Your goal with this project is to contribute new knowledge to our understanding of the topics raised in “Arts of the Contact Zone”, “Toward a Mestiza Rhetoric…”, “Translating Stories Across Cultures”, Macbeth and the adaptations we watched, “The Man Made of Words”, and Memoirs of a Polar Bear. You will do this by developing an original research question on translation, cross-cultural communication, lenses/filters, rhetorical awareness, composition, mestiza rhetoric, code-meshing, etc… and conducting research to answer that question. As in the first two assignments, you will begin by finding a specific opportunity for conversation (a gap, tension, contradiction, ambiguity, or difficulty in the history of the thing you isolate or in the topic more broadly). You will then go through a process that will prove useful as you undertake research assignments in future courses: 1: develop an original research question 2: find reliable sources that help you answer that question 3: read and annotate those sources in a 4-page Annotated Bibliography 4: present your answer to that question (your claim) in a 6-page paper. You are not restricted in the evidence you use in this essay. To the challenge of locating an opportunity for conversation and formulating a question, therefore, this assignment adds the tricky task of finding reliable and relevant sources and analyzing them to answer your question. If done well, your claim will serve as a theory that could be tested against the research other students have conducted. Details Your rough and final drafts should be formatted according to MLA guidelines, which you can find at https://owl.english.purdue.edu/owl/resource/747/01/ Purdue University Press Translating Stories Across Cultures Author(s): Carol Korn-Bursztyn Source: Education and Culture, Vol. 14, No. 1 (Spring, 1997), pp. 18-23 Published by: Purdue University Press Stable URL: http://www.jstor.org/stable/42922421 Accessed: 12-01-2018 16:32 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/42922421?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Purdue University Press is collaborating with JSTOR to digitize, preserve and extend access to Education and Culture This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms 18 Translating Stories Across Cultures Carol Korn-Bursztyn Introduction: Stories and Storytellers Stories, and especially their resolutions are sedimented within a web of belief and value specific to a particular culture. The traditions or shared understandings of a culture are communicated intergenerationally through shared social practice, and especially through language. They suggest paradigmatic dilemmas, and offer solutions drawing upon the prevailing cultural beliefs and meanings. One is reminded here of the anthropologist Clifford Geertz's (1973) observation that the stories a society tells are an important means in gather stories. For most these are familiar tales, heard time and again while growing up. They encode particular ways of being in the world, capture dim memories for historic events or present typical dilemmas together with culturally sanctioned solutions. The students, though, can neither assume the authority that comes naturally to the Luba story- teller, nor do these stories always hold the same resonance today as they once did when heard at the family hearth. The stories that a culture tells are intimately connected to what Dewey referred to as "life as it is ordinarily lived" (1934), or as it once was. Works of art, Dewey noted, lost their connection to ordinary life and became, instead, speciwhich the culture's frame of reference and traditional folk mens of fine art rather than artifacts connected to the daily wisdom are applied to everyday problems. Bruner (1990) adds lives of people. Art and artistic activity have consequently that a culture's beliefs enter into the narratives that it tells grown increasingly split off from communal life, rather than about human plights. He further notes that these narratives anchored within the culture. Folktales, steeped as they are tell not about the way things are, but about the way they should within a particular culture, are repositories of cultural beliefs be. Stories bear also the imprimatur of the storyteller's voice; her understanding lends shape and form to the story. Like the story she tells, the storyteller too is situated within a particular cultural and historical frame bound to the culture and to and traditions, and may be psychologically distant for the culturally different audience. In the absence of shared meaning, the story may be experienced as an interesting anthropo- logical artifact, rather than as part of the lived experience of the time in which the story is told. The Luba of East Africa the storyteller and audience within the native culture. preserve, for example, their history in the form of "memory The meanings that folktales hold for the culturally culture's history ("Memory: Luba and the making of in which these tales are understood when the gap between boards," sacred objects which iconographically represent the diverse audience are likely to be very different from the ways History, Museum for African Art, March-September, 1996). story and lived experience is far narrower. Yet it is only when In Luba culture, history is preserved through the oral tradi- the stories are re-examined, held up to the light of the "new tion, only specially designated court trained storytellers are culture" that differences in understanding and meaning able to "read" the history told by these memory boards. The emerge. The middle ground, the disputed space between the narrator's power lies in his ability to tell the story of his people. story's meaning in the culture of origin and its meaning for a The story inevitably changes in the telling, different inter- contemporary New York City audience, becomes the site of preters in different times attribute different meanings to the negotiated meanings. The embeddedness of stories and symbols represented on the "memory board." For the Luba storytellers within a culture is underlined when story and historical events are constructed and reconstructed over time; storyteller cross cultural borders in the act of telling stories. The folktale below, and the discussion which follows, this is accepted and undisputed practice with the story's illustrate the problematics of culturally translating stories meanings shared by storyteller and public alike. The storyembedded within social and cultural traditions. The need for teller can assume that the story's meanings are shared and that the audience supports and participates in the authority of teachers to listen carefully for cultural difference in order to the storyteller. The power of story within the Luba culture is such that their influence within the geographic area is predicated not on war, but on the authority of the storyteller. In the Brooklyn College oral history/storytelling project, the teacher education students are close to the stories they record and work with. Many are themselves immigrants or appreciate the varied meanings which stories can hold for diverse students is underlined. "The Magical Orange Seed " The following story was contributed by a student who the children of immigrants, and turn to their own families to had heard it told many times during a childhood spent in the Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms TRANSLATING STORIES ACROSS CULTURES 1 9 Dominican Republic and in New York. one in theThe dailystory lives of was people. It is grounded within particular her grandmother and mother told; by her own report it is cultural beliefs in the role of areligious faith in ameliorating untenable situations and in girls. the role of the miracle in effectfamiliar story, and one primarily told by women to In the story a young boy, Kico, and his in mother, Donabehavior. The story exists ing cures, this case of abusive Tata endure maltreatment at the hand within of the boy's stepfather, a cultural framework that carves out for its participants possible ways of being, atthey the same time that other ways Don Esteban, who is jealous of the loving relationship share. In Cinderella like fashion the of being, boyother must possibilities perform of being in the world are closed menial, backbreaking labor while the off. stepfather's Heidegger (1962) refers lazy to son this space which the culture Panchito mocks him. Kico repeats carves to himself words out, as a "clearing" in a of forest of perceptions and possibilities. TheThe culture's particular way of seeing creates encouragement: "I'm a good, strong boy." abuse what Gadamer (1975)Dona refers to as a "horizon" in this escalates, and Don Esteban deprives Kico of food. Tata clearing. A culture's includes comes to her son's aid by spiriting bread and milkhorizon to him in all that a person can see from a particular and determines what there the fields. One day Panchito, Don Esteban's son, vantage spiespoint, Dona is room for, andfather. what may not show up Tata bringing food to Kico, and informs his Kico isas a possibility for the brutally beaten by Don Esteban; the boy's participants mother, in the culture. in shock, faints. The resolution of "The Magical Orange Seed" turns upon the transformative nature of love, belief and faith, and upon Kico runs to the forest, alone he prays, and finally breaks down and cries. In the moment in which he longs for his dead the role of the son in assuming responsibility for himself and father and questions whether he is in fact "bad," an old man dressed in white and illumined by a mysterious light appears with food. The boy is further instructed to ask for food for for his mother, too. The retreat of personal memory in the service of family harmony is assumed; forgiveness obliterates memory of the cruelties endured, enabling the family to live happily ever after. The social and cultural horizons of this story are bounded by the role of religious faith, by powerlessness of women and children and their dependence on other hungry people, as well. Kico soon settles into a self the goodwill of men. sufficient routine in which he continues to do his stepfather's Despite the centrality of religion in the lives of many Americans, little scholarly attention has been given to the effects of religion on education; educational researchers have before him. The old man, bathed in this ethereal glow, gives the boy an orange seed, and advises him that if he plants the seed and sings to it "with love" the seed will provide him and stepbrother's bidding, but turns to the orange seed for sustenance. slow to consider the way that religion and politics interKico soon puts on weight; Don Esteban andbeen Panchito sect grow in shaping society and in informing political and educaquestion his fine appearance and gifts of food, and increasingly envious. They spy on him, and uncover tional policy his(Scribner & Fusarelli, 1996). Chevalier (1995) that folklorists too often overlook religious practice secret. Panchito steals the orange seed, and he andobserves his father sneak off into the woods to work the orange seed's as genre, magic. and points to the strong, contemporary influences on children's Kico soon discovers them happily munching on top of the narrative expression of the African Methodist orange tree, which continues to grow all the while. Episcopal Kico sings and African American gospel churches. Telling a story them with religious implications raises questions about the to the seed asking it to transform the pair, making intellectual tradition of separation of church and state. Like "good," and adding that he "loves" them so. researchers, The tree, which has by now reached alarming heights,teachers are only too eager to avoid such thorny continues to grow until Don Esteban and Panchito topics. begWhile Kico a story's religious and spiritual meanings can be deconstructed in the college classroom, a similar process for forgiveness and agree to be "good." The seed has worked its magic and both father and son are "cured" of their withcruelty. an elementary school aged group is far more complex. This endeavor is even further complicated by the sheer Kico is grateful for the change wrought in his stepfather and diversity of religious backgrounds and practices which the stepbrother, and together with Dona Tata, all live happily ever bring with them from home to school, and by after. Their home becomes "filled with laughterchildren and love." teachers' concerns that they be viewed as partial to a particuAs an endnote, the mysterious old man in white reappears to lar religion, while marginalizing other faiths. Kico and reclaims the orange seed; the seed, he notes, is no "Thewho Magical Orange Seed" highlights, also, significant longer needed by Kico, but is by another crying child differences in how domestic violence and the powerlessness awaits his help. of women and children are responded to in different cultures. When considered from within the frame of contemporary American society, a logical alternative for the mother was to seek help at a shelter for battered women. Furthermore, this "The Magical Orange Seed" raises many questions about culturally diverse student audience sympathetically viewed domestic violence, religious faith, and the place of memory Crossing Cultural Borders Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms 20 CAROL KORN-BURSZTYN other times in losses as one's way ofthan life changesvalorize through the boy as a "parentified child," rather h contact and mutualthe accommodation with other cultures. In his mother's protector. Clearly prevailing ethos of his book, Hunger ofaction Memory, for example, Richard Rodriguez audience was to take personal rather than re divine intervention when faced with abuse. (1982) describes what he experiences as the inevitable losses The students' perspective, grounded in the primacy ofwhich attend enculturation. Others (Nieto, 1993; Hoffman, the self as an active agent is a decidedly modern North1989) describe an ongoing process of braiding two cultures, American phenomenon. It draws upon the notion of anthe private world of the culture of origin, and the public individual, autonomous self, or what Cushman (1995) referspersona of the adopted culture. The problematics inherent in to as the "bounded self." This masterful, post- World War IIthis convergence of cultures, as exemplified by the act of self exudes a sense of personal agency ; personal sacrifice loses storytelling are revealed in the crossing of stories across its cultural centrality, and is replaced by an emphasis on cultural borders. personal fulfillment. Additionally, the influence of contemporary feminist theory, which underlines the capacity of Story and Audience women to act on their own behalf, emerges as a subtext of the students' responses. The resolution of "The Magical In crossing these invisible borders culturally determined Orange Seed," with its emphasis on transformation of the meaning, hitherto undisputed, enters into dialogue with the abusive father and preservation of the family structure at allsocially constructed meanings that stories hold for the costs, was unacceptable to this audience. audience. The assumptions that underlie the stories that a The student for whom "The Magical Orange Seed" was culture tells are brought into relief when they are considered a familiar childhood tale, did not "see" other resolutions tofrom a different cultural perspective. Gadamer (1967, 1975; this story until engaged in its retelling to her classmates. OnlySass, 1989; Warnke, 1987) speaks of a "fusion of horizons" in the retelling of this story did another, more critical readingarising from the meeting of one's socially constructed of this story become available. She was then able tohorizon with other possible worlds. Neither story, storyteller reconsider its meanings from the vantage point of her ownnor audience constitutes a repository of definitive interpretaexperience as a New Yorker, educated in the alternatives thattion, all three rather participate in this "fusion" or coming women have when faced with domestic violence. Gadamer together of different layers of meaning. Gadamer further (1975) referred to the attempt to understand the truth claims observes that understanding is "productive," the listener of a different culture as a "fusion of horizons." Here, the actually contributes to the meaning, rather than intuiting and student was a participant in both cultures, and was able to accepting that which the speaker intends. move between the vantage points offered by each. Paradoxi- Multiple meanings where only shared meaning once cally, as she becomes more knowledgeable about her own existed is created out of the difference between story and culture of origin, the greater the distance between her storyteller and their audience. Difference provides opportugrowing understanding of that culture's stories and the meannity for questions to be formulated where they could not have ings they hold within the culture of origin. An important existed before, and highlights the ways in which culture question which arises out of this intersection of viewpoints informs is and shapes the stories that we tell. Contemporary the meaning which this convergence of cultural horizons holds multiculturalism assumes diversity, a multiplicity of stories for the person who moves between two cultures. We can ask, and views, with each culture's stories celebrated for their too, what it means to consider one's culture of origin simuluniqueness as well as for the commonalities of all human taneously through the lenses of both culture of origin and experience. How do diverse audiences hear these stories, what adopted culture. meanings do they hold for them, and how do these meanings In reflecting upon the traditions and stories which make differ from the intended meaning of the storyteller? In a up a culture, one steps back and considers what Gadamer diverse society storytellers are bereft of their authoritative referred to as the understandings and the limitations which stance vis a vis their audience. Their stories are filtered through the culture bequeaths (Cushman, 1995). The way in whichthe lenses of their listeners as they respond both to story and this process of braiding of cultures is negotiated is at once storyteller. A single story will thus yield multiple meanings, individual and communal, shaped both by personal experieach embedded within the culture, history, and language of ence and by the reactions of others to the possibilities ofthe listener. biculturalism. For some, this movement between cultural The various audiences of "The Magical Orange Seed," horizons reveals an unbridgeable chasm into which language for example, heard the story differently as it was filtered and culture of origin are lost. Drawing upon Gadamer's work, through the sieve of cultural and social expectations of each Fowers and Richardson (1996) note that exploration of audience. The student/storyteller's mother, who heard it told differences among cultures highlights the moral claims that by her own mother, experienced it as an affirmation of faith's cultures make. At times this results in recognition of gains, at ability to overcome seemingly insoluble problems. For her Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms TRANSLATING STORIES ACROSS CULTURES 2 1 daughter, steeped in the traditions of the Dominican howboth culturally different audiences will hear and understand stories society, rooted in different webs of belief and value. These Republic and contemporary American additional layers of meaning accrued in the telling the tale. The questionsof arise out of attempts to restructure the curriculum diverse Brooklyn College teacher education audience filtered to more closely approximate a diverse student body. They the story's meanings through their are own acculturation toto construct a multicultural especially salient to attempts curriculum that reflects beliefs and traditions embodied American traditions of autonomy and through the the feminist in the stories a culture tells. perspectives which were readily available to them. Questions of "goodness of fit' raised initially in reference to parent-child relationships (Thomas & Chess, 1977) Horizons Schools , Stories and Cultural may also be asked about stories and their audiences. In the absence of shared meaning between storyteller For childrenand schoolaudience, is often the first public audience questions as to the "fit" between story before and which listener are and raised. the artifacts stories of the culture of origin Stories which are no longer "useful," are i.e. serveIt ais purpose of culture intersects with presented. a site where one's instructing and/or warning the young,the or which offer culturdominant culture or what Grumet (1988) refers to as ally and contemporaneously relevant ways ofShe resolving "Common Culture." argues that curriculum's posture as dilemmas hold different meanings for the storyteller neutral and impartial imposedthan distance between the cultures they do for his/her listener. Chevalier (1995) warns an of home and school, andthat contributed to the sorting and audience's judgment of appropriateness is based on their own categorizing of children. Howard (1991) suggests that school cultural expectations, thus significantly altering the effects is a place where the dominant culture's stories are encoded of the story on audiences in cross cultural contexts. and communicated. The entire process of education, he notes, If meaning though is indeed social, asinHeidegger (1962) is one which children learn the prevailing scientific, moral, suggested, a story's meaning lies not within the text, but rather mathematical, religious, historical and political stories of the within its telling and within the understanding of the listener. dominant culture. Habermas (cited in Welch, 1993, Meaning is a shared social creation, existing within the Ewert,1991) emphasized the embeddedness of social dialogue, and depending upon the listener. Ricoeurof(1985) interests. Consideration the "hidden curriculum" representnotes that the meaning of a text varies depending upon the in a call for curriculum ing these disguised interests resulted reception it receives. The process of understanding transforms that would more closely represent the interests and concerns not only the story, but the listener as The viewpoint of(Portelli, 1993, Apple, of well. teachers, students and families developmental psychology drawing 1992).upon the Piagetian concepts of "assimilation" and "accommodation" (1926; a cited Schools are increasingly place of intersection of in Lourenco & Machado, 1996) can be especially useful different cultures, with folktales serving asin cultural ambassadescribing how cross cultural understanding grows. dors of sorts. Folktales enjoyed a resurgence of interest within There is no familiar frame available within which the the psychological and educational communities following the culturally different audience can "assimilate" the culturally publication of Bettleheim's book, The Uses of Enchantment different story; both storyteller and listeners engage in a pro(1976), which illuminated the educational and psychological cess of "mutual accommodation." To further understanding, importance of folktales. Bettelheim addressed the role of both storyteller and audience must consider contrasting perfolktales in stimulating children's imaginations, enabling them spectives or what Gadamer (1967) referred to as "horizons" to work out in fantasy what he described as universal dilem- of meaning. This meeting of perspectives gives risemas. to Folktales are currently in vogue in schools for their questions and to understandings which could not have been social function of providing windows into understanding and formulated without this convergence of horizons. From this appreciating different cultures. They provide a venue for process of mutual accommodation, new structures for underconnecting children to their own cultures and for introducing standing cultural difference arise. Zuss (1995) underlines them to the cultures of others, and are widely viewed as helpDewey's emphasis on the grounding of ontological claims ing to bridge the home-school discontinuities that often on human cultural experience, and observes that Dewey's underlie school failure (Nieto, 1992; Gilbert & Gay, 1985 notion of the logic of experience includes the vicissitudes of 1983). The pragmatics of including folktales in a Heath, human cultural conflict and change. Within this framework, multicultural curriculum, however, need not eclipse the mean- knowledge is described as situated within a particular ings that stories hold for diverse audiences, nor the processes cultural context, and as both mutually constitutive that and inform curricular decisions. transformative for the people involved. The act of choosing curricular materials, such as folktales, Stories are intimately connected to the culture and to the is itself embedded within a matrix of teacher beliefs and people who participate in their creation. Their location within values, much of which is implicit, hidden from view. specific cultural and historical locales raises questions about Alton-Lee, Nuthall, & Patrick (1993) argue in their discus- Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms 22 CAROL KORN-BURSZTYN of moving between teachers' cultural worlds, each agendas with its own set of sion of classroom discourse that shap beliefs and values. This presupposes a necessary willingness perspectives on what actually occurs in the classroom, to engage in an ongoing dialogue in which cultural horizons are the cultural processes that underlie these practices ible. They not only the "lived further selecting culture meet, illuminating the teacher underlying meanings observe that the is communicated instrument in the and cultural stories of both multiculturalbut folktales also and content resources, in sh of practice. curriculum" theeducational enacted (p. 73). Inevitably we make decisions about what stories to te the reasons for both including and excluding specific st in the curriculum need to be explicitly examined. References decisions are implicitly grounded in the beliefs we hold education, the individual qualities we value and the le that we sanction, in short the "hidden curriculum" o school. In considering which stories to include in a multicultural curriculum, we make choices about what we Alton-Lee, A., Nuthall, G., & Patrick, J. (1993). Reframing classroom research: A lesson from the private world of children. Harvard Educational Review ; 63, 50-84. include and what gets left out. A nagging, unbidden question is whether in avoiding stories whose resolutions do not neatly "fit" a diverse contemporary urban audience, are we glossing over difference, ultimately homogenizing experience? Apple, M. (1992). Constructing the captive audience: Channel one and the political economy of the test. International Studies in Sociology of Education, 2, 107- To construct a multicultural curriculum is to broaden the 31. cultural horizon of school to include space for multiple Bettelheim, B. (1976). The Uses of Enchantment. New York: stories representing different ways of being in the world. Knopf. Bridging the worlds of school and home/community cultures Bruner, J. (1990). Acts of meaning. Cambridge: Harvard with stories brings forth difficult questions about the multiple meanings that this meeting of cultural horizons holds. Some of the most salient questions have to do with "goodness of fit" between the story and its listeners: how the values, traditions and beliefs that are sedimented within the University Press. Chevalier, M. (1995). Maintaining an ethnic identity in school: A folkloric perspective. Equity and Excellence in Education, 28, 26-35. Cushman, P. (1995). Constructing the self, constructing story will be heard and responded to by a diverse audience. America: A cultural history of psychotherapy. New York: Addison- Wesley Publishing Co. Conclusion Dewey, J. (1934). Art as Experience. New York: Minton and Balch. Ewert, G. D. (1991). Habermas and education: A compreA multicultural curriculum which draws upon the stories that reside close to a culture's beliefs and practices hensive overview of the influence of Habermas in educational literature. Review of Educational Research, educators to consider. Assumptions that underlie curricular 61, 345-78. Fowers, B. & Richardson, F. (1996). Why is multiculturalism decisions, re. multicultural curriculum, bear close scrutiny, with a resulting shift in emphasis from techniques of imple- good? American Psychologist, 51, 609-621. mentation to careful examination of the possibilities andGadamer, H. (1975). Truth and method. New YorK: calls forth necessary and complicated problematics for inherent difficulties of working with cultural stories in the Continuum. Gadamer, H. (1967). On the scope and function of hermeclassroom. The choices that are made in selecting curricular materials need to be held up to the light to examine the neutical reflection. In D.E. Linge (ed.), Philosophical values that underlie these choices. Curriculum is never Hermeneutics, 18-43. C. (1973). The interpretation of cultures. New York: neutral; in deciding what is included - and what gets leftGeertz, out - teachers make decisions that are informed by positions they Basic Books. Gilbert, S. E. & Gay, G. (1985). Improving the success in take about what gets talked about in the classroom. "The Magical Orange Seed" illustrates the storyteller's school of poor black children. Phi Delta Kappan, 133dilemma in telling her story in the absence of common 137. M. (1988). Bitter milk: Women and teaching. cultural ground and shared meaning between storyteller Grumet, and audience. When we ask children to reconsider the stories they Amherst; The University of Massachusetts Press. Heath, S. B. (1983). Ways with words : Language, life, and bring to school from their native cultures we are asking them to look again at their cultures, through the filter of a very work in communities and classrooms. New York: different lens. In working with diverse populations, teachers Cambridge University Press. must be prepared to listen for and to confront the problematics Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms TRANSLATING STORIES ACROSS CULTURES 23 Heidegger, M. (1962). Being and time. New York: Harper & Row. Hoffman, E. (1989). Lost in translation. New York: Penguin Books. Howard, G. (1991). Culture tales: A narrative approach to thinking, cross-cultural psychology, and psychotherapy. American Psychologist, 46, 187-97. Lourenco, O. & Machado, A. (1996). In defense of Piageťs theory: A reply to 10 common criticisms. Psychological Review, 103, 143-164. Nieto, S. (1992). Affirming diversity: The sociopolitical context of multicultural education. White Plains, N.Y.: Longman Publishers. Portelli, J. P. (1993). Exposing the hidden curriculum. Journal of Curriculum Studies, 25, 343-58. Post, D. (1992). Through Joshua Gap: Curricular control and the constructed community. Teachers College Record, 93, 673-96. Ricoeur, P. (1985). Time and Narrative, Vol. 3. Chicago: University of Chicago Press. Sass, L.A. (1988). Humanism, hermeneutics, and humanistic psychoanalysis: Differing conceptions of subjectivity. Psychoanalysis and Contemporary Thought, 12, 433504. Thomas, A. & Chess, S. (1977). Temperament and Development. New York: Brunner/ Mazel. Warnke, G. (1987). Gadamer : Hermeneutics, tradition and reason. Stanford: Stanford University Press. Welch, A. R. (1993). Class, culture and the state in comparative education: Problems, perspectives and prospects. Comparative Education, 29, 7-27. Zuss, M. (1995). Autobiography as a politics of metissage: A pedagogy of encounter. Education and Culture, 12, 2734. Education and Culture Spring, 1997 Vol. XIV No. 1 This content downloaded from 192.132.64.101 on Fri, 12 Jan 2018 16:32:37 UTC All use subject to http://about.jstor.org/terms
Purchase answer to see full attachment