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working with the standards—find the "loophole"—to bring in the arts and elevate the curriculum (conversation)

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I have so much more to learn. It's good to reconnect with your roots and innate interests. Inspire students with your passions—even if they're a little kooky.

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"currere" as a verb. curriculum as a conversation.

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I will love the Pinar book always, even as I grow more empowered to disagree with him and engage in that "complicated conversation." I want to read more of the Art as History, History as Art text on my own!

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A lot of folks want a say in curriculum, for better or for worse. But I do have the power to influence curriculum and support students in my classroom, in spite of and because of the influence of others.

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By tying the curriculum to student performance on standardized tests, teachers were forced to abandon their intellectual freedom to choose what they teach, and how they assess student student learning.

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I'm a professional! And I have learned, am learning, will continue learning/working to do what I do well, and that position is valid.

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As I told Dr. Talbert, my self-confidence is renewed (or perhaps, new) in my ability to teach English and to teach English well, in an interdisciplinary manner, not just because it's fun, but because it's effective for student learning, practical beyond the vocational, and just.

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I still have much to learn! Thank goodness I am not the one graduating just yet...

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Pinar: "While I encourage individual teachers to answer the classic curriculum question 'what knowledge is of most worth?'—animated by the historical moment, their own intellectual passions, and the particular, irreplaceable individuals they teach—Nussbaum specifies curriculum content in advance. But who could argue with Nussbaum's assertion of world history as central in understanding? Nussbaum emphasizes social, economic, and political history... intellectual history... enthusiasm for multicultural understanding..." (114-115)

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A painting can be a recourse and not just an addition to a textual resource

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Not biting off more than I (or students) can chew.

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Tying up loose ends? Not sure if this is even important because I think inherent to aesthetic education is not knowing all the answers or having all the detailed (inviting students to investigate on their own). But in designing my WinS curriculum, I constantly felt the need to give more context for the choices the author made and the layered way he developed the novel.

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Bringing our interests and our students interests into the classroom, embracing them, and STILL meeting standards/expectations by making them work for our purposes.

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Pinar quoting Pasolini: "the past is the only force to contest the present" (122)

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You sometimes have to be a vehicle to deliver the nastiness of what a population did to diminish and ostracize another population in order to maintain hierarchy.

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”A spirit lurks in the shadows of America that, if summoned, can launch a renaissance of our shared humanity” (51)

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highlighting social issues that affect groups within society that may be unnoticed.

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Making sure you connect resources to a bigger, overarching concept rather than just sharing them for the sake of making a lesson artsy. (Meaningful planning)

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I am fixed on the "humanness" of humanities education and am called back to the quote from Pinar about how the goal of (aesthetic, autobiographical, allegorical) education is to make folks into humans, citizens, and persons with passions who are encouraged to pursue them (125).