Aesthetic Conflict and the Evolution of a Riot: Impact of Dewey's Global Movement and the Rise and Fall of a Tradition in Higher Education - Softcover

Brady-Whitcanack Ph.D., B. Marie

Softcover

ISBN 10: 1456735616 ISBN 13: 9781456735616

Publisher: AuthorHouse, 2011

Synopsis

The text is a hermeneutic and field theory analysis of events that occurred during the first of two doctoral degree programs at a major state university. The study considers challenges to traditional curriculum in higher education and possible links to conflicts occurring at some major university campuses.

About this title

Excerpt. © Reprinted by permission. All rights reserved.

Aesthetic Conflict and the Evolution of a Riot

Impact of Dewey's Global Movement and the Rise and Fall of a Tradition in Higher EducationBy B. Marie Brady-Whitcanack

AuthorHouse

Copyright © 2011 B. Marie Brady-Whitcanack, Ph.D.
All right reserved.
ISBN: 978-1-4567-3561-6

Contents

CHAPTER 1: INTRODUCTION.........................................................................................................1Purpose.........................................................................................................................16Objectives......................................................................................................................17Research Questions..............................................................................................................18Assumptions.....................................................................................................................19Limitations.....................................................................................................................20Significance of the Study.......................................................................................................21CHAPTER 2 METHODOLOGY...........................................................................................................27General Considerations About Hermeneutics.......................................................................................29Patterns of Thought as Phenomenological Research................................................................................33Key Elements of Phenomenological Research.......................................................................................34Rules of Validity and Reliability...............................................................................................35Validation......................................................................................................................36Method of Data Collection.......................................................................................................36Concepts of Continuous Literature Review........................................................................................36Major Assumptions of Phenomenological Hermeneutics..............................................................................38Critical Theory.................................................................................................................38Summary Considerations of the Design Methodology................................................................................39General Concepts in Qualitative Research........................................................................................40CHAPTER 3 REVIEW OF LITERATURE..................................................................................................49Aesthetics as a Philosophy of Being.............................................................................................49Questions About Aesthetics Education............................................................................................53Jung's Hermeneutic of Doctrine..................................................................................................56Art and Aesthetic Education as a National Agenda................................................................................63Discussion of Core Knowledge Programs and the Arts..............................................................................64Phenomenological Aesthetics and the Scottish Enlightenment......................................................................66Dewey's Aesthetics Philosophy...................................................................................................76Dewey's Reconstruction Theory...................................................................................................84Aesthetics in the Family and Consumer Sciences Curriculum.......................................................................90Introduction....................................................................................................................95Development of a Concept of Simultaneity and Multidimensionality in Aesthetic Cognition.........................................110The Phenomenological Studio and Evoking a State of Mind.........................................................................117The Music.......................................................................................................................119Mobbing at Iowa State University................................................................................................129Defining Aesthetics.............................................................................................................131Restating the Problem...........................................................................................................132Jungian Analytical Psychology as Hermeneutic of Doctrine in Phenomenological Research...........................................138Examples of Arts-Based Genre in Jung's Three Components of Analysis.............................................................139Summary Reflections.............................................................................................................144Introduction....................................................................................................................147Animalistic Paganism or Puer Aeternus...........................................................................................152Elements of Critical Thinking...................................................................................................157Process of Critical Thinking....................................................................................................158Phases of Critical Thinking.....................................................................................................159Relevance of Past Historical Perspectives.......................................................................................165Credibility of an Observation...................................................................................................166The Management Process..........................................................................................................170Credibility of a Written Source.................................................................................................170Choosing or Resolving Available Alternatives....................................................................................172Dimensions of Verstehen.........................................................................................................173The Strength of a Conclusion....................................................................................................188Discourse for Truth.............................................................................................................189Reciprocal Understanding Through Hermeneutics...................................................................................192Critique of Tension and Conflict in Social Reality..............................................................................194A Concluding Call to Action.....................................................................................................195APPENDIX: PORTRAYAL OF ARTS-BASED GENRE IN WORKS OF FINE ART....................................................................205REFERENCES......................................................................................................................211ACKNOWLEDGMENTS.................................................................................................................233

Chapter One

INTRODUCTION

      I am nocturnal, the philosopher
      I've reached the level, that I deserve
      I've reached the level, where I work best
      I am the artist, I am depressed
      I have switched off and all I want is
      to kiss the roof of Heaven
      just to confirm that this is Hell
         (Hinterland, 1990)

The following text examines aesthetic conflict and the evolution of a riot at Iowa State University. The facts and discussion about the events are based upon a series of incidents personally experienced and reported to appropriate security personnel, administrators, government agency officials, and elected officials by the author over an approximate four-year time period while a doctoral student at the university. The book that follows is a discussion of the conflict and its possible causes. The consideration of causes includes identification of patterns as indicative of possible social psychosis from a Jungian perspective (Conforti, 1999). A hermeneutic analysis of the events also includes an explanation of field theory, the method of systems pattern analysis that could further explain the archetypal field and complex in play that resulted in progressive violations of boundaries.

Though this examination is primarily a hermeneutic analysis, hermeneutics and its close relationship to Jungian psychology and the development of archetypal complex theory based on the ancient Kabbalah (Wolfson, 1995) are examined. Though there are numerous texts that examine the use of the Kabbalah in the psychological theories of both Freud and Jung (Drob, 2000), this study explains the initial critical thinking process of attempting to understand a conflict in process. Thus, the book follows in the tradition of Kolodny (1998) in her Failing the Future: A Dean Looks at Higher Education in the Twenty-First Century and Lovitts's (2001) landmark examination titled Leaving the Ivory Tower: The Causes and Consequences of Departure from Doctoral Study.

The present text is an analysis of the series of events and the evolution of a riot as a hermeneutic analysis that may be expanded into a "systems pattern analysis" from a Jungian psychological field theory perspective that could be replicated for use in analysis of other incidents at college campuses across the country (Conforti, 1999). For example, numerous riots occurred at Southern Illinois University in Carbondale, Illinois during the same time period as those at Iowa State University in Ames, Iowa. Both of these major universities were under investigation by the Federal Bureau of Investigation simultaneous to the escalating events. The readers must consider whether the evolving nature of riotous behavior at Iowa State University, Southern Illinois University in Carbondale (the home of the Center for Dewey Studies), and numerous campuses across the country are "celebratory riots" (Hacker, 2005) or are indicative of a greater challenge to the larger civilization.

The major focus on aesthetic conflict and the challenge of aesthetics as a core concept in higher education is our initial incident. Discussion of other challenges to civil behavior and tradition follows. We will begin with a discussion about what aesthetics is and why this concept has been central to education theory since the earliest formation of public education. For example, Wechsler tells us that "aesthetics plays the part of the delicate sieve of reality" (1978, p. 1). Others, from Heisenberg to Einstein, consider the aesthetic experience in fields such as science to be a process often used in the search for truth (Wechsler, 1978,When I speak of aesthetics in education in this study, I speak of its core of simplicity and beauty as well as balance, harmony, and unity. Aesthetics is an overarching concept that includes values theory and ethics. The conflict in aesthetics examined in this study is considered in its relationship to the demise of a doctoral program of study in home economics at one major state university. The significance of the loss of this foundational program will be better understood as the history of education and the challenge to traditions of Western civilization unfold.

The role of aesthetics as a core concept in foundations courses of home economics (later known as family and consumer sciences education) was challenged initially by direct and indirect hostile communications during curriculum planning meetings and doctoral course discussions during education foundations and theory courses in the doctoral degree program of study at Iowa State University. In addition, a series of physically aggressive acts and harassment directed toward the author as a student of traditional studies and this field of study progressed to what has been identified as "mobbing" (Davenport, Schwartz, & Elliott, 1999). The traditional curriculum of home economics, with roots tied directly to John Dewey and the Chicago laboratory schools during the rise of public higher education, subsequently experienced a decline; ultimately, this resulted in the doctoral degree program at Iowa State University and other major universities across the country being eliminated. Though the consequences of losing this area of study are only now (2010) beginning to be examined in relationship to increased social dilemmas, such as unplanned pregnancies among teens and young college-age students (Delaney, 2010), this analysis looks at some of the challenges to traditional course content and other conflicts specific to core concepts in education, such as aesthetics. The analysis also considers the rise and fall of home economics (family and consumer sciences) in higher education as well as the implications for general education and social changes theory.

I will argue aesthetics provides a criteria and reasoning structure in the search for truth, serving as not only a "delicate sieve of reality" (Wechsler, 1978), but also as a psychological and philosophical theory of balance and harmony in reasoning that establishes "aesthetics [as] the mother of ethics" (Muelder Eaton, 1997). For example, the relevance of aesthetics to modern education has been extensively examined by Buescher (1986) who describes various kinds of aesthetic knowing in the teaching of gifted children. In this educational setting, aesthetic knowing is a subtle process that dovetails across other cognitive processes. Buescher explains:

The ability to experience, to imagine, to represent is a fundamental process of human intelligence. The process as well as the product that grows from it can have a deep, moving, and aesthetic character to it. Being able to experience what is subtle, to imagine what is interesting or useful, and to be able to adequately represent what has been experienced are each influenced by the conditions in which one lives ... Why do we have music or dance or poetry or stories? Because it is only through these modes and others that particular kinds of human experience can be communicated. We have to do this as people. Human beings invented the forms that can meet that need to imagine and communicate. (Buescher, 1986, 7–15)

Defining aesthetics becomes an historic tour of philosophy within a historical context of psychology. Interpretation of concepts of aesthetics and aesthetic meaning within the current context of modern times is rooted in the hermeneutic process of interpretation. Collini (1992) explains that the "problem of textual meaning introduced by hermeneutics associated with Schleiermacher ... and the centrality of interpretation to understanding all the creations of the human spirit ..." (Collini, 1992) is central to the understanding of aesthetic meaning. The complexity of how meaning is to be interpreted within the context of communication will be a central concern in the discussion of aesthetics in education and its relevance to conflicts in understanding, such as conflicts between civilizations. The changing definitions of aesthetics, from a past centered in theology, to a core educational concept, to its current expanded meaning within the larger world context of global communication is also discussed (Huntington, 1997).

The philosophical life of the aesthetician is interwoven into the tradition of educational philosophy and psychology. For example, the traditional understanding of balance and beauty as a cognitive process of learning has its roots in ancient philosophical discourse as a goal of the learned person "to form more than to inform—to prepare people for the world by teaching the `art of living'"(Romano, 2000, B11). Aesthetics philosophy as a way of life and mind was a key concept in the development of a theory of life and living.

In the modern world of intellectual activity the search for aesthetic balance is seen as central to scientific as well as artistic creation. "When scientists, however, reflect on their work, the development of concepts, and the theories that expound them, it is evident that intuition and aesthetics guide their sense of 'this is how it has to be,' their sense of right" (Wechsler, 1978, p. 1–2). Cycles of meaning may vary along with the dominant experiential themes of the times (Sorokin, 1928). Aesthetic balance may modify in meaning according to the cultural context of the times. However, the process of aesthetic knowing and reasoning follows traditional sequences of reasoning that are linked to cultural values. Cultural situations "inevitably secrete a further 'image of personal being'" that continues to question human values at every point (Collini, 1992). The cultural structure is influenced and influences the reality of the living condition (Wundt, 1921). Aesthetic learning and aesthetic knowing or reasoning become content as well as process for an educational imperative (Abbs, 1994). For example, Socratic questioning and aesthetic learning require a continued focus on creativity in relation to past and present philosophies of aesthetic knowing. Art embodies the logic of feeling, intelligence, and symbolic form (224). Yet, the teaching of creativity and critical thinking follow similar elements of structured reasoning. Paul (2009) links the critical thinking process and the creative processes in a fluid and seamless intellectual reasoning structure that is necessary for the modern educated person.

Artists and scientists share an aesthetic knowing when something is wrong. They seek truth and are continual questioners of the present meaning and relevance of things. They are ever in search of new knowledge (Van Manen, 1990). They are uncomfortable with an issue that remains stagnant and seldom accept things the way things are. They share an intuition in the identification of a phenomenological experience that just doesn't feel right. I experienced such an intuition and phenomenological experience that led to the research for this text. It began a search for why: Why were philosophies of beauty, balance, and aesthetics, so long a tradition of general education, now absent in many state universities (East, 1982)? There appeared a conscious effort to reduce the significance of, or eliminate altogether, those elements of beauty and aesthetics that still existed in the educational philosophies in education.

The process of the interpretation of meaning in communication and symbols, hermeneutics, like aesthetics, can be quite subtle. Meaning may be known to only a few participants and observers of communication, and in some cases, may be similar to cultic activities (Brady, 2000). On occasion, contextual discussions may manifest as war. The interpretation of interpersonal communication becomes an expression of meaning and interpretation of that specific, transmitted meaning. A work of art becomes "one of the most important battlefields of the interpretation of the validity of values and demonstrates in itself why it is precisely philosophical aesthetics that is developed by a bourgeois society" (Heller & Feher, 1986, p. 4). For this reason, an arts-based genre is one of the elements of a multifaceted methodology for consideration of the issues of communication and interpretation through aesthetics in education.

A false impression, depicting science and art as rivals, has been considered by various authors. Sir Geoffrey Vickers argued this point in a paper presented to the Massachusetts Institute of Technology in April of 1974. In Vickers' paper titled "Rationality and Intuition: The Causal and the Contextual," he argues aesthetics and science are not rivals, but placed in a role of adversarial combativeness that is neither correct nor appropriate for the creative process necessary in each. Wechsler (1978) clarifies Vickers' thesis in the following quotation:

Why not aesthetics in science? Whence comes the implication that to find aesthetics in science is like finding poetry in a timetable? The answer lies in the sad history of Western culture which, over the last two centuries, has so narrowed the concepts of both Science and Art as to leave them diminished and incommensurable rivals—the one an island in the sea of knowledge not certified as science; the other an island in the sea of skill not certified as Art. (Wechsler, 1978, p. 143)

Because there has been some confusion as to the conflict between qualitative and quantitative research, I will state from the outset that this is not the issue under investigation in this research. The focus of this study is not the combative potential for science versus aesthetic philosophy, but the totality of meaning toward an interpretation of the underpinning conflict of social values manifested in incidents to be described (phenomena), and the interpretation of what appeared to be a challenge to the traditional educational philosophy of aesthetics in education as a manifestation of a possibly larger social conflict, the conflict between civilizations (Huntington, 1996/1997). To begin that interpretation required consideration of the ancient hermeneutic doctrine and a conversation with theologians and educational philosophers of the past. Proponents of the educational psychology of John Dewey, and theological collaboration with psychologists such as Carl Jung and William Wundt presented a logical analysis of this core concept of reasoning in an "ongoing and far-reaching dialogue" (Brown, 1990, p. 4).

This study also is a conversation with the past in search of aesthetic meaning for the present and future. Jessop and Van Manen argue aesthetics requires a canon of judgment, not a norm or canon of feelings, sentiments one could argue belong to the field of ethics (Jessop, 1969; Van Manen, 1990). Like beauty, aesthetics has value; it is not value (p. 276):

Beauty, unlike goodness, has various orders—visual, auditory and so on—and in no one of these orders, still less in all of them taken together, is there one perfect degree or form, a summum pluchrum It is not a hierarchy of subordinate and super ordinate degrees, but a galaxy of brilliant individuals. (Jessop, 1969, p. 276)

In the words of my now-deceased husband, a psychologist and trained Jungian analyst, "Books are our friends. They will speak to you, if you know how to listen" (Brady, personal communication, discussions on Jungian theory with counseling partner and spouse, December 25, 1979). What does this hermeneutic notion mean? I would suspect this comment was intended to validate the Jungian perspective about layers of possible interpretations within a text and the transmission of communication. These layers of meaning and method of communication are taken from Kabbalistic hermeneutic traditions that were examined by Drob (2010) as central to the development of Jungian depth psychology and Freudian psychoanalysis. The identification of layers of meaning in communication has also been described by Eco (1996) in regard to interpretation and over-interpretation. Eco explains:

But if books tell the truth, even when they contradict each other, then their each and every word must be an allusion, an allegory. They are saying something other than what they appear to be saying. ... Thus truth becomes identified with what is not said or what is said or what is said obscurely and must be understood beyond or beneath the surface of a text: The gods speak (today we would say: the Being is speaking) through hieroglyphic and enigmatic messages. (p. 30)

(Continues...)

Excerpted from Aesthetic Conflict and the Evolution of a Riotby B. Marie Brady-Whitcanack Copyright © 2011 by B. Marie Brady-Whitcanack, Ph.D.. Excerpted by permission of AuthorHouse. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Edition details

• Publisher: AuthorHouse
• Publication date: 2011
• Language: English
• ISBN 10: 1456735616
• ISBN 13: 9781456735616
• Binding: Paperback
• Number of pages: 244