Drawing from an empirical study with nearly three hundred young people who have precarious relationships to schooling and live in disadvantaged communities, this book offers new insights into their subjects’ experiences of educational disadvantages. It explains the different ways the university is constructed as impossible, undesirable, or even risky, by young people experiencing educational disadvantage. The book brings their stories into focus to offer new ways of thinking about the educational consequences of alienation from school. It shows how our understanding of the politics of experience of these young people has an important impact on our ability to develop appropriate means through which to engage them in higher education.
This book challenges and significantly advances the popular frames for international debate on widening participation and the ethical right to educational participation in contemporary society. As such, it will be of be of key interest to academics, researchers and postgraduate students in the fields of higher education, sociology of education, anthropology of education, cultural studies of education, sociology as well as to those concerned by the impact of disadvantage on young people’s understandings of, and aspirations towards, education and attending university.
Disability Matters engages with the cultural politics of the body, exploring this fascinating and dynamic topic through the arts, teaching, research and varied encounters with ‘disability’ ranging from the very personal to the professional. Chapters in this collection are drawn from scholars responding in various registers and contexts to questions of disability, pedagogy, affect, sensation and education. Questions of embodiment, affect and disability are woven throughout these contributions, and the diverse ways in which these concepts appear emphasize both the utility of these ideas and the timeliness of their application.
This book was originally published as a special issue of Discourse: Studies in the Cultural Politics of Education.
Shocked by the teenage violence she witnessed during the Rodney King riots in Los Angeles, Erin Gruwell became a teacher at a high school rampant with hostility and racial intolerance. For many of these students–whose ranks included substance abusers, gang members, the homeless, and victims of abuse–Gruwell was the first person to treat them with dignity, to believe in their potential and help them see it themselves. Soon, their loyalty towards their teacher and burning enthusiasm to help end violence and intolerance became a force of its own. Inspired by reading The Diary of Anne Frank and meeting Zlata Filipovic (the eleven-year old girl who wrote of her life in Sarajevo during the civil war), the students began a joint diary of their inner-city upbringings. Told through anonymous entries to protect their identities and allow for complete candor, The Freedom Writers Diary is filled with astounding vignettes from 150 students who, like civil rights activist Rosa Parks and the Freedom Riders, heard society tell them where to go–and refused to listen.
Proceeds from this book benefit the Freedom Writers Foundation, an organization set up to provide scholarships for underprivieged youth and to train teachers
Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive.
In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.
When Mr. Kleon was asked to address college students in upstate New York, he shaped his speech around the ten things he wished someone had told him when he was starting out. The talk went viral, and its author dug deeper into his own ideas to create Steal Like an Artist, the book. The result is inspiring, hip, original, practical, and entertaining. And filled with new truths about creativity: Nothing is original, so embrace influence, collect ideas, and remix and re-imagine to discover your own path. Follow your interests wherever they take you. Stay smart, stay out of debt, and risk being boring—the creative you will need to make room to be wild and daring in your imagination.
Gordon Marino is professor of philosophy and director of the Hong Kierkegaard Library at St. Olaf College in Northfield, Minnesota. A recipient of the Richard J. Davis Ethics Award for excellence in writing on ethics and the law, he is the author of Kierkegaard in the Present Age, co-editor of The Cambridge Companion to Kierkegaard, and editor of the Modern Library’s Basic Writings of Existentialism. His essays have appeared in The New York Times.
From the Trade Paperback edition.
For the first time ever, drawing instructor and graphic novelist Mark Crilley brings his easy-to-follow artistic instruction to aspiring artists in the form of a comic book, providing you with a one-of-a-kind how-to experience. In The Drawing Lesson, you’ll meet David—a young boy who wants nothing more than to learn how to draw. Luckily for David, he’s just met Becky—his helpful drawing mentor. Page by page, Becky teaches David (and you!) about the essential fundamentals that artists need in order to master drawing, all in a unique visual format. In panel after panel, Crilley provides lessons on shading, negative space, creating compositions, and more, with accompanying exercises that you can try for yourself. Are you ready to start your drawing lesson today?
From the Trade Paperback edition.
John Gatto has been a teacher for 30 years and is a recipient of the New York State Teacher of the Year award. His other titles include A Different Kind of Teacher (Berkeley Hills Books, 2001) and The Underground History of American Education (Oxford Village Press, 2000).
The book is intended as a main text in history of art education courses, as a supplemental text in courses in art education methods and history of education, and as a resource for students, professors and researchers.
As a professor at Yale, William Deresiewicz saw something that troubled him deeply. His students, some of the nation’s brightest minds, were adrift when it came to the big questions: how to think critically and creatively and how to find a sense of purpose. Now he argues that elite colleges are turning out conformists without a compass.
Excellent Sheep takes a sharp look at the high-pressure conveyor belt that begins with parents and counselors who demand perfect grades and culminates in the skewed applications Deresiewicz saw firsthand as a member of Yale’s admissions committee. As schools shift focus from the humanities to “practical” subjects like economics, students are losing the ability to think independently. It is essential, says Deresiewicz, that college be a time for self-discovery, when students can establish their own values and measures of success in order to forge their own paths. He features quotes from real students and graduates he has corresponded with over the years, candidly exposing where the system is broken and offering clear solutions on how to fix it.
“Excellent Sheep is likely to make…a lasting mark….He takes aim at just about the entirety of upper-middle-class life in America….Mr. Deresiewicz’s book is packed full of what he wants more of in American life: passionate weirdness” (The New York Times).
One of the nation’s leading experts on staff motivation, teacher leadership, and principal effectiveness, Todd Whitaker has written over 20 powerful books for educators of every level. Discover what you can do differently.
This tenth-anniversary, second edition features eight new chapters and a revised and updated original text.
The liberal arts are under attack. The governors of Florida, Texas, and North Carolina have all pledged that they will not spend taxpayer money subsidizing the liberal arts, and they seem to have an unlikely ally in President Obama. While at a General Electric plant in early 2014, Obama remarked, "I promise you, folks can make a lot more, potentially, with skilled manufacturing or the trades than they might with an art history degree." These messages are hitting home: majors like English and history, once very popular and highly respected, are in steep decline.
"I get it," writes Fareed Zakaria, recalling the atmosphere in India where he grew up, which was even more obsessed with getting a skills-based education. However, the CNN host and best-selling author explains why this widely held view is mistaken and shortsighted.
Zakaria eloquently expounds on the virtues of a liberal arts education—how to write clearly, how to express yourself convincingly, and how to think analytically. He turns our leaders' vocational argument on its head. American routine manufacturing jobs continue to get automated or outsourced, and specific vocational knowledge is often outdated within a few years. Engineering is a great profession, but key value-added skills you will also need are creativity, lateral thinking, design, communication, storytelling, and, more than anything, the ability to continually learn and enjoy learning—precisely the gifts of a liberal education.
Zakaria argues that technology is transforming education, opening up access to the best courses and classes in a vast variety of subjects for millions around the world. We are at the dawn of the greatest expansion of the idea of a liberal education in human history.
The first edition of this bestseller was featured inThe New York TimesandThe Boston Globefor its groundbreaking research on the positive effects of art education on student learning across the curriculum. Capitalizing on observations and conversations with educators who have used the Studio Thinking Framework in diverse settings, this expanded edition features new material, including:
The addition ofExhibitionsas a fourth Studio Structure for Learning (along with Demonstration-Lecture, Students-at-Work, and Critique).
Explanation and examples of the dispositional elements of each Habit, includingskill, alertness(noticing appropriate times to put skills to use), andinclination(the drive or motivation to employ skills).
A chart aligning Habits to the English Language Arts and Mathematics Common Core.
Descriptions of how the Framework has been used inside and outside of schools incurriculum planning, teaching,andassessmentacross arts and non-arts disciplines.
A full-color insert with new examples of student art.
Studio Thinking 2will help advocates explain arts education to policymakers, help art teachers develop and refine their teaching and assessment practices, and assist educators in other disciplines to learn from existing practices in arts education.
Lois Hetlandis professor and chair of art education at Massachusetts College of Art and Design and senior research affiliate at Project Zero, Harvard Graduate School of Education.Ellen Winneris professor and chair of psychology at Boston College and a senior research associate at Project Zero.Shirley Veenemais an instructor in visual arts at Phillips Academy in Andover, Massachusetts.Kimberly M. Sheridanis an assistant professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University.
“Our decade of using the Studio Thinking Framework in California’s schools positions us for success in this new era because of the foundation of reflective, creative, and critical thinking developed in our schools and districts.”
—From the Foreword to the Second Edition byLouise Music, Executive Director of Integrated Learning, Alameda County Office of Education, Hayward, CA
“Studio Thinking[is] a vision not only of learning in the arts but what could be learning most anywhere.”
—From the Foreword to the First Edition byDavid N. Perkins, Professor of Education, Harvard Graduate School of Education, and Senior Co-Director of Harvard Project Zero
Praise for the First Edition ofStudio Thinking—
“Winner and Hetland have set out to show what it means to take education in the arts seriously, in its own right.”
—The New York Times
“This book is very educational and would be helpful to art teachers in promoting quality teaching in their classrooms.”
—School Arts Magazine
“Studio Thinkingis a major contribution to the field.”
—Arts & Learning Review
“The research inStudio Thinkingis groundbreaking and important because it is anchored in the actual practice of teaching artists.... The ideas inStudio Thinkingcontinue to provide a vehicle with which to navigate and understand the complex work in which we are all engaged.”
—Teaching Artists Journal
“Hetland and her colleagues reveal dozens of practical measures that could be adopted by any arts program, inside or outside of the school.... This is a bold new step in arts education.”
—David R. Olson, Professor Emeritus, University of Toronto
“Will be at the top of the list of essential texts in arts education. I know of no other work in art education with this combination of authenticity and insight.”
—Lars Lindström, Stockholm Institute of Education
“The eight studio habits of mind should become a conceptual framework for all preservice art education programs; this book should be read by all early and experienced art educators.”
—Mary Ann Stankiewicz, The Pennsylvania State University
Philosophy is a great companion and a roadmap to navigate life’s major milestones, including:How to make sense of deathWhat loving someone or something meansThe effect of art on our livesWhat role language plays in understanding the worldHow do our ideas affect our actions
Why, after decades of commissions, reforms, and efforts at innovation, do our schools continue to disappoint us? In this comprehensive and thought-provoking book, educational theorist E. D. Hirsch, Jr. offers a masterful analysis of how American ideas about education have veered off course, what we must do to right them, and most importantly why. He argues that the core problem with American education is that educational theorists, especially in the early grades, have for the past sixty years rejected academic content in favor of “child-centered” and “how-to” learning theories that are at odds with how children really learn. The result is failing schools and widening inequality, as only children from content-rich (usually better-off) homes can take advantage of the schools’ educational methods.
Hirsch unabashedly confronts the education establishment, arguing that a content-based curriculum is essential to addressing social and economic inequality. A nationwide, specific, grade-by-grade curriculum established in the early school grades can help fulfill one of America’s oldest and most compelling dreams: to give all children, regardless of language, religion, or origins, the opportunity to participate as equals and become competent citizens. Hirsch not only reminds us of these inspiring ideals, he offers an ambitious and specific plan for achieving them.
The 70 contributors are each well-regarded economists whose research has advanced the topic on which they write, and this book fulfills an undersupplied niche for a text in the economics of education.
The chapters come from the acclaimed International Encyclopedia of Education, 3e (2010), edited by Eva Baker, Barry McGaw, and Penelope Peterson. The Encyclopedia contains over 1,350 articles in 24 sections that stretch from educational philosophies and technologies to measurement, leadership, and national systems of education.This single volume textbook presents a cohesive view of this increasingly important area of economics
Superb contributions from well-regarded economist convey unique and useful perspectives
Chapters contain an extensive bibliography and further readings to enable interested researchers to extend their knowledge into each specific topic
In Teaching Community bell hooks seeks to theorize from the place of the positive, looking at what works. Writing about struggles to end racism and white supremacy, she makes the useful point that "No one is born a racist. Everyone makes a choice." Teaching Community tells us how we can choose to end racism and create a beloved community. hooks looks at many issues-among them, spirituality in the classroom, white people looking to end racism, and erotic relationships between professors and students. Spirit, struggle, service, love, the ideals of shared knowledge and shared learning - these values motivate progressive social change.
Teachers of vision know that democratic education can never be confined to a classroom. Teaching - so often undervalued in our society -- can be a joyous and inclusive activity. bell hooks shows the way. "When teachers teach with love, combining care, commitment, knowledge, responsibility, respect, and trust, we are often able to enter the classroom and go straight to the heart of the matter, which is knowing what to do on any given day to create the best climate for learning."
A liberal artist seeks the perfection of the human faculties. The liberal artist begins with the language arts, the trivium, which is the basis of all learning because it teaches the tools for reading, writing, speaking, and listening. Thinking underlies all these activities. Many readers will recognize elements of this book: parts of speech, syntax, propositions, syllogisms, enthymemes, logical fallacies, scientific method, figures of speech, rhetorical technique, and poetics. The Trivium, however, presents these elements within a philosophy of language that connects thought, expression, and reality.
"Trivium" means the crossroads where the three branches of language meet. In the Middle Ages and the Renaissance, students studied and mastered this integrated view of language. Regrettably, modern language teaching keeps the parts without the vision of the whole. Inspired by the possibility of helping students "acquire mastery over the tools of learning" Sister Miriam Joseph and other teachers at Saint Mary's College designed and taught a course on the trivium for all first year students. The Trivium resulted from that noble endeavor.
The liberal artist travels in good company. Sister Miriam Joseph frequently cites passages from William Shakespeare, John Milton, Plato, the Bible, Homer, and other great writers. The Paul Dry Books edition of The Trivium provides new graphics and notes to make the book accessible to today's readers. Sister Miriam Joseph told her first audience that "the function of the trivium is the training of the mind for the study of matter and spirit, which constitute the sum of reality. The fruit of education is culture, which Mathew Arnold defined as 'the knowledge of ourselves and the world.'" May this noble endeavor lead many to that end.
"Is the trivium, then, a sufficient education for life? Properly taught, I believe that it should be."—Dorothy L. Sayers
"The Trivium is a highly recommended and welcome contribution to any serious and dedicated writer's reference collection."—Midwest Book Review
This instructive book presents excellent annotated line drawings of anatomical structure for the beginning artist. Explaining the subject in simple terms and with an extensive series of dynamic illustrations, the author identifies parts of the body and demonstrates a wide array of physical activities through his sketches. Following notes on proportion and drawing, chapters cover the human skeleton, head and neck, torso, arm, hand, leg, foot, and musculature. Numerous illustrations depict various views of these structures, movements of the human figure, as well as changes in the relative proportions of features at different ages.
One of the best books in its field, Anatomy and Drawing helps demystify a complex subject by enabling students to visualize the muscles and bones under the skin, and covers just about everything a beginner needs to know about drawing the human anatomy.
Why Read was a PSLA Young Adult Top 40 non-fiction title 2004
Looking further, Bok finds that many important college courses are left to the least experienced teachers and that most professors continue to teach in ways that have proven to be less effective than other available methods. In reviewing their educational programs, however, faculties typically ignore this evidence. Instead, they spend most of their time discussing what courses to require, although the lasting impact of college will almost certainly depend much more on how the courses are taught.
In his final chapter, Bok describes the changes that faculties and academic leaders can make to help students accomplish more. Without ignoring the contributions that America's colleges have made, Bok delivers a powerful critique--one that educators will ignore at their peril.
The 209 pages of drawings in this volume show the human body in a wide variety of positions, viewed from many different angles. Marsh directs special attention to those angles, aspects, and physical positions which are the most difficult to portray. His great talent, coupled with a rare ability to instruct others (Marsh taught at the Art Students League for many years) gave him unusual sensitivity to the concerns of the artist in life drawing: his concise commentary on the drawing points up the problems addressed in each — tone, movement, proportion, composition, etc. The front, side, back, head, arms and hands, legs and feet, and full figure drawings are all included. A separate section on the problems of proportion explores 7, 7 1/2, and 8 head schemes, providing an unusually workable and lucid treatment of the topic for the practicing artist. The body and parts of the body are drawn in skeleton, tissue and muscle, major bone structure, and as they appear in life. Marsh studied medical anatomy as well as the work of the great medical artists in order to perfect his knowledge of human anatomy.
All of the hundreds of drawings, figures, and details of this volume have been excellently reproduced in this edition. The last 95 drawings in the book are all original studies by Marsh, never before published in book form. These casual, light-hearted drawings (mostly of female nudes) illustrate both Marsh's seemingly easy mastery of the techniques of life drawing, and his characteristic lusty, Rubenesque style. Because they are so distinctly in his own style, these drawings highlight the great scope and knowledgeability he has shown in the earlier instructive studies. Those who know and admire Marsh as an artist, as well as anyone who wishes to learn to draw from life, will find this volume indispensable.
Do you know that?
In one day, your blood travels 12,000 miles around your body. That’s four times the distance across the US from coast-to-coast.
The only part of the body that has no blood supply is the cornea in the eye. It takes in oxygen directly from the air.
The enamel on the top surface of our tooth is the hardest part of the entire body.
You have no sense of smell when you're sleeping.
The brain grows quickest till the age of 5.
Every drop of blood in your body is filtered by your body over 300 times a day.
Your skeleton keeps changing every 10 years that means your bodies keep renewing themselves so every 10 year you have a new skeleton.
Blinking helps to wash tears over our eyeballs. That keeps them clean and moist.
Our fingers don't have any muscles. The muscles which move our finger joints are located in the palm and up in the forearm.
An average person has over 1,460 dreams a year which is about 4 dreams every night.
All babies are color blind when they are born so they only see black and white.
Blood is 6 times thicker than water.
Inside all of us is around 0.2 milligrams of gold, most of which is in our blood.
If the human brain were a computer, it could perform 38 thousand-trillion operations per second. The world’s most powerful supercomputer can manage only .002% of that.
As you read this book over and over to your child it won't be long before they are the ones pointing to the picture and telling you what it is. The author Katy Gleit wrote this book for her own two grandchildren Dani and Deia: In "Your Body: 100 Illustrated Fun Facts " your children are given a well-selected knowledge along with entertaining information about the human body. In addition, a set of wonderful pictures show exactly what a human body looks like.
New coverage in the Fifth Edition includes:
• The political coup called Race to the Top
• Common Core State Standards and national testing based on the Standards
• Explosion of online instruction
• Debates about teacher evaluations and merit pay
• Growing for-profit education industry
• New agenda for American Education: Constitutional amendment; long life and happiness; environmental education
Political Agendas for Education is essential reading for courses dealing with the politics of education, foundations of education, educational leadership, and curriculum studies, and for educational scholars, professionals, policymakers, and all those concerned with the politics of education in the U.S. and its consequences for schools and society.
In this compelling and controversial book, Harry Brighouse takes on all these urgent questions and more. He argues that children share four fundamental interests: the ability to make their own judgements about what values to adopt; acquiring the skills that will enable them to become economically self-sufficient as adults; being exposed to a range of activities and experiences that will enable them to flourish in their personal lives; and developing a sense of justice.
He criticises sharply those who place the interests of the economy before those of children, and assesses the arguments for and against the controversial issues of faith schools and the teaching of patriotism.
Clearly argued but provocative, On Education draws on recent examples from Britain and North America as well as famous thinkers on education such as Aristotle and John Locke. It is essential reading for anyone interested in the present state of education and its future.
In Savage Inequalities, Kozol delivers a searing examination of the extremes of wealth and poverty and calls into question the reality of equal opportunity in our nation’s schools.
Written by popular artist Hazel Soan, the book is arranged in three parts: the first section explains all about the equipment you will need; the second section covers techniques and shows what can be achieved with watercolour in a short time span; the third section looks at various subjects that are ideal for painting quickly.
All the essential techniques are covered, focusing particularly on maximizing brushstrokes and exploring colours, and there is useful advice on deciding what to include and what to leave out. With helpful chapters on painting a wide range of subjects – people, landscapes, seascapes, buildings, gardens, flowers and still life – this little guide is ideal for quick reference when working in the studio or out in the field.
In this insightful book, Koepke offers the reader a lucid, accessible description of the outer signs and symptoms of this significant turning point in every child's life.
In How We Think, Dewey shares his views on the educator’s role in training students to think well. Basing his assertions on the belief that knowledge is strictly relative to human interaction with the world, he considers the need for thought training, its use of natural resources, and its place in school conditions; inductive and deductive reasoning, interpreting facts, and concrete and abstract thinking; the functions of activity, language, and observation in thought training; and many other subjects.
John Dewey’s influence on American education and philosophy is incalculable. This volume, as fresh and inspirational today as it was upon its initial publication a century ago, is essential for anyone active in the field of teaching or about to embark on a career in education.
The school itself was conceived by Dewey as having an organic functional relation to the theoretical curriculum. Just as Dewey was anxious to merge philosophy and psychology and to relate both of these disciplines to the theoretical study of education, similarly he saw the school as a laboratory for these studies analogous to the laboratory used in science courses. This effort to merge theory and practice is perhaps the major characteristic of Dewey's entire professional career. In the opening sentence of Dewey's remarks in his essay in this volume, "The Theory of the Chicago Experiment," we see the extent to which this problem preoccupied him: "The gap between educational theory and its execution in practice is always so wide that there naturally arises a doubt as to the value of any separate presentation of purely theoretical principles."
This book is an accurate and detailed account of one of the most experiments ever undertaken in America. It provides the reader with the complexity of John Dewey's abstract philosophy experimentalism.
Katherine Camp Mayhew and Anna Camp Edwards were active leaders in the development and administration of the Dewy School the both taught at this school and later gave a full account of the remarkable experiment that was the Dewey School that is enclosed in this book.
In College, prominent cultural critic Andrew Delbanco offers a trenchant defense of such an education, and warns that it is becoming a privilege reserved for the relatively rich. In arguing for what a true college education should be, he demonstrates why making it available to as many young people as possible remains central to America's democratic promise.
In a brisk and vivid historical narrative, Delbanco explains how the idea of college arose in the colonial period from the Puritan idea of the gathered church, how it struggled to survive in the nineteenth century in the shadow of the new research universities, and how, in the twentieth century, it slowly opened its doors to women, minorities, and students from low-income families. He describes the unique strengths of America's colleges in our era of globalization and, while recognizing the growing centrality of science, technology, and vocational subjects in the curriculum, he mounts a vigorous defense of a broadly humanistic education for all. Acknowledging the serious financial, intellectual, and ethical challenges that all colleges face today, Delbanco considers what is at stake in the urgent effort to protect these venerable institutions for future generations.
In describing the relationship between anatomical features and surface form, the chapters on anatomy include drawings of the bones and muscles of the trunk, upper and lower limbs, and the head and its prominent aspects. A final section focuses on accessories, such as eyeglasses and clothing — items which, when worn, virtually become part of the figure's anatomy.
Clearly and concisely written, Anatomy and Perspective will be an important addition to the personal library of anyone interested in drawing the human figure.
This much-anticipated revised edition includes two full new chapters, one on white women and another extending the discussion on race. It continues the important work of the first, deepening our knowledge of the recurring history on which cross-race relationships issues exist. Kendall’s book provides readers with a more meaningful understanding of white privilege and equips them with strategies for making personal and organizational changes.
Now depicted in a bestselling book and a feature film, the Freedom Writers phenomenon came about in 1994 when Erin Gruwell stepped into Room 203 and began her first teaching job out of college. Long Beach, California, was still reeling from the deadly violence that erupted during the Rodney King riots, and the kids in Erin’s classroom reflected the anger, resentment, and hopelessness of their community. Undaunted, Erin fostered an educational philosophy that valued and promoted diversity, tolerance, and communication, and in the process, she transformed her students’ lives, as well as her own. Erin Gruwell and the Freedom Writers went on to establish the Freedom Writers Foundation to replicate the success of Room 203 and provide all students with hope and opportunities to realize their academic potential. Since then, the foundation has trained more than 150 teachers in the United States and Canada. Teaching Hope unites the voices of these Freedom Writer teachers, who share uplifting, devastating, and poignant stories from their classrooms, stories that provide insight into the struggles and triumphs of education in all of its forms.
Mirroring an academic year, these dispatches from the front lines of education take us from the anticipation of the first day to the disillusionment, challenges, and triumphs of the school year. These are the voices of teachers who persevere in the face of intolerance, rigid administration, and countless other challenges, and continue to reach out and teach those who are deemed unteachable. Their stories inspire everyone to make a difference in the world around them.
From the Trade Paperback edition.
Country flowers are an accessible and endlessly fascinating subject. In this book, Ann Blockley shows you how to capture them in watercolours, teaching the methods and techniques that are needed to paint a variety of flowers.
There are many practical and step-by-step demonstrations throughout, with sections on how to create texture and effective backgrounds, making this an essential guide on the subject.
How Students Learn: History, Mathematics, and Science in the Classroom builds on the discoveries detailed in the bestselling How People Learn. Now, these findings are presented in a way that teachers can use immediately, to revitalize their work in the classroom for even greater effectiveness.
Organized for utility, the book explores how the principles of learning can be applied in teaching history, science, and math topics at three levels: elementary, middle, and high school. Leading educators explain in detail how they developed successful curricula and teaching approaches, presenting strategies that serve as models for curriculum development and classroom instruction. Their recounting of personal teaching experiences lends strength and warmth to this volume.
The book explores the importance of balancing studentsâ€™ knowledge of historical fact against their understanding of concepts, such as change and cause, and their skills in assessing historical accounts. It discusses how to build straightforward science experiments into true understanding of scientific principles. And it shows how to overcome the difficulties in teaching math to generate real insight and reasoning in math students. It also features illustrated suggestions for classroom activities.
How Students Learn offers a highly useful blend of principle and practice. It will be important not only to teachers, administrators, curriculum designers, and teacher educators, but also to parents and the larger community concerned about childrenâ€™s education.