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Narrative Conferences:As an atelier with “perezhivanie” for
childhood educators
Oral Session 352/10/20144th International Congress of ISCAR
Gold MembersRoom in ANZ Stadium11.00-12.00
Yoshinobu SHOYProfessor, Ph.D.
Hokkaido University of EducationE-mail: [email protected]
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1. PROBLEM AND BACKGROUND
All that has been discarded is by no means false.All that appears is by no means true.(Paul Valery, The Art of Poetry)
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Professional development?The fox knows many things, but the
hedgehog knows one big thing. by Archilochus
…the more difficult situations I faced the more I realized how very short-sighted my idea was that things would somehow work out by means of technique.... (Teacher: A)
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1-1:The narrative conference is one of the most powerful and
meaningful settingsfor teacher’s mutual care and
professional development based on the concept of narrative learning
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1-2:Previous research by JA-CROHD*
has focused on the narrative conference sessions
as a way of understanding children’s cultural-historical lives,
including their stories they live by.
* JA-CROHD is the Japanese Association for Clinical Research on Human Development and
Education established in 2011.
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A provisional concept map of clinical research on education is laid out in Figure 1 below.
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1-3:In the tradition of cultural-
historical theory, the joint-play world is considered
to be a source of prototype environments for human care and development.
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1-4:According to Vygotsky’s theory of
emotions, narrative or symbolic competencies are developed
in the imaginative joint-play world with subjective emotional experiencing (perezhivanie)
in which creative imagination is used to overcome the “crisis” (critical situation).
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1-5:Vygotsky continued his inquiries
into narrative poetics, which would reconstruct learning along the two axes of moments
of aesthetic experience, one on the theatrical stage and one in the literary world.
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1-6:
Fig1. Schema of the Vygotsky’s Theory of Emotions; Shoy, 2008
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1-7:The hidden agenda of Vygotsky’s
theory of emotions was to elucidate the constitutive
principle of fantasy (creative imagination)
created through accommodating and concentrating on realities with critical situation (in crisis).
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2. PURPOSE AND METHOD
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2-1. purpose The aim of our research project
is to elucidate the psychological
and educational meaning of narrative conferences for childhood educators
who have experienced difficult/critical situations.
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2-2. FieldSuch conferences have been
studied for the purposes of in-service teacher education
at the Graduate School of Hokkaido University of Education for the past ten years.
2004-2014
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3. EPISODE DESCRIPTIONS
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3-1:Elementary school teachers and early childhood educators engage in these narrative
conference sessions as research partners with
voluntary participation once a month.
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3-2:It involves a polyphonic, joint
interpretation of once-in-a-lifetime events
by focusing on those persons’ understandings of the children who appear in those episodes,
and then linking that interpretation to practice frames and social policies.
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3-3:They are facilitated toward playful narrative learning in the imaginative play-world at
these gatherings, and co-reflect their own
educational/caring practices as well as their unique life stories.
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3-4:I’ll illustrate some examples of
voices who has experienced these boundary-crossing and playful narrative conference sessions
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3-5:Thank you for today’s session.
There was quite a lot to learn in the time we had.
I was particularly taken with our professor’s comments about the “careful case conference,” and I’m very excited about the idea that this might be a useful method at school.
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3-6:You encountered many kinds of
awareness despite just going to ask questions. All you had were non-judgmental, careful questions. I thought that this method might be useful for our review sessions of difficult cases at the school where I currently work…
Teacher: B
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3-7:… What really stuck with me
from among the things you said is how we educators should use our imaginations more about situation of such children. That may have been lacking among the teachers in our school.
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3-8:… Creating a relaxed
environment in which we can hear those words is necessary for the person providing support. I really feel that I can discover new things by reviewing the examples that have stuck with me from today from a variety of angles.
Teacher: C
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4. RESULTS AND DISCUSSION
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4-1:The professional development of
childhood educators should be discussed on the level of mastering the improvisation of educational arts in playful and dramatic situations
rather than being talked about in the context of improving teaching skills or techniques.
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4-2:It is also important to focus on the subjective and
emotional experiencing, or perezhivanie, in multi-voiced narrative conferences with other professionals
In an “atelier-mode” of learning
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4-3:After our session, we found it
significant:To support a “realism of imaginative
play-world” To support a “symbolization from the
real-situations” .From a viewpoint of dramaturgy, we
should elaborate our sense of “making a new narrative plot”, in our narrative learning sessions
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4-4:After our session, we also could find it a
crucial moment Joint-creation of a “narrative plot” which
was emerged in all narrative learning sessions, in three dimensions: To catch up an
1) Emergent narrative plot of children2) Emergent narrative plot of teachers3) Emergent narrative plot of
researchers
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4-5:Polyphonic and narrative intervention in the joint-play (playful) environmentElucidating their new narrative plotrecreate a “new narrative plot” of
one’s story they live by…elaborating “narrative poetics”
Thank you for your attention
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