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On the Arts

On the Arts The American Journal of Psychoanalysis, Vol. 64, No. 2, June 2004 ( 2004) Edited by Judith E. Vida, M.D. Introduction to “The Good Thing”: Mister Rogers’ Neighborhood by Paul Zelevansky A short while ago, I attended the opening of an exhibition, a 35-year retrospective of the work of Eugenia Butler, a conceptual artist who is also a friend. She and I were to embark soon on a series of public conversations in both psychoanalytic and art world settings. As I was carrying that sense of imminent “straddling,” I was pleased to see Paul Zelevansky, another artist who is also a friend, and we fell to talking. The perceptually cracked- open atmosphere of Eugenia’s exhibition surely influenced our conversa- tion. In a few minutes, Paul touched his alive-sadness at the death of Mister Rogers earlier in the year. He spoke of discovering a radical pedagogy in those appealing television programs for very young children. He was using pedagogy to refer to the presentation and performance of knowledge and action, using the personal, the everyday, to get to the general and the phe- nomenological, a process that can lead to social and communal exchange. And this is a pedagogy that he http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The American Journal of Psychoanalysis Springer Journals

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References (1)

Publisher
Springer Journals
Copyright
Copyright © 2004 by Association for the Advancement of Psychoanalysis
Subject
Psychology; Clinical Psychology; Psychotherapy; Psychoanalysis
ISSN
0002-9548
eISSN
1573-6741
DOI
10.1023/B:TAJP.0000027370.93988.8a
Publisher site
See Article on Publisher Site

Abstract

The American Journal of Psychoanalysis, Vol. 64, No. 2, June 2004 ( 2004) Edited by Judith E. Vida, M.D. Introduction to “The Good Thing”: Mister Rogers’ Neighborhood by Paul Zelevansky A short while ago, I attended the opening of an exhibition, a 35-year retrospective of the work of Eugenia Butler, a conceptual artist who is also a friend. She and I were to embark soon on a series of public conversations in both psychoanalytic and art world settings. As I was carrying that sense of imminent “straddling,” I was pleased to see Paul Zelevansky, another artist who is also a friend, and we fell to talking. The perceptually cracked- open atmosphere of Eugenia’s exhibition surely influenced our conversa- tion. In a few minutes, Paul touched his alive-sadness at the death of Mister Rogers earlier in the year. He spoke of discovering a radical pedagogy in those appealing television programs for very young children. He was using pedagogy to refer to the presentation and performance of knowledge and action, using the personal, the everyday, to get to the general and the phe- nomenological, a process that can lead to social and communal exchange. And this is a pedagogy that he

Journal

The American Journal of PsychoanalysisSpringer Journals

Published: Sep 4, 2004

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