

ng, m

ore

deep

ly th

an F

reud

, und

erst

ood

the

who

lepr

oble

m o

f the

nat

ure

of u

nive

rsal

ityno

t in

the

Cho

msk

ian

sens

e, b

ut in

the

way

that

lang

uage

cre

ates

fici

ions

, cre

ates

life

lies

, cre

ates

com

plex

sym

bols

. ..

.I b

elie

ve th

at J

ung

'S g

oing

to lo

om la

rger

and

larg

er in

the

trad

ition

."

n

91

62D

AIL

Y D

RE

AM

SH

AR

ING

?

take

ser

ious

ly th

is a

spec

t of

them

selv

es.

It c

ould

eve

n be

that

suc

hex

plor

-

atio

ns o

f th

eir

own

inne

r sp

ace

asta

ke p

lace

whe

n w

orki

ngw

ith d

ream

s

may

be

a fa

ctor

to h

elp

stud

ents

dec

ide

agai

nst t

ryin

g to

alte

r co

nsci

ous-

ness

thro

ugh

the

use

ofdr

ugs.

Dre

am s

tate

s th

emse

lves

can

be s

o ri

ch a

nd

vari

ed th

at a

stu

dent

mig

ht s

ay o

f dr

ugs,

"Who

nee

ds th

em?"

The

re a

re d

epth

s hi

nted

at a

ndm

yste

ries

abo

ut th

e na

ture

of

spac

e,

time

and

bein

g in

dre

ams

whi

chce

ntur

ies

of th

ough

t and

eff

orth

ave

still

not a

nsw

ered

, or

perh

aps

the

answ

ers

wer

e on

ce k

now

nan

d la

ter

lost

.

App

aren

tly, j

udgi

ng f

rom

Bib

lical

pas

sage

san

d ot

her

anci

ent l

itera

ture

such

as

the

Gre

ek m

yths

and

hea

ling

rite

s co

nnec

ted

to th

e go

dA

skle

pius

,

drea

ms

wer

e co

nsid

ered

sig

nifi

cant

by m

ore

than

one

soc

iety

and

used

in

heal

ing,

in r

elig

ious

rite

s an

d in

deci

sion

-mak

ing.

Rem

embe

r th

ePh

arao

h.

who

sto

red

grai

n ag

ains

t a f

amin

epr

edic

ted

in a

dre

am. I

t may

wel

l br,

that

in ta

king

an

inte

rest

in d

ream

s, a

s gr

oups

and

indi

vidu

als

are,

. tod

ay,

we

are

wor

king

our

way

back

to a

lost

wis

dom

or

art."

No

occa

sion

al a

nd p

erip

hera

lwor

k su

ch a

s th

at s

ugge

sted

inth

is a

rtic

le

is g

oing

to c

ompl

etel

y un

rave

l the

mea

ning

s, b

oth

indi

vidu

al. a

ndco

llee=

tive,

that

dre

ams

hint

at,

but w

ork

such

as

this

is o

f m

uch

impo

rtan

ce;

beca

use

it he

lps

peop

le o

pen

them

selv

es to

an

area

of

thei

r ow

nbe

ing

whi

ch is

ric

h in

mea

ning

and

prob

ably

clo

sely

alli

ed to

one'

s cr

eativ

e

tale

nts.

The

wor

k gi

ves

resp

ect t

ora

ther

than

igno

ring

a v

ital a

rea

of

activ

ity, f

or a

lmos

t one

-thi

rd o

fman

's li

fe is

spe

nt in

sle

ep.T

o re

-app

ly

Shak

espe

are,

".

.w

ho k

now

s w

hat d

ream

s m

ayco

me?

"C

ould

the

Am

eric

an p

sych

e be

tran

sfor

med

if, a

long

with

hom

eroo

ms

and

I.Q

.

test

s, A

mer

ican

sch

ools

wer

e to

have

dai

ly d

ream

wor

k?

RE

LA

TE

D R

EA

DIN

G

Cta

tOT

, J .E

., A

Dic

tiona

ry o

fSym

bols

. New

Yor

k: P

hilo

soph

ical

Libr

ary,

196

2.

(Als

o av

aila

ble

in p

aper

back

. Thu

sfa

r th

e on

ly s

ymbo

l dic

tiona

ryin

one

volu

me

that

I ha

ve fo

und

to b

e w

orth

havi

ng.)

FA

RA

DA

Y, D

R. A

NN

, Dre

am P

ower

. New

Yor

k: B

erkl

ey M

edal

lion,

1972

. (P

aper

-

back

. The

aut

hor's

per

sona

l exp

erie

nce

with

var

ious

sch

ools

of d

ream

anal

ysis

;

the

ecle

ctic

app

roac

h sh

e w

orke

d ou

tfor

her

self.

)

FR

oMM

, ER

ICII,

The

For

gotte

nLa

ngua

ge. N

ew Y

ork:

Hol

t,R

ineh

art a

nd

Win

ston

, 195

1. (

On

myt

h, d

ream

san

d fa

iry ta

les.

)

"Sta

nley

Krip

pner

, hea

d of

the

Mai

mon

ides

Dre

am L

abor

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92

ERICIRECSelected Abstracts from the ERIC Database

I

=M.

=Ar

s1

ERIC Clearinghouse on Reading,

English, and Communication

Indiana UniversityBloomington, Indiana

(812) 855-5847 or (800) 759-4723

9.3 BEST COPY AVAILABLE

Sample ERIC Abstract

AN EL/289160AU Binkley,-Marilyn-R.; And-Others?I Becoming a Nation of Readers: What Parents Can Do.CS Heath (D.C.) and Co., Lexington, Mass,; Office of Educa-

tional Research and Improvement (ED), Washington, DC.FY 1988AV What Parents Can Do, Consumer information Center,

Pueblo, CO 81009 ($.50).NT 40 p.; For Becoming a Nation of Readers: The Report of

the Commission on Reading, see ED 253 865.PR EDRS Price - MF01/PCO2 Plus Postage.DE Beginning-Reading; Literacy-Education; Parent-Attitudes;

Parent-Child-Relationship; Preschool-Children; Primary-Educcrtion; Renting-Aloud-to-Others; Reading-Attitudes;Recreational-Reading; Written-Language

DE 'Literacy.; 'Parent- Influence; `Parent-Participation; 'Read-ing- Instruction; 'Reading- Processes

ID Reading-MotivationAS Intended for parents and based on the premise that

parents are the children's first and most importantteachers, this booklet is a distillation of findings from the1984 report of the Commission on Reading, 'Becoming aNation of Readers.' The introduction reiterates theCommission's conclusions (1) that a parent is a child's firsttutor in unraveling the puzzle of written language; (2) thatparents should read to preschool children and informteach them about reading and writing; and (3) that parentsshould support school-aged children's continued growth asreaders. Chapter 1 defines reading as the process of con-structing meaning from written texts, a complex skill requir-ing the coordination of a number of interrelated sources ofinformation. Chapter 2, on the preschool years, focusesontalking to the young child, reading aloud to the pro-schooleI, and teaching children about written language.The third chapter, on beginning reading, counsels parentson what to look for in good beginning reading programsin schools, and how to help the child with reading at home.The fourth chapter, on developing readers and makingreading an integral part of learning, offers suggestions forhelping the child succeed in school and for encouragingreading for fun. The afterward calls on teachers,publishers, and school personnel, as well as parents, toparticipate actively in creating a literate society. The bookletconcludes with a Est of organizations that provide practicalhelp or publications for parents.

AN

TI

AU

PY

NTAV

PR.

DE

ID

AB

94

Interpretation of ERICAbstract Field Identifiers

ERIC accession number (Use this number when or-dering microfiche and paper copies.)Author(s)TitleCorporate sourceActual or approximate publication dateSource and price (availablity)Pagination and additional information (such aslegilifity or related documents)Indicates availability of document from the ERICDocument Reproduction ServiceDescriptors-indexing terms from the Thesaurus ofERIC Descriptors which indicate important conceptsin the documentIdentifiers-indexing terms not included in theThesaurus of ERIC DescriptorsSummary

O

GETTING COPIES OF THE ITEMS DESCRIBED IN THE ERIC DATABASE:

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Alternatively, you may prefer to consult the ERIC MicroficheCollection yourself before choosing documents to copy. Over 600libraries in the United States subscribe to this collection.. To findout which libraries near you have it, you are welcome to call the ERICClearinghouse on Reading and Communication Skillsat (812) 855-5847.Most such libraries have equipment on site for inexpensive productionof paper copies from the fiche.

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AN: ED337777AU: Thomson,-Karen-M.TI: Joseph Campbell, Jung, Anne Tyler, and "The Cards": The Spiritual Journey in "Searching forCaleb."PY: 1991NT: 17 p.; Paper presented at the Annual Meeting of the College English Association (22nd, SanAntonio, TX, April 18-20, 1991). "Filled" type throughout document.PR: EDRS Price - MF01/PC01 Plus Postage.DE: Authors-; Literary-CriticismDE: *Novels-; *Symbolism.-AB: Joseph Campbell, Carl Jung, and Anne Tyler have all dealt with spiritual journeys and card readingin their writings. In his book "Tarot Revelations," Joseph Campbell discusses his first association withtarot cards, dating from 1943, when he was introduced to the symoblism of playing cards by his friendand mentor, Heinrich Zimmer. Carl Jung was interested in working toward an expanded consciousness.Although professors, both Campbell and Jung were interested in going beyond academic knowledge andwere not limited to academic ways of pursuing knowledge. In "Searching for Caleb," a contemporarynovel about family relations, Anne Tyler shows the ancient and metaphysical routine of reading cardsfor guidance, counseling, and predictions. The novel provides a history of three generations of the Peckfamily, from before 1900 to the early 1970s. Grandfather Peck is searching for his brother Caleb whohad left home 61 years earlier. The female protagonist of the novel uses card reading to helpGrandfather Peck in his search. Tyler presents card reading in a positive light, as does Pulitzer Prizewinner Marsha Norman in her novel, "The Fortune Teller." Mainstream literature reflects a new andpositive approach to card reading. In "Searching for Caleb," the cards were a useful, positive,unconventional, and liberating part of the character's spiritual journey arid the adventure of life. (RS)

AN: ED330628AU: Doyle,-Patricia-E.; Fuller,-Roger-J.TI: The Jung Curriculum. An Interdisciplinary Curriculum and Resource Packet Designed for SecondaryStudents.CS: Oak Hill High School Board of Education, Sabattus, ME. Center for Curriculum Development.PY: 1990AV: Center for Curriculum Development, Oak Hill High School, Box 400, Sabattus, ME 04280($18.50).NT: 101 p.PR: EDRS Price - MFO1 Plus Postage. PC Not Available from EDRS.DE: Academically- 'Gifted; Curriculum-Guides; High-Schools; Instructional-Materials:Learning-Activities; Secondary-EducationDE: *Psychology--; *Secondary-School-Curriculum; *Symbolism-.AB: The ideas and concepts of Carl Jung are the basis for the materials of tI-4.s curriculum guide forteaching gifted students at the secondary level. Entitled "Man and His Symbols," the guide is organizedin five parts: (1) Approaching the Unconscious; (2) Ancient Myths and Modern Man; (3) The Processof Individuation; (4) Symbolism in the Visual Arts; and (5) Symbols in An Individual Analysis. Eachpart is organized in the following format: introduction; instructional objectives; required activities;

pre-test; questions for review; extra reading, research, and projects; for discussion and evaluation; andan insight and a reaction. (DB)

AN: ED315833AU: Phipps,-MauriceTI: The Myth and Magic of "Star Wars": A Jungian Interpretation.PY: 1983NT: 13 p.PR: EDRS Price - MF01/PC01 Plus Postage.DE: Fairy-Tales; Fantasy-; Imagery-; Motifs-; Mythology -; Psychology-; Science-FictionDE: *Film-CriticismAB: The "Star Wars" trilogy is a fairy tale projected into the future which exemplifies in a clear-cutmanner many of the archetypes of Jungian psychology. These films are modern retellings of ancientmyths. Carl Jung has described myths as "fundamental expressions of human nature." In the films, fairytale motifs such as typical clothing, helpful animals, knights, princess, emperor, Millenium Falcon,combined with primordial settings, are projected into the future with star ships, death stars and lightswords. Although the films take the spectator far into the future, connections to an unconscious past arenever forgotten. The popularity of these films could be attributed not only to the actors, specia t effects,and adventure but also to the connections with the collective and personal unconscious which the trilogycontimi-lly provokes. (SG)

AN: 7'3.305285AU: Jensen,-George-H.; DiTiberio,-John-K.TI: Personality and Individual Writing Processes.PY: 1984JN: College-Composition-and-Communication; v35 n3 p285-300 Oct 1984AV: UMIDE: Cognitive-Style; Higher-Education; Psychology-DE: *Writing-Instruction; *Writing-ProcessesAB: Discusses three approaches to allowing individual students to approach the writing process in theirown way. Describes one conceptual system for identifying learning styles in the writing classroom,based on Jungian psychological types. (HTH)

AN: ED:13823AU: Miller,-Lori-AnnTI: Thinking, Feeling, Intuiting and Sensing: UsingEmpower Student Writers.PY: 1989NT: 18 p.; Paper presented at the Annual MeetingCommunication (40th, Seattle, WA, March 16-18, 1PR: EDRS Price - MF01/PC01 Plus Postage.

the Four Psychological Functions as a Model to

of the Conference on College Composition and989).

97

DE: College-Students; Higher-Education; Writing-Improvement; Writing-ProcessesDE: *Cognitive-Style; *Grouping-Instructional-Purposes; *Models--; *Writing-InstructionAB: Writing is an act of self construction. Considering how students process information can improvethe quality of instruction in composing courses, but only if quantifiable, verified models of cognitivefunctions are taken to heart and applied to teaching methods in the classroom. C. G. Jung's model ofthe four functions (thinking, sensation, intuition, and feeling), and the Myers-Briggs Type Indicator(developed to discern preferences of cognitive style of thought) are useful for two reasons: (1) themodel's empowering and self-orienting descriptions of cognitive functions is richer and more complexthan other cognitive functions models, and (2) the model offers a useful guide in helping studentsunderstand their writing problems in the classroom. The four functions model predicts that people willshow a significant preference for certain kinds of information processing; will be predispose(' tocompose using certain well-developed skills and to ignore others; and will usually have predictablewriting habits, both good ano bad, that can be penetrated by using the Cognitive Functions Model togroup and work with individual students. This model also works well in cross-cultural classrooms, sinceit is a westernized version of a utf versal metaphor for seeking "wholeness." (A model of the fourfunctions and 27 references are attached.) (113/))

AN: ED303664AU: Rock,-Michael-E.TI: Psychoandragogy: Applying Insights from the Depth Psychology of Carl Jung to Adult Learning.PY: 1988NT: 19 p.; Paper presented at the Association of Canadian Community Colleges Conference (SaintJohn, New Brunswick, May 30-June 1, 1988).PR: EDRS Price - MF01/PC01 Plus Postage.DE: Adult-Students; Educational-TheoriesDE: *Adult-Development; *Adult-Education; *Andragogy-; *Psychoeducational-Methods; *Psychology-AB: The issue of relationship is important personally and organizationally. Individuals find themselves,discover who they are, existentially and psychologically speaking, in the living of their relationships.The question is then what adult education experience is available--solid in theory and in practice--toteach the art and science of the "90 percent factor"--90 percent because that proportion of the problemsin organizations are relationship issues. Psychoandragogy is one way to begin addressing and answeringthis question and the corresponding urgent learning need for exposure to and learning about one's innerworld as the major connecting link to a valued human journey. Adult educators should not ignore thereality, the influence, and the significance of "psyche" (soul) on "educatio" (learning). Adult educatorsneed to be trained and qualified for this linkage of psyche and 'education, for psychoandragogy. Threekey dynamics of the human journey lend themselves well to psychoandragogy: re-evaluation of thefeminine, listening and emotional education, and potential and shadow (Jung's name for the flip sideof °Ea' s conscious self-image). Management by insight (MBI) is one way to develop personal andinterpersonal awareness in managers. (YLB)

AN: EJ285522AU: Krippner,-Stanley

IDTI: A Systems Approach to Creativity Based on Jungian Typology.

PY: 1983IN: Gifted-Child-Quarterly; v27 n2 p86-89 Spr 1983

AV: Reprint: UMIDE: Models -; Problem-Solving; Social-Sciences; Theories-DE: *Creativity-, *Personality-Traits; *Social-ScientistsAB: Two dimensions of Carl Jung's psychological system (preference for information and choice ofdecision making processes) are applied to creativity research. Examples of four personality types(sensing- thinking, sensing-feeling, intuition-feeling, and intuition-thinking) are represented by prominent

social scientists. A systems model of science is proposed that illustrates the interdependence of each

component. (CL)

AN: EJ281087AU: Shear,-JohathanTI: The Universal Structures and Dynamics of Creativity: Maharishi, Plato, Jung and Various Creative

Geniuses on the Creative Process.PY: 1982JN: Journal-of-Creative-Behavior; v16 113 p155-75 1982

AV: Reprint: UMIDE: Meditation -; Transcendental-MeditationDE: *Creative-Development; *Creativity-, *Creativity-Research; *Theories-AB: Unique experiences of transcendental levels of awareness are examined relative to theories of

Maharishi Mahesh Yogi, Plato, and C. Jung; autobiographical reports by geniuses of their creative

processes; correlations measured between transcendental experiences, physiological functioning creative

ability; and the effect of these experiences on relative ability. (MC)

AN: ED274981AU: Crow,-EdithTI: Archetypes and Assignments: Writing about Personal Archetypes Aids Students in Writing

Composition Papers and Understanding Literature.PY: 1986NT: 12 p.; Paper presented at the Annual Meeting of the Conference on College Composition andCommunication (37th, New Orleans, LA, March 13-15, 1986).

PR: EDRS Price - MF01/PC01 Plus Postage.DE: Essays -; Higher-Education; Student-Motivation; Teaching-Methods

DE: *Assignments-; *Literature-Appreciation; *Student-Experience; *Writing-Composition;

*Writing-InstructionAB: Combining the study of archetypal patterns and literature study with assignments based onarchetypal schema engages students intellectually as they relate their personal experiences to textsoutside of themselves. This approach is grounded in the theory that engagement in a topic, whetherreading or writing, is essential for the learner to make meaning and provides archetypes as hooks to

engage students in creating meaning from literature and then writing essays of literary criticism.Expanding upon the writings of Jung, archetypes are recognized as the basic patterns from which copies

are made. A writing assignment guiding students in writing about the archetypes of initiation includes

99

a definition of initiation and information on the role to be assumed by the writers, the audience, theformat, and the topic. The student is to look at his or her life as text and select one initiationexperience, which should then be described vividly. Such use of the archetype is one way of leadingstudents into the realm of defining values, initiating them on to the path of wisdom. (JK)

AN: 0266363AU: Shaker,-PaulTI: The Application of Jung's Analytical Psychology to Education.PY: 1982JN: Journal-of-Curriculum-Studies; v14 n3 p241-50 Jul-Sep 1982DE: Curriculum -; Educational-Theories; Elementary-Secondary-Education; Foundations-of-Education;Higher-Education; Learning-Processes; Motivation -; Personality-DevelopmentDE: *Edudational-PsychologyAB: Discusses the application of Jungian analytical psychology to education. The author outlines Jung'sconcepts which relate to the foundations of education, personality development, cognitive processes,motivation, and curriculum theory. (AM)

AN: ED265916AU: Kassebaum,-PeterTI: Psychological Anthropology: A Modular Approach. Cultural Anthropology.CS: College of Marin, Kentfield, Calif.PY: 1986NT: 16 p.PR: EDRS Price MF01 Plus Postage. PC Not Available from EDRS.DE: Community-Colleges; Learning-Modules; Two-Year-CollegesDE: *Anthropology-, *Behavior-Theories; *Gestalt-Therapy; *Psychology-, *Psychophysiology-AB: Designed for use as supplementary instructional material in a cultural anthropology course, thislearning module traces the history of psychological anthropology, introducing various schools andperspectives within the field of psychology. First, a discussion is provided of biological determinism,examining its historical development and the extreme interpretations of the biological perspectivepopular in Germany following World War I. Next, physiological psychology is explained in terms ofits focus on the brain and nervous system, electrical models of brain functioning, biofeedback, andchemical models of behavior. The next section looks at the contributions of Sigmund Freud, describinghis theories of id, ego, and superego; oral, anal, phallic, latency, and genital stages; and the oedipaland electra complexes. The work of Carl Gustav Jung is considered next, with focus on his theories ofthe collective unconscious and archetypes. The final sections provide an overview of gestalt psychologyas championed by Dr. Fritz Penh, which examines behavior from a wholistic perspective; andbehaviorism as understood from the work of Ivan Pavlov and B. F. Skinner. Performance activitiesrelated to the module are included. (LAL)

AN: E1265254AU: Doll, -Mary

1U0

TI: Beyond the Window: Dreams and Learning.PY: 1982JN: Journal-of-Curriculum-Theorizing; v4 n1 p197-201 Win 1.982DE: Creative-Thinking; Cultural-Images; Curriculum-Development; Individual-DevelopmentDE: *Educational-Psychology; *Imagination-; *Self-ConceptAB: Seeing archetypally is educationally significant. A curriculum that uses dream speech provides anew dispensation for learning about the self and culture. Teachers skilled in following images couldconnect students first to their prime dream images and then to cultural expressions of these images. (Cl)

AN: ED260796AU: Short,-SusanneTI: Montessori Education from the Viewpoint of Analytical Psychology.PY: 1985NT: 20 p.; Paper presented at the Annual Seminar of the American Montessori Society (25th,Washington, DC, April 19-21, 1985).PR: EDRS Price - MF01/PC01 Plus Postage.DE: Early-Childhood-Education; Educational-Theories; Montessori-MethodDE: *Child-Psychology; *Educational-Philosophy; *Educational-Psychology; *Psychiatry-;*Psychoeducational-MethodsAB: Two disciplines, Montessori education and Jungian psychoanalysis, are connected by comparingthe lives of Maria Montessori and C.G. Jung and their early professional and philosophical influences.The historical associations of the Montessori philosophy dating from the 1920's and 1930's aredescribed, including the development of Montessori's views from the early theories of Jung and Freud.Specific psychoanalytic concepts of Montessori and Jung are compared and contrasted: namely, the ideasof the archetypes, the spiritual embryo, and sensitive periods. The author's personal experience withputting these ideas to work in the classroom or the psychological consulting room, based on her trainingas a Montessori teacher and a Jungian analyst, are descrf .ed. (DST)

AN: ED347557AU: Brand,-Alice, Comp.; Graves,-Dick, Comp.TI: Notes from Beyond the Cognitive Domain.PY: 1992NT: 47 p.; Summary of the Think Tank "Beyond the Cognitive Domain: Frontiers in the Teaching andLearning of Writing" presented at the Annual Meeting of the Conference on College Composition andCommunication (43rd, Cincinnati, OH, March 19-21, 1992). For the 1991 "Notes," see ED 332 221.PR: EDRS Price - MF01/PCO2 Pius Postage.DE: Higher-Education; Humanistic-Education; Learning-Processes; Theory-Practice-Relationship;Writing-Processes; Writing-ResearchDE: *Holistic-Approach ; *Learning -S trategies; *Learning-Theories ; *Writing-Instruction ;*Writing-Teachers

1 0Y

AB: This packet summarizes the ideas, concepts, suggestions, and speculations growing out of a thinktank which explored the uncharted region beyond cognitive learning. The packet contains: (1) analphabetical list of 1991 and 1992 participants; (2) a list of participants' interests according to keyterms; (3) summaries of small group discussions (including the topics "Imagery, Imaging," "Empathy,""Gender Issues," "Archetypes," "Meditation," "Kinetics, Body Wisdom," and "Creative Dramatics");(4)two presentations from the event ("Guidelines of Composing" by Sondra Perl and "Voice" by PeterElbow); (5) an account of the wrap up discussion; and (6) a short description of "clustering." (HB)

AN: ED347505TI: From Tales of the Tongue to Tales of the Pen: An Organic Approach to Children's Literature.Resource Guide. NEH 1989 Summer Institute.CS: Southwest Texas State Univ., San Marcos. Dept. of English.PY: 1989NT: 283 p.PR: EDRS Price MFO1 /PC12 Plus Postage.DE: Elementary-Education; Institutes-Training-Programs; Lesson-Plans; Multicultural-Education;Summer-Programs; Teaching-MethodsDE: *Childrens-Literature; *Fairy-Tales; *Folk-Culture; *Literature-Appreciation; *Mythology-AB: Developed from the activities of a summer institute in Texas that focused on "The Odyssey," folkand fairy tale, and folk rhyme, this resource guide presents 50 lesson plans offering a variety ofapproaches to teaching mythology and folklore to elementary school students. The lesson plans presentedin the resource guide share a common foundation in archetypes and universal themes that makes themadaptable to and useful in virtually any elementary school setting. The 13 lesson plans in the firstchapter deal with on "The Odyssey." The 25 lesson plans in the second chapter deal with folk and fairytale (stories are of European, American Indian, African, Mexican American, and Japanese derivation;two units are specifically female-oriented). The 12 lesson plans in the third chapter encompass folkrhymes (most are from Mother Goose). The fourth chapter presents a scope and sequence designed togive librarians a sequential guideline and appropriate activities for introducing and teaching mythology,folk and fairy tales, and nursery rhymes. Each lesson plan typically includes: author of plan; intendedgrade level; time frame (days and length of individual sessions); general information about the unit;materials needed; and a list of activities. (RS)

AN: EJ428904AU: Slattery,-CaroleTI: Thinking about Folklore: Lessons for Grades K-4.PY: 1991IN: Journal-of-Youth-Services-in-Libraries; v4 n3 p249-58 Spr 1991AV: UMIDE: Educational-Methods; Elementary-Education; Evaluation-Methods; Literary-Criticism; Motifs-;

Symbols-Literary; Units-of-StudyDE: *Childress-Literature; *Folk-Culture; *Learning-ActivitiesAB: Presents a series of lessons that can be used to teach children about underlying literary patterns infolklore. The six lessons address, the study of (1) nursery rhymes; (2) repetitive tales; (3) cumulativetales; (4) archetypes; and (5) the motif of the hero. Book titles that are representative of these categories

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are included. (six references) (MAB)

AN: EJ419786AU: Spencer,- PatriciaTI: African Passages: Journaling through Archetypes.PY: 1990JN: English-Journal; v79 n8 p38-40 Dec 1990AV: UMIDE: Foreign-Countries; High-Schools; Journal-Writing; Reading-Aloud-to-Others; Teaching-MethodsDE: *African-Literature; *Cultural-Awareness; *Cultural-Differences; *Student-JournalsAB: Explores how students (through an awareness of literary archetypes and journal writing) can useAfrican stories to cross cultures, time, and continents, making connections between their worlds andthe worlds of others. (MG)

AN: EJ414763: Chesebro,- James -W.; And-Others

TI: Archetypal Criticism.PY: 1990IN: Communication-Education; v39 n4 p257-74 Oct 1990AV: UMIDE: Higher-Education; Speech-Communication; Symbolism-DE: *Learning-Activities; *Rhetoric-; *Rhetorical-CriticismAB: Argues that archetypal criticism is a useful way of examining universal, historical, andcross-cultural symbols in classrooms. Identifies essential features of an archetype; outlines operationaland critical procedures; illustrates archetypal criticism as applied to the cross as a symbol; and providesa synoptic placement for archetypal criticism among other modes of rhetorical criticism. (SR)

AN: E3410465AU: Davis,-Jeffrey-K.TI: Archetypal Puppets Spark Good Writing.PY: 1990JN: College-Teaching; v38 n2 p49-51 Spr 1990AV: UMIDE: College-Instruction; Higher-EducationDE: *Freshman-Composition, *Playwriting-; *Puppetry-; *Stereotypes-; *Writing-InstructionAB: One teacher devotes a portion of the college freshman composition course to an archetypalapproach to literature, presenting students with basic story elements (archetypal patterns and characters)in myth and literature to which they can relate their own lives. Students create puppets and puppet playsin highly imaginative and entertaining ways. (MSE)

AN: 0386028AU: Sevillano,-Mando

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TI: Interpreting Native American Literature: An Archetypal Approach.PY: 1986JN: American-Indian-Culture-and-Research-Journal; v10 n1 p1-12 1986AV: UMIDE: American-Indian-Culture; Cultural-Context; Cultural-Differences; Culture-Contact; Religion-;

Story-TellingDE: *American-Indian-Literature; *Cross-Cultural-Studies; *Cultural-Pluralism; *Ethnology-;

*Literary-CriticismAB: Compares two approaches to discussing Indian literature and religion. Demonstrates Jungianarchetypal approach as transcultural method of analyzing Indian literature. Relates and analyzes Hopitraditional story. Emphasizes accessibility of Native American literature to the non-Indian whilesupporting multicultural plurality of interpretations. (TES)

AN: EJ324612AU: Haine,-GanoTI: "In the Labyrinth of the Image": An Archetypal Approach to Drama in Education.PY: 1985JN: Theory-into-Practice; v24 n3 p187-92 Sum 1985AV: UMIDE: Elementary-Secondary-EducationDE: *Dramatic-Play; *Imagination-AB: This article delineates an archetypal approach to drama in education. Participation in drama draws

on both conscious and unconscious imaginative capabilities and involves teacher and student in thebedrock of human reaction. Drama could provide us with valuable information concerning archetypes

as they unfold in the lives of our children. (MT)

AN: ED278016AU: Crow, -EdithTI: Shaping the Self: Using Steppingstones and Autobiography to Create and Discover Archetypes in

"An Illustrious Monarchy."PY: 1983NT: 17 p.; Paper presented at the Annual Meeting of the Conference on College Composition andCommunication (34th, Detroit, N11, March 17-19, 1983).PR: EDRS Price - MF01/PC01 Plus Postage.DE: Autobiographies-; Descriptive-Writing; Higher-Education; Literary-Devices; Personal-Narratives;Reading-Writing-Relationship; Student-Writing-Models; Teaching-Methods; Writing-Exercises

DE: *Creative-Writing; *Diaries-; *Literature-Appreciation; *Writing-InstructionAB: By following the "steppingstone" or marker theory of dividing one's life into no more than 12 and

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no less than 8 significant periods, a student in a writing course can develop a brief response for eachphase to articulate multiple experiences. Writing teachers can aid students in realizing that importantlife experiences are the stuff of which literature is made. This, in turn, often awakens in students aninterest in literature, so eager are they to see the metaphors writers use to describe their own vividexperiences. To delve into the inner life--pursuing dreams, doing free writing, fantasizing, creatingpatterns--the diary or journal can be used for the quest of identity in unravelling a student'sautobiography. It will frequently yield experiences that can be defined in archetypal patterns, such asdeath-rebirth, initiation, or quest. Thoreau transformed the experience of sounding the depths of WaldenPond to sounding the depths of his own self; he later imposed order on those experiences and produced"Walden," one of the most affirmative death-rebirth books in literature. Moving from the subjective tothe objective, learning can occur, and students studying essay models and literature can learn to relatethe private world to the public world. (An "illustrious monarchy" was a metaphor used by Ralph Waldoanerson to describe the inner life of the individual.) (NKA)

AN: ED276996TI: Literary Archetypes. Advanced Placement English Curriculum Guide.CS: Anne Arundel County Public Schools, Annapolis, Md.PY: 1985AV: Anne Arundel County Public Schools, 2644 Riva Rd., Annapolis, MD 21401 ($11.60).NT: 203 p.; Prepared by the Curriculum Writing Committee.PR: EDRS Price MF01 Plus Postage. PC Not Available from EDRS.DE: College-School-Cooperation; Course-Descriptions; Curriculum-Guides; High-SchoolsDE: *Advanced-Placement; *Advanced-Placement-Programs; *English-Instruction; *Literary-Criticism;*Literary-Genres; *Literature-AppreciationAB: Providing students with the opportunity to earn college credit while still in high school, theAdvanced Placement English course described in this guide is designed to help students (1) want tochoose from a wide range of literature for independent reading; (2) develop a critical awareness aboutliterature; (3) recognize connections among works of literature that span time, nationality, and genre;(4) increase their awareness of literature and good writing as major sources of civilization's significantideas; (5) respond thoughtfully to literature; (6) vary the tone of their writing; (7) experiment with formin writing; (8) evaluate ideas that contradict, deviate from, or reinforce their previously formedopinions; (9) evaluate their own writing as well as the writing of their peers; and (10) growintellectually and develop the skills necessary for critical reading, writing, and thinking. Based on thework of Northrop Frye, the course outlined in the guide is organized as a seminar and covers romance,tragedy, satire, and comedy. The bulk of the guide lists student abilities based on course objectives foreach quarter, with a corresponding enumeration of course content, activities, and resources. Sectionson instructional techniques and Advanced Placement journals are included, as is supplementaryinstructional material such as worksheets, sample tests and answer sheets, study guides, and variousstudent handouts. (JD)

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AN: EJ437359AU: House,-JeffTI: The Modern Quest: Teaching Myths and Folktales.PY: 1992JN: English-Journal; v81 n1 p72-74 Jan 1992AV: UMIDE: Secondary-Education; Teaching-Methods, Units-of-StudyDE: *Folk-Culture; *Literature-Appreciation; *Mythology-AB: Asserts that an effective approach to mythology should illustrate the connection among internationalmyths, folktales, and legends that continue to be told in current literature and media. Explains howsample units on mythology could implement two phases of instruction: an introductory unit, and areacquaintance with the themes of the first unit on later levels. (PRA)

AN: EJ432383AU: Lutz,-MarilynTI: Middle School Focus: Mythology and Its Significance to Reading Today.PY: 1989JN: Ohio-Reading-Teacher; v24 n1 p22-26 Fall 1989AV: UMIDE: Adolescent-Literature; Adolescents-; Junior-High-Schools; Middle-Schools; Reading-MaterialsDE: *Mythology-; *Reading-InstructionAB: Discusses mythology and its potential impact on adolescent readers. Discusses the relevance ofmythology and the elements in all mythologies. (MG)

AN: EJ346873AU: Reinehr,-FrancesTI: Storyteaching.PY: 1987IN: Teachers-and-Writers-Magazine; v18 n3 p1-7 Jan-Feb 1987AV: UMIDE: American-Indian-Literature; Bibliotherapy-; Classroom-Techniques; Discipline-Problems;Elementary-Education; Fables-; Imagination-; Legends-; Reading-Aloud-to-Others; Reading-Instruction;Reading-Writing-Relationship; Story-Telling; Writing-Exercises; Writing-for-PublicationDE: *Creative-Writing; *Fantasy-; *Mythology-, *Story-Reading; *Values-EducationAB: Discusses ways to use mythic literature to teach children about themselves and to help them writetheir own stories and legends. (SRT)

AN: EJ301211AU: Jensen,-Marvin-D.TI: Memoirs and Journals as Maps of Intrapersonal Communication.PY: 1984

JN: Communication-Education; v33 n3 p237-42 Jul 1984AV: UMIDE: Authors-; Cognitive-Processes; Communication-Thought-Transfer; Instructional-Materials;Memory-; Mythology-DE: *Autobiographies-; *Diaries-; *Personal-Narratives; *Self-Concept; *Writing-CompositionAB: Explores the use of introspective writing by others as a means of understanding two characteristicsof intrapersonal communication: the process of selective memory which defines and redefines personalhistory and the pattern of habitual thinking which confirms self-identity. Recommends the classroomuse of memoirs and journals. (PD)

AN: EJ287992AU: Sullivan,-PhilTI: Everyone a Hero: Teaching and Taking the Mythic Journey.PY: 1983JN: English-Journal; v72 n7 p88-92 Nov 1983AV: UMIDE: Higher-Education; Humanistic-Education; Secondary-EducationDE: *Literature-Appreciation; *Mythology-; *Self-Actualization; *Self-Concept; *Student-ReactionAB: Explains how the literary metaphor of the quest can be used as a tool in self-explorations. (MM)

AN: ED246467AU: Mueller,-Marie-R.-LindsayTI: The Universality of the Folktale with Examples from Days of Old.PY: 1984NT: 7 p.; Paper presented at the Annual Meeting of the Western Regional Reading Conference of theInternational Reading Association (10th, Reno, NV, March 1-3, 1984).PR: ERRS Price - MF01/PC01 Plus Postage.DE: Content-Area-Reading; Folk-Culture; Learning-Activities; Reading-Instruction;Reading-Material-SelectionDE: *Fables -; 4Legends-; *Literature-Appreciation; *Mythology-AB: A folktale may be defined as a tale of the people, a short, fast-moving oral or written adventurestory perhaps of a comic or romantic nature. It is a traditional story of a particular group of people andfollows a basic design. Since it is told by many storytellers, it has differing versions or variations.Because it has been handed down through the ages, its origin often is lost. Folktales include epics,ballads, legends, folksongs, fairy tales, myths, and fables. They are often formulaic, for example,"Henny Penny" or "The Sky is Falling In"; the chain tale, based on numbers, objects, or events; thedialogue pattern; and the accumulative stories as in "The House That Jack Built." Folk themes may beuniversal in nature. Many countries have stories following similar themes: foolish people who do foolishthings; virtues such as humility, kindness, honesty, and hard work; and the power of love and kindness.Perhaps the most universal of fairy tales is Cinderella, with some 1,000 versions extant. Often thevariation for a country reveals the character and values of the people. To make use of the wide varietyof literature offered in fairy tales, teachers can use the public library system and their local school orcounty film catalogues to explore the diverse material available. Activities for students can include

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making advertising posters for particular tales, making mobiles, wri"ng book reviews, and writingalternative endings to tales. (CRH)

AN: ED236628AU: Shuman,-R.-BairdTI: Fantasy and the Brain's Right Hemisphere.PY: [1981]NT: 12 p.PR: EDRS Price MF01/PC01 Plus Postage.DE: Comics-Publications; Creative-Thinking; Elementary-Secondary-Education; Legends -;Literature-Appreciation; Mythology -; Science-FictionDE: *Cerebral-Dominance; *Child-Development; *Cognitive-Development; *Fantasy-;*Neurological-Organization; *Teacher-RoleAB: While the left hemisphere of the brain is responsible for logical and verbal activity, the right brainis the center of much of human feeling and emotion. Its vision is holistic rather than segmented orcompartmentalized. Although schools today are geared almost exclusively to training the brain's lefthemisphere, fantasy literature can provide children with the opportunity to engage the whole brain. Asfantasy demands visualization, it immediately engages the right hemisphere. Having developed a strongbackground in fantasy literature, most children begin school with a good base on which teachers canbuild. In the early grades, fairy tales, fables, and myths should make up the storytelling and readingactivities. During the middle school or junior high school years, myths such as the Icarus or Herculeslegends will interest students, and as they pass through various stages of initiation the Arthurian legendwill appeal to them. Science fiction is another popular type of fantasy. The study of such literature canjar students out of linear thinking, help them to synthesize ideas, encourage them to thinkholistically. The teacher who is aware of how the two hemispheres of the brain operate is in an excellentposition to help students achieve the kind of independent and original thinking that will result in fullerand more productive lives. (HOD)

AN: ED347567AU: Wyatt-Brown,-AnneTI: From the Clinic to the Classroom: D. W. Winnicott, James Britton, and the Revolution in WritingTheory.PY: 1992NT: 17 p.; Paper presented at the Annual Meeting of the Conference on College Composition andCommunication (43rd, Cincinnati, OH, March 19-21, 1992).PR: EDRS Price - MF01/PC01 Plus Postage.DE: Educational-History; Elementary-Education; Higher-Education; Teacher-Attitudes;Writing-TeachersDE: *Classroom-Environment; *Psychiatry-; *Teacher-Student-Relationship; *Writing-Instruction;*Writing-ResearchAB: Recent writing theorists have recommended the use of collaboration and workshop techniques inwriting classrooms, and the clinical experience of Donald C. Winnicott lies at the heart of this currentthinking about collaborative classrooms. Winnicott's observations of mothers and infants produced arespect for families and a skepticism about the role of the physician. Winnicott's confidence in the

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patient and his detached observation with minimal interference had an important influence on JamesBritton. Britton was especially reQ2tive to these new ideas because he valued the importance of fantasyin children's lives. Britton and his colleagues subsequently attempted to stimulate classroom researchon how children actually learn to write, developing new methods and innovations. Britton believed inthe inherent creativity of children and felt that traditional teaching inhibited student creativity. Thanksto Britton's influence, a whole generation of research-scholars have adapted Winnicott's techniques forthe composition classroom. Lucy Calkins' work provides a remarkable example of Winnicott'stechniques at work, although she never mentions either Winnicott or Britton. The connections betweenCalkins and Winnicott, though indirect, suggest a growing consensus among researchers. Even advancedwriting programs can benefit from the techniques initiated by Winnicott. In short, numerous researchershave benefitted from Winnicott's influence and techniques, and his continued influence can only improvethe current writing classroom environment. (Twenty-nine references are attached.) (HB)

AN: ED253850AU: Walker,-Barbara-J.TI: Using Guided Fantasy to Teach Reading.PY: 1984NT: 11 p.; Paper presented at the Annual Meeting of the Rupertsland Regional Reading Conference(2nd, Regina, Saskatchewan, April 12-14, 1984).PR: EDRS Price - MF'01/PC01 Plus Postage.DE: Elementary-Education; Holistic-Approach; Reading-Skills; Teaching-Methods;Vocabulary-Development; Writing-CompositionDE: *Beginning-Reading; *Fantasy-; *Imagery-; *Reading-Instruction; *Sensory-Experience;*Teacher-RoleAB: Based on gestalt psychology, guided fantasy is a technique that uses sensory images related to aparticular situation to create a subjective understanding of that experience. For the young child, guidedfantasy can be a process of creating an inner subjective experience that is subsequently integrated withobjective knowledge (language) to produce holistic learning. The method begins with a teacher-directedjourney eliciting vivid imagery about an imaginary trip and using vocabulary words which are to beintroduced. After the journey is complete, the students share their journey in pairs, verbalizing innerexperiences immediately. The children are reminded that words signify the pictures and feelings theyhad when their eyes were closed. After the immediate sharing of the story, the students write a storythat will symbolize the individual experiences each person had. Used as an approach to readinginstruction, the fantasy experiences should incorporate target sight vocabulary so that inner journeys canproduce a regular and controlled vocabulary. Subsequent fantasy experiences can be constructed toencourage the students to use these same words or other vocabulary words. After the story is recorded,skill development appropriate for each student's level can be created using the language patterns in thestory. Starting with a preconceptual experience, fantasy experience allows reading to flow from adream-like experience into meaningful written communication. A description of the use of a guidedfantasy in a classroom is included in the document. (HOD)

AN: ED233533AU: Valett,-Robert-E.

T1: Strategies for Developing Creative Imagination & Thinking Skills.PY: 1983NT: 182 p.; Portions are marginally legible.PR: EDRS Price - MF01 Plus Postage. PC Not Available from EDRS.DE: Creative-Activities; Creative-Thinking; Developmental-Stages; Discovery-Processes;Educational-Strategies; Elementary-Secondary-Education; Fantasy-; Humor-; Learning-Modalities;Sensory-Experience; Visualization-DE: *Creative-Development; *Creativ ity-; *Imagination-; *Instructional-Materials; *Learning-Activities;*Problem-SolvingAB: A practical guidebook of ideas, lesson materials, and related resources for developing imaginativeand productive thinking skills of children is presented to assist teachers and parents. Emphasis is placedon the use of strategies and techniques that enhance originality, mental imagery, reverie, reflection,humor, novel playfulness, and divergent (but productive) thinking. It is suggested that such instructionis important to enable the learner to think through and effectively deal with the complex world. Anintroduction to creative imagination, the human mind, and developmental stages, and ways to developimagination through the educational process, are addressed in the first four chapters. Chapter 5considers various instructional models and programs by which creative imagination can be developed;they involve promoting relaxation and "centering," sharpening and enhancing the image, andsymchronized learning. In addition, nine goals useful in teaching creative imagination andproblem-solving skills are presented in a developmental hierarchy. In chapter 6, resource materials andstrategies that may be implemented in lesson form are described. Chapter 7 presents learning activitiesthat emphasize the importance of using basic sensory processes, such as touching, tasting, and hearingin the development of imagination. Chapters 8 through 12 provide learning activities related to thefollowing: directed fantasy, imaginative situations, creative thinking, linguistic strategies, anddeveloping a sense of humor and divergent thinking. Lastly, chapter 13 discusses creativity in general.A list of approximately 72 references is appended. (SW)

AN: EJ396454AU: Danielson,-Kathy-EvertsTI: Childhood Memories.PY: 1989IN: Writing-Teacher; v2 n5 p26-30 Apr-May 1989NT: Available from ECS Learning Systems, Inc., P.O. Box 791437, San Antonio, TX 78260.DE: Childrens-Literature; Class-Activities; Elementary-Education; Family-History; Teaching-MethodsDE: *Reading-Writing-Relationship; *Writing-Exercises; *Writing-InstructionAB: Provides numerous ideas for helping students write about special memories in the followingcategories: growing up--future dreams; authors and illustrators; family history; special places; andspecial memories. Describes how to write a "bio poem," and includes a bibliography of children's booksthat enhance and enrich student learning and writing. (SR)

AN: EJ373917

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AU: Rousso,-June; Gross,-AugustaTI: Talking with Young Children about Their Dreams: How to Listen and What to Listen For.PY: 1988jN: Young-Children; v43 n5 p70-74 Jul 1988AV: UMIDE: Classroom-Techniques; Early-Childhood-Education; Emotional-Experience;Teacher-Student-Relationship; Teaching-GuidesDE: *Classroom-Communication; *Group-Discussion; *Listening-Skills; *Teacher-Role;*Young-ChildrenAB: Addresses aspects of talking with young children about their dreams. Explains why dreams areworthwhile topics of conversation with young children and what approaches are effective in facilitatingdiscussion of dreams in class. (BB)

AN: ED298515AU: Butler,-Sydney-J.; Bentley,-RoyTI: Lifewriting: Surfacing What Students Really Want to Write About.PY: 1987NT: 16 p.; Paper presented at the Annual Meeting of the National Council of Teachers of English (77th,Los Angeles, CA, November 20-25, 1987).PR: EDRS Price - MF01/PC01 Plus Postage.DE: High-Schools; High-School-Students; Personal-Narratives; Writing-ResearchDE: *Prewriting-; *Student-Interests; *Writing-InstructionAB: Investigating the differences between students' conventional responses to the identification ofwriting topics and their responses to matters of real concern (as revealed through the use of "lifewriting"processes in the classroom), an exploratory study surveyed 455 eleventh and twelfth grade students atthree large urban high schools. Students listed possible writing topics on 3 x 5 cards. After a classdiscussion about significant places, people, or turning-points in their lives, students wrote their finaltopic choice on the back of the card. (In the pilot study, three ninth grade classes simply listed their firsttopic choice.) Cards which contained both responses (61% of all cards) were analyzed, comparing initialand final topic choices. Initial choices included: (1) dreams; (2) fears and frustrations; (3) familyrelationships; (4) first experiences; and (5) vacations. The students' final topics included drugs, summerholidays, and family and pets, with grade 12 students emphasizing "putting one's life in order,""concern with finances," and "My Very First..." (love or car). Results indicated that students werestruggling to find things in their lives to write about. (Appendixes include a handout describinglifewriting, a description of the lifewriting project, and instructions to the teachers involved in thestudy.) (MM)

Al ED264562TI: Writing Assignment of the Month. [Compiled from Columns in Six Issues of "Notes Plus": April,

September, November 1984; January, April, September 1985.]CS: National Council of Teachers of English, Urbana, M.PY: 1984JN: Notes-Plus; v 1 n4 v2 n1-4 v3 n1 1984-1985NT: 9 p.PR: EDRS Price - MF01/PC01 Plus Postage.DE: Assignments-; Class-Activities; Classroom-Techniques; Creative-Writing; Secondary-Education;Teaching-Methods; Writing-ImprovementDE: *English-Instruction; *Learning-Activities; *Literature-Appreciation; *Student-Motivation;*Writing-Instruction; *Writing-SkillsAB: The nine teaching activities presented in these six extracted journal columns focus on writingassignments. The first assignment (by Gail Parson) presents a unit in which students compare thetechniques used by four respected authors to evoke the world of dreams, and thenusing what they learnfrom reading and talking about these stories--they write an original story built on dreams. The secondassignment (by Mary Burman) combines new fiction for junior high students with topics for libraryinvestigation by assigning a novel to read along with an investigation of the social or personal problemdealt with in the novel. The third assignment (by John Bushman) suggests activities for prewritingbefore a writing unit and before specific assignments. The fourth assignment (by L. D. Groski) offersstudents an opportunity to explore the effects of clothes in people's lives and literature through writing,classroom discussion, and reading short stories. The fifth assignment (by Kristen Leedom) involveshaving students from Edgar Lee Master's "Spoon River Anthology," do research on ancestors and writea poem about them, write a poem about themselves, and publish a booklet. The sixth assignment (by

110James Upton) presents a list of writing guidelines and related activites. The seventh assignment (by AmyLevin) discusses teaching students how to write vivid descriptions of ordinary objects. The eighth andninth assignments, (by Duane Pitts and Joseph Foley, respectively) based on Maurice Sagoff s"Shrinklits," require that students use their own words and imagination to paraphrase a poem, story,chapter, or novel in several short rhymed verses. (EL)

AN: EJ261472AU: Jacobsen,-MaryTI: Students Write Stories: Inside-Out and Outside-In.PY: 1981JN: English-Quarterly; v14 n4 p41-48 Win 1981-82DE: Fiction-; Group-Activities; Higher-Education; Newspapers-DE: *Creative-Writing; *Prewriting-; *Teaching-Methods; *Writing-Composition; *Writing Instruction.AB: Describes how students can be encouraged to draw upon their imaginations and upon theirobservations of and speculations about the outside world to write their own short fiction. (AEA)

AN: EJ253756AU: Roberts, - Thomas -B.TI: Expanding Thinking Through Consciousness Education.PY: 1981JN: Educational-Leadership; v39 n1 p52-54 Oct 1981

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AV: Reprint: UM.1DE: Elementary- Secondary - EducationDE: *Creative-Thinking; *Imagination-; *Teaching-MethodsAB: By encouraging students to use their minds in new ways, consciousness education enhancesawareness and creativity. Examples include using guided cognitive imagery to introduce new materialand using dreams for introducing students to poetry. (Author/MLF)

AN: ED244261AU: Apseloff,-MarilynTI: Children's Poetry: Writing as an Awakening.PY: [1979]NT: 18 p.PR: EDRS Price - MFOI/PC01 Plus Postage.DE: Childhood-Attitudes; Childrens-Literature; Elementary-Secondary-Education; Teaching-Methods;Writing-Instruction; Writing-SkillsDE: *Anthologies-, *Childhood-Interests; *Creative-Writing; *Imagination-; *Poetry-;*Student-MotivationAB: There has been a remarkable amount of production and publication of children's poetry since the1960s. One of the early, popular anthologies of children's poetry was "Miracles" (Simon & Shuster,1966), with poems from English-speaking countries revealing how imaginative children could be andtheir use of metaphors. "The Me Nobody Knows: Children's Voices from the Ghetto" (Avon, 1969)is a collection that appeared at the end of the decade revealing that inner-city children wanted to andcould express themselves in writing. "Mad Sad & Glad" (Scholastic, 1970) contains poems from theScholastic Creative Writing Awards, demonstrating the junior and senior high school writers' interestin language and imagery. Kenneth Koch's "Wishes, Lies, and Dreams" (Random House, 1970; Vintage,1971) contains an essay on teaching children to write poetry, and presents the results of classroomcollaborations that gradually led children to create their own works. In 1971, several collectionsappeared, among them "Peace Is You and Me" (Avon, 1971), which used more rhyme than is foundin other collections. "Male & Female Under 18" (Avon, 1973) contains prose and poetry about youngpeople's sex roles in today's society. This collection is more important for what it says than for howwell the thoughts are expressed. These and other collections reveal that children have "potential" aspoets; many of them are highly observant and imaginative. Children should be encouraged to write andlearn more about the craft. (Samples of poetry from some of the collections discussed are included.)

(HTH)

AN: ED215370AU: Spinks,-C.-W.TI: DREAMS: Reading the Songs of the Self.PY: 1982NT: 14 p.; Paper presented at the Meeting of the Conference on College Composition andCommunication (33rd, San Francisco, CA, March 18-20, 1982).PR: EDRS Price - MF01/PC01 Plus Postage.DE: Emotional-Experience; Expressive-Language; Higher-Education; Imagination-; Learning-Activities;

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Teaching-MethodsDE: *Creative-Writing; *Poetry-; *Self-Expression; *Writing-InstructionAB: Dreams can be used to draw students into an authentic expression of their creativity and to givethem some validation for what they are as persons. A "dream seminar" in a writing course could havestudents read and discuss Whitman's "Leaves of Grass"; log, report, and discuss their dreams duringthe course; and explore other forms of expressive writing. The dreams would serve as a personal andcultural touchstone for the imaginative and the authentic. The public sharing of these private experiencesreveals the commonality of those experiences while respecting the authenticity of the individual. Thereare four functions of the dream seminar: (1) it is a self-governed and self-driven class; (2) it tapscreativity directly in two supportive ways, psychological and rhetorical; (3) it yokes together therhetorical polarity of public versus private writing; and (4) it provides student writing with validationand authenticity. Some possible problems with the dream seminar include avoidence behavior amongthe students, a tendency on the part of the students to consider the course "silly," and the responsiblityof the teacher to balance the self-growth aspects with academic evaluations. Used properly, a dreamseminar can produce a continual laboratory for examination of rhetorical responsibility and personalinteraction within the context of creativity and writing that engages in the evaluation of literary culture.(HOD)

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116

In-Service Workshops and. Seminars

Suggestions for using this Hot Topic Guide as aprofessional development tool

Before the workshop

Carefully review the materials presented in the Hot Topic Guide. Thinkabout how these ideas apply to your particular school or district.

As particular concepts begin to stand out in your mind as beingimportant, use the Bibliography section to seek out additional resourcesdealing specifically with.those concepts.

Look over the names of the authors and researchers cited in the Articlesand Bibliography sections. Do any of them work in your area? Perhapsyou could enlist their help and expertise as you plan your workshop orseminar, or there may be other resource people that you could consult.

As you begin to plan your activities, develop a mental picture of whatyou'd like to see happening in classrooms as a result of this in-serviceworkshop. Keep that idea in mind as a guide to your planning.

After you have developed a draft plan, you may wish to let one or twocolleagues look over your Hot Topic Guide and then critique yourworkshop plan.

During the Workshop

Give your participants a solid grasp of the background information, butdon't load them down with an excessive amount of detail. You maywish to use the Overview section as a guide.

Try modeling the techniques and principles by "teaching" a mini-lessonbased on the ideas of the Hot Topic Guide.

Remember that, as teachers ask you challenging questions, they are nottrying to discredit you or your ideas. Rather, they are trying to preparethemselves for situations that may arise as they implement these i leasin their own classrooms.

If any of the participants are already using some of these ideas in theirclasses, encourage them to share their experiences.

Include at least two hands-on activities so that the participants willbegin to get a feel for how they will execute the principles you havediscussed.

Try to include time in the workshop for teachers to work in smallgroups and formulate a plan for how they will include the concepts ofthe workshop in their own setting.

Encourage teachers to go a step further with what they have learned inthe workshop. They may wish to link up with colleagues for mutualsupport in trying out these new ideas, spread the word to otherteachers who were not in the workshop, or seek out Hot Topic Guides oftheir own for further investigation.

After the Workshop

Follow up on the work you have done. Do an informal survey todetermine how many of your participants have actually incorporatedthe concepts from the in-service workshop into their practice.

When teachers are trying the new techniques, ask them to invite you toobserve their classes. Have any surprising results come up? Are thereany unforeseen problems?

As you discover success stories among the teachers from your seminar,share them with those teachers who seem reluctant to give the ideas atry.

Find out what other topics your participants would like to see coveredin future workshops and seminars. There are over fifty Hot Topic Guides,and more are always being developed. Whatever your focus, there isprobably a Hot Topic Guide that can help.

Planning a Workshop PresentationWorksheet

Major concepts you want to stress in this presentation:

1)

2)

3)

Are there additional resources mentioned in the Bibliography that would be worthlocating? Which ones? How could you get them most easily?

Are there resource people available in your area whom you might consult rbout thistopic and /or invite to participate? Who are they?

What would you like to see happen in participants' classrooms as a result of thisworkshop? Be as specific as possible,

Plans for followup to this workshop: [peer observations, sharing experiences, etc.)

1 1 9,

Agenda for WorkshopPlanning Sheet

Introduction/Overview:[What would be the most effective way to present the major conceptsthat you wish to convey?]

Activities that involve participants and incorporate the main concepts of this workshop:

1)

2)

Applications:Encourage participants to plan a mini-lesson for their educational setting thatdraws on these concepts. [One possibility is to work in small groups, duringthe workshop, to make a plan and then share it with other participants.]

Your plan to make this happen:

Evaluation:[Use the form on the next page, or one you design, to get feedback fromparticipants about your presentation.]

120

END-oF-SEssion EveuffrnomNow that today's meeting is over, we would like to know how you feel and

what you think about the things we did so that we can make them better. Youropinion is important to us. Please answer all questions honestly. Your answers areconfidential.

1. Check ( ) to show if today's meeting was

Not worthwhile Somewhat worthwhile Very worthwhile

2. Check ( ) to show if today's meeting wasNot interesting Somewhat interesting Very interesting

3. Check ( ) to show if today's leader wasNot very good F-3 Just O.K. Very good

4. Check ( ) to show if the meeting helped you get any useful ideas about how you

can make positive changes in the classroom.

Very little 1:3 Some Very much

5. Check ( ) to show if today's meeting was

Too long Too short Just about right

6. Check ( ) whether you would recommend today's meeting to a colleague.

0 Yes ED No

7. Check ( ) to show how useful you found each of the things we did or discussed

today.

Getting information/new ideas.

Not useful Somewhat useful Very useful

Seeing and hearing demonstrations of teaching techniques.

Not useful Somewhat useful F.:3 Very useful

Getting materials to read.

Not useful Somewhat useful Very useful

1 )1

Listening to other teachers tell about their own experiences.

Not useful Somewhat useful Vezy useful

Working with colleagues in a small group to develop strategies of our own.

1:] Not useful Somewhat useful Very useful

Getting support from others in the group.

Not useful [Zi Somewhat useful 1:1 Very useful

8. Please write one thing that you thought was best about today:

9. Please write one thing that could have been improved today:

10. What additional information would you have liked?

11. Do you have any questions you would like to ask?

12. What additional comments would you like to make?

Thank you for completing this form.

12 2

NNW III IIII IN V NIAll Hot Topic Guides are designed for grades K-12, except for those otherwise noted. Circle those Hot Topics you would likemailed to you at $16 each, and mail this form (along with payment) to Hot Topic Guides, ER1C/REC, Indiana University, SmithResearch Center, Suite 150, 2805 East Tenth Street, Bloomington, IN, 47408.

54 NEW!! Mythic-Archetypal Methods Forthe language Arts.(Secondary)

55 NEW!! Using Dreams to StimulateCreative Writing

56 NEW!! Outcome-Based Education:Defining the language Arts Curriculum

1 Developing Oral Language

2 Expanding Thematic Units beyond theTextbook

3 Using Folk Literature

4 Reading in the Content Areas(Secondary)

5 Writing as a Response to Reading

6 Collaborative and CooperativeLearning Techniques .

7 Involving Parents in the ReadingProcess

8 Applying Various ComprehensionStrategies

9 Using Skills and Strategies for EffectiveLearning

10 Assessing Performance throughInformal Techniques

11 Trends and Issues in ReadingEducation

12 Observation and Feedback

13 Extending the Basal (Elementary)

14 The Changing Perspective in ReadingAssessment

15 Grouping Students and PacingInstruction (Elementary)

16 Guiding At-Risk Students in theLanguage Arts Classroom

17 Evaluating the Progress of the SchoolReading Program

18 Promoting Language Growth acrossthe Curriculum

19 Developing Thinking Skills throughLiterature

20 Role of Metacognition in Reading toLearn

21 Language Diversity and ReadingInstruction (Elementary)

22 Motivating Low Performing Students(Secondary)

23 Television Viewing and Reading

24 Reader Response Theory and RelatedInstructional Strategies

25 Developing a Decision-Making Plan forthe Reading Teacher (Elementary)

26 What Works? Summary. of Researchabout Teaching Reading (Elementary)

27 The Computer as an Aid to ReadingInstruction (Elementary)

28 Reading Programs for Gifted Readers(Elementary)

29 Organizing the Classroom for onExpansive Reading Curriculum(Elementary)

30 Vocabulary Expansion ImprovesReading and Learning

31 Writing Apprehension and the WritingProcess

32 Writing as Exploration

33 Computers and Writing

34 Journal Writing

35 Making Writing Public (Elementary)

36 Spelling and the Writing Process

37 Strategic Thinking through lUriting

38 Peer Response in Learning to Write

39 The Role of Grammar and theTeaching of Writing (Elementary)

40 The Relationship between Readingand Writing

41 Children and the Library (Elementary)

42 Classroom Drama as an InstructionalTool

43 Language Learning and the YoungChild (Elementary)

44 Cultural Literacy

45 Writing Strategies for Gifted Students

46 Developing Listening and SpeakingSkills

47 Ways to Evaluate Writing

48 Integrating the Language Arts(Elementary)

49 Appreciation of Literature

50 Writing across the Curriculum

51 Parents os Tutors in Reading andWriting

52 Resources for Home Learning Activitiesin the Language Arts

53 Hispanic Parental Involvement

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