ABSTRACT
In a convocation address that she gave to Teachers College, which she titles, inspired by Hannah Arendt, "Between Past and Future: The Becoming of Teachers College", Maxine Greene brings moments from the 1930s close to those of the 1960s. Remarkably, since the 1990s when the Northern Ireland Peace Process successfully stopped the violence between Catholics and Protestants, mural art was transformed into another kind of historical memory. In 1998, Arendt argues that: Action as distinguished from fabrication, is never possible in isolation; to be isolated is to be deprived of the capacity to act. Greene's style of pedagogical and philosophical disputation was very different from what was expected of a philosopher teaching or making an argument. There are necessities that speak out when confronted by the contingencies from which the arts invariably emerge. This also begins to explain the radical pull of Greene's work, which moves beyond the critical pedagogical shortcuts to characterize her work on aesthetics education.
