Mouth feel

The other morning as I waited for the espresso to make its gravity-defying journey into the upper chamber, I paced the kitchen in despair. My literature review was allowing me to delve into many pockets of insight regarding Maxine's work but not one bit of the reading mentioned the "lived life." I've been making my own connections with terms like "life world" and "situatedness" but the "l-l" grail was out of reach.

In a recent comment to Allan DiBiase, I noted that I have found myself "linking arms" with the word "embodiment." Likewise with "situatedness." As with the "lived life," these are words/terms that prick up my ears (to borrow from John Lahr and Joe Orton).

This past summer I had a theatre artist in a graduate arts education course that I teach. In my teaching--which utilizes an approach developed by the Lincoln Center Institute based on Maxine Greene's philosophy--there is lots of reflection and sharing. When words or phrases emerge that prick up my ears, I write them down on the whiteboard, or chart paper. It's not unusual for the walls to be covered in words and phrases by the week's end. My student was excited by the word tent we were living in. "It's because I'm a theatre person," she explained. "I LOVE words."

As my roommate in Queens (and now a philosophy professor in the Midwest) used to say, "mmm, texty!"

"Lived life," "embodiment" and "situatedness" are mmm, texty. They have mouth feel for me. It may indeed be a theatre thing, but they represent a sensibility that can be physicalized in my mind/body. While "embodiment" is low in my anatomy, around the hips and my center of gravity, "situatedness" is all about the mouth and its articulators--the lips, the teeth, the tip of the tongue.

I have decided to use "embodiment" and "situatedness" as part a framework for how I will present my review of the literature. And because odd numbers are more interesting than even ones, I have added "aesthetic." This third term is important given the uniqueness with which Maxine approaches the term.

And while imagination is a theme that comes up over and over again in the writings of others on Maxine's work, I want to make sure that my work on Maxine Greene is aligned with "aesthetics." There has been a tendency to equate "imagination" with "aesthetic" and it is simply wrong.

Besides, "aesthetic" has a far more interesting mouth feel than "imagination."

The lived-through versus the lived life

I am scouring Merleau-Ponty's "Phenomenology of Perception" in an attempt to understand Maxine Greene's development of the "lived life." Though I haven't come across the "l-l" paradigm, I have used the occasion to try to find the origins of le corps vecu or, "the lived body," as mentioned in Baldacchino. After running around in circles, I have come across discussions in papers posted on the Internet about Merleau-Ponty and Husserl and their views on "le corps vecu" or in the case of Husserl, "Leib." I will now take a look at Husserl to try to come to terms with "Leib." (Thank goodness for holiday gift cards redeemable at book retailers.)

In my quest for "le corps vecu" in Merleau-Ponty, I came across instances of the "lived-through." In closing the mind/body split, Merleau-Ponty proposes that it is a synthesized and unified body that grasps meaning and that the body is a "grouping of lived-through meanings."

Later in the book, the "lived-through" takes on qualifiers such as "purely" and "merely." Merleau-Ponty makes it clear that the lived-through in and of itself is not an experience without the possibility of expression: "Moreover, there is no experience without speech as the purely lived-through has no part in the discursive life of man."    

So now I ask, is the "lived life" in Maxine Greene a more fully realized concept of experience than the merely "lived-through"? Is the "lived life" a fuller embodiment that takes into account expression? Time will tell...

Embodiment

I'm reading, reading, reading. Hoping that the reading, reading, reading is going to elicit a literature review. A literature review of what? I'm still not sure. I have written about using the review as an opportunity to investigate the writers who have impacted Maxine Greene as a means towards defining key concepts/words/ideas. I liked that idea but somehow it seemed overwhelming to me. Readers and students often respond to Greene as being extraordinarily well-read, extremely literate. And as readers and students we often feel incapable of matching such an well-read, literate mind.

Another idea is to review what others have written about Greene in an effort to get a glimpse from elsewhere as the origins and meanings behind my search of the "lived life" in Greene's works. Naturally, I am having difficulty finding anything that touches on the phrase either within Greene's canon and elsewhere in philosophy, literature, education.

But I did come across some essays that explore Merleau-Ponty's le corps vecu in Baldacchino's "Education Beyond Education." The lived body or "embodiment" was the existentialist reconciliation of the mind/body split. It promotes an active stance towards philosophy and knowledge and helps us to understand Greene's promotion of doing philosophy.

In thinking about this, I was reminded of my own corps vecu training in acting. Training at the Experimental Theatre Wing at NYU, I encountered a number of physical approaches to creating and doing theatre. Jerzy Grotowski was a god on the 2nd floor of 721 Broadway. Grotowski wrote:

"The rhythm of life in modern civilization is characterized by pace, tension, a feeling of doom, the wish to hide our personal motives and the assumption of a variety of roles and masks in life (different ones with our family, at work, amongst friends or in community life, etc.-). We like to be 'scientific', by which we mean discursive and cerebral, since this attitude is dictated by the course of civilization. But we also want to pay tribute to our biological selves, to what we might call physiological pleasures. We do not want to be restricted in this sphere. Therefore we play a double game of intellect and instinct, thought and emotion; we try to divide ourselves artificially into body and soul. When we try to liberate ourselves from it all we start to shout and stamp, we convulse to the rhythm of music. In our search for liberation we reach biological chaos. We suffer most from a lack of totality, throwing ourselves away, squandering ourselves."

There was a great deal of shouting and stamping in those ETW studios. As actors we were embodying the text, the action, the story. Nancy Lesko in "Feeling the Teacher" writes about her own embodiment of Greene's teachings as a result of her sabbatical sojourn to Teachers College in 1996. As a yoga devotee, Lesko felt a lightness in her step and a realignment of her body every Monday evening as she exited the lecture space in Main Hall to return to her student family housing in Morningside Heights.

The lived life versus the lived body? I'm sure where this may be taking me but le corps vecu is very attractive to me as an Odin Theatre/Grotowski trained/Bogart influenced actor.

The journey continues...

How do I summarize?

I have an opportunity in the next week to teach a session of undergrad students enrolled in a historical and philosophical perspectives of education course. It will serve as a demonstration of my teaching abilities for a search committee looking to hire a new faculty member. I will, of course, devote the session to Maxine Greene.

In doing my prep I found myself running in circles. Not twisting in productive spirals, but re-meeting myself every 360 degrees in repetitive loops. Why? WHY?? The "why" is waged in a quandary with "how do I summarize Maxine Greene's philosophy?"

Well, there is the "doing philosophy" which I find to be incredibly helpful, especially for newbies encountering philo-speak for the first time.

There's Maxine's particular take on aesthetics and how it differs from the more pragmatic approach of Dewey.

There's the sheer difficulty of life with its exclusionary impulses that shapes her approach to phenomenology and the ideals of social justice.

There's the "without answers" quality of the arts which provide timeless questions for both students and teachers to ponder.

There's the wonder of a 93-year old, female Jewish intellectual living across East 89th Street from the Guggenheim Museum who has stated that "Consciousness doesn't come automatically; it comes through being alive, awake, curious, and often furious."

And there's the value and richness of the "lived life."

It comes down to doing and being. Not an easy conceit for most college juniors especially within a 45-minute span. But the doing part is incredibly important and accessible. The being aspect can be a prompt or challenge at the conclusion to take a later moment to reflect.

Be present. Engage. Find questions.