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Taking the World War II photojournalism of Lee Miller as my point of departure, this article has several purposes. First, it introduces the wartime photojournalism of Lee Miller to education. I situate Miller's use of surrealist photography within emerging curricular discourses that take as axiomatic the significance of the unconscious in education and thus the challenge of representing histories that are simultaneously present, but cannot be perceived or integrated into conventional historical narratives. Second, I provide a textual analysis of Lee Miller's wartime oeuvre with specific attention paid to how this work alters education's "field of vision" of trauma. While this analysis makes no claims to exhaust education's possibilities for framing the war photography of Lee Miller, it will show how Miller's use of surrealist rhetoric and framing devices offered her the expressive power to represent traumatic experiences that resist being integrated into larger social and cultural contexts. By thinking through Miller's war photography, this article contributes to the scholarship in education that is dedicated to establishing a psychoanalytic history of learning and teaching that is capacious enough to address the "difficult knowledge" we too often cast beyond the pale of the curriculum and to expanding the rhetorical tactics possible for representing such difficult knowledge.

In this article, the authors draw on the concept of 'audit culture' to examine the political and professional implications for teachers emerging from contemporary, commercially distributed, writing programmes. They argue that, in adapting what began as a progressive understanding of children's writing and teacher professionalism for commercial distribution, fundamental values and concerns have been lost. Drawing on the work of James Britton, the authors assert that the market ideologies of audit culture have turned the idea of teacher professionalism on its head, naming the professional not as the teacher who continually develops her/ his expertise through intellectual inquiry into the lives, strengths and needs of the children in the classroom but, rather, as the teacher who submits her/himself to constant measures of fidelity to a particlar programme, and to documentation of practices, supervision and correction. The authors argue for a return to the values of Jimmy Britton: commitment to the promotion of play, social engagmentment, freedom of thought and intellectual and emotional experimentation.

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