More Literature Circles: Cooperative Learning for Grades 3-8

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Help students expand critical thinking and research skills while they learn to work as a team. Featuring 38 novels and 5 picture books, this title offers everything you need to effectively improve your literature-based learning program and make reading fun and exciting. From detailed instructions on how to teach literature circles, to reproducible worksheets and complete lesson plans, you will find this is a versatile resource adaptable to any teaching style. Each title centers on a particular concept (i.e., imagination, discovery, justice and freedom, empathy, and courage and survival) allowing students to explore an idea critically and answer an author-suggested Essential Question. For each novel, a list of vocabulary items is provided along with discussion starters, activities, and writing assignments based on the text, ensuring that students gain a thorough understanding of the content area. A must-have for public and private school teachers, homeschoolers, and parents! Grades 3-8.
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About the author

MIMI NEAMEN is a teacher at East Mountain Charter High School, Sandia Park, New Mexico, and is an instructor at the University of New Mexico, Albuquerque.

MARY STRONG is a retired middle school teacher with 25 years of experience in the field.

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Additional Information

Publisher
Libraries Unlimited
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Published on
Dec 31, 2001
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Pages
125
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ISBN
9781563088957
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Language
English
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Genres
Education / Elementary
Education / Teaching Methods & Materials / Language Arts
Education / Teaching Methods & Materials / Reading & Phonics
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Content Protection
This content is DRM protected.
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Available on Android devices
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Eligible for Family Library

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From prehistory to the present, the Indigenous peoples of the Andes have used a visual symbol system—that is, art—to express their sense of the sacred and its immanence in the natural world. Many visual motifs that originated prior to the Incas still appear in Andean art today, despite the onslaught of cultural disruption that native Andeans have endured over several centuries. Indeed, art has always been a unifying power through which Andeans maintain their spirituality, pride, and culture while resisting the oppression of the dominant society.

In this book, Mary Strong takes a significantly new approach to Andean art that links prehistoric to contemporary forms through an ethnographic understanding of Indigenous Andean culture. In the first part of the book, she provides a broad historical survey of Andean art that explores how Andean religious concepts have been expressed in art and how artists have responded to cultural encounters and impositions, ranging from invasion and conquest to international labor migration and the internet. In the second part, Strong looks at eight contemporary art types—the scissors dance (danza de tijeras), home altars (retablos), carved gourds (mates), ceramics (ceramica), painted boards (tablas), weavings (textiles), tinware (hojalateria), and Huamanga stone carvings (piedra de Huamanga). She includes prehistoric and historic information about each art form, its religious meaning, the natural environment and sociopolitical processes that help to shape its expression, and how it is constructed or performed by today’s artists, many of whom are quoted in the book.

Early in its history, anthropology was a visual as well as verbal discipline. But as time passed, visually oriented professionals became a minority among their colleagues, and most anthropologists used written words rather than audiovisual modes as their professional means of communication. Today, however, contemporary electronic and interactive media once more place visual anthropologists and anthropologically oriented artists within the mainstream. Digital media, small-sized and easy-to-use equipment, and the Internet, with its interactive and public forum websites, democratize roles once relegated to highly trained professionals alone. However, having access to a good set of tools does not guarantee accurate and reliable work. Visual anthropology involves much more than media alone.

This book presents visual anthropology as a work-in-progress, open to the myriad innovations that the new audiovisual communications technologies bring to the field. It is intended to aid in contextualizing, explaining, and humanizing the storehouse of visual knowledge that university students and general readers now encounter, and to help inform them about how these new media tools can be used for intellectually and socially beneficial purposes.

Concentrating on documentary photography and ethnographic film, as well as lesser-known areas of study and presentation including dance, painting, architecture, archaeology, and primate research, the book's fifteen contributors feature populations living on all of the world's continents as well as within the United States. The final chapter gives readers practical advice about how to use the most current digital and interactive technologies to present research findings.

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