By Leon Sachs

French tuition debates of modern years, that are concurrently debates in regards to the French Republic’s identification and values, have generated a spate of across the world profitable literature and picture related to schooling. whereas mainstream media and scholarly essays are inclined to deal with those works as trustworthy representations of lecture room truth, The Pedagogical Imagination takes a special approach.
In this examine of French schooling and republicanism as represented in twenty-first-century French literature and movie, Leon Sachs shifts our consciousness from “what” literature and movie say approximately schooling to “how” they are saying it. He argues that crucial literary and filmic remedies of French schooling in contemporary years—the works of Agnès Varda, Érik Orsenna, Abdellatif Kechiche, François Bégaudeau—do greater than simply depict the present-day tuition quandary. They discover questions of schooling via experiments with form.

The Pedagogical Imagination indicates how such recommendations interact present-day readers and audience in acts of interpretation that reproduce pedagogical rules of energetic, experiential learning—principles on the center of overdue nineteenth-century academic reform that turned autos for the diffusion of republican ideology.


 

 

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Extra info for The pedagogical imagination : the republican legacy in twenty-first-century French literature and film

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23 1 A New Language of Learning Object Lesson Pedagogy and the Modern Reader This chapter recovers the way pedagogical doctrines were articulated at a founding moment in republican history and demonstrates the way the language of pedagogy served as an idiom for expressing a system of republican beliefs and values. Though we must look to the past, neither this chapter nor this book constitutes a history of republican education per se. My concern is pedagogical discourse and its ramifications. The school system constructed by Jules Ferry and his lieutenants at the end of the nineteenth and beginning of the twentieth centuries — regardless of whether one views it today as obsolete or a model to emulate — remains a touchstone for contemporary debate.

The child who has benefited from this learning “is not only able to see and hear, he can look and listen. He no longer experiences sensations passively or undergoes [submits to] them. He arouses them, guides them, compares them, distinguishes them, measures them, analyzes them: he observes” ([il] ne subit plus des sensations, il sait les faire naître, les diriger, les comparer, les distinguer, les mesurer, les analyser; il observe) (1376). Buisson’s wording is arresting. The language he uses to describe learning by sense perception insists on the volition and agency of the perceiver.

The lesson, in other words, is not only communicated by means of — or through — the language appearing on the page; it resides in that appearance itself, in the kind of reading that such appearance stimulates. The concepts of form and formalism have changed over the course of this chapter. They no longer connote the abstract formalism Durkheim associated with the literary formalism of Erasmus and the classical humanities. This more modern — and modernist — formalism emerges from the intellectual history that Durkheim recounts.

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