By embedding narrative theory within the practice of storied forms, there can be pedagogical movement from difficulty to insight. This piece explores scholarly personal narrative as a creative and critical method for attaining academic understanding. The ideas of three narrative scholars (Nash, Fowler, and Luce-Kapler) surface within two writing…

In this paper we discuss why a senior capstone course is the perfect setting to reward graduating seniors with some of the more fun and interesting aspects of advanced mathematics. We provide a beginner's list of topics to consider as well as a method of implementing these tidbits outside of the classroom if time is an issue.

To writing, painting, drawing, and photography as artistic media, the author would like to add teaching as a creative endeavor as well. Especially in a classroom where English is not the first language for many students, the writing teacher needs to be creative with assignments and activities that address nontraditional ways of learning. Her…

Metaphor and metonymy are two ways people make meaning; two ways they perform transformations between thought and language and within both thought and language. In St. Augustine's language these two processes could be pictured as vertical or horizontal movements either from the world of signs to "reality" or within the world of signs itself. In…

Asking children to use a dictionary without discussion to expand their vocabularies is uninteresting, unnatural and unwarranted. This type of assignment requests that the student teach him or herself. Directing students with words without showing them what to do is quite difficult. Asking them to do it independently without observing a model is…

Responds to criticisms of author's work on instructional design and creativity. Clarifies three points from the criticized article: (1) the role of the Dick and Carey model; (2) the role of the client in the design process; and (3) the importance of performance analysis of ill-defined problems. (JMV)

An expressive encounter is the opposite of a behavioral objective. The instructional goals of the expressive encounter are emergent and generally aimed at skills and attitudes related to creativity and problem solving. A developmental lesson sequence is an integrated, sequential group of lessons that move toward a general goal. (Author/IRT)

Argues for the realignment of Shakespeare with the popular forms which influence the social world of young children. Explores what teachers and performers need to learn and unlearn when telling Shakespeare's stories in the company of children. Considers the grounds of creativity for teachers when abandoning prescription in teaching Shakespeare.…

A teacher encourages other teachers to look beyond rigid, locked-in, over-organized instructional approaches by pointing out the advantages of creativity, risk-taking, and flexibility in classroom teaching. (CB)

Offers a rationale and methods for implementing a coaching program in day care centers. Defines coaching as staff training that focuses on teachers changing and extending their ideas and skills of teaching through technical support and encouragement from fellow teachers. (RWB)

Offers suggestions for teaching and resources for bringing the works of Shakespeare successfully to students of today. (CRH)

Responds to two arguments made by Walter Dick in the debate over instructional design and creativity: (1) "creativeness" should not dominate effectiveness and efficiency; and (2) systematic instructional design methods do result in "creative instruction" when they are used appropriately. Also lists respondent's assumptions and claims. (JMV)

Nine elementary teachers explain how they design their classrooms to match and support their instructional styles. The teachers focus on whole language programs, student portfolios, science activity set-ups, technology transformation, learning center strategies, and space utilization. (SM)

Responds to Sweet's (Steven) essay on radical pedagogy in the teaching of sociology. Discusses what it means to be a radical teacher. Presents ideas for beginning radical pedagogs to gain support for their initiatives from other instructors, their own institutions, and their students. (DSK)

This paper is an exploration of the ways in which the concept of montage (a principle of film editing developed first by a group of Russian film makers in the 1920s) might be mobilised in support of the teaching of English, in particular the teaching of poetry. I will argue that montage can be used as the basis of a different kind of pedagogy in…