The problem for this study is “How can the Industrial Arts Program implement the Framework for Education in California?” The Framework was designed as a basic guide for all areas and levels. The principles and recommendations are of necessity, broad and general. The problem then resolved itself into converting these broad principles and recommendations into specific suggestions to be applied in the Industrial Arts classroom. In solving this problem it is intended to develop (1) specific types of experiences needed and (2) methods and organization required to achieve maximum utilization of these experiences.

"One of these methods is the use of industrial arts at the elementary level. Its outstanding contribution is in the providing of experiences and activities which contribute toward clarifying, expanding, enriching and speeding the learning process. Industrial arts activities assist the elementary school to accomplish its goals by: 1. Developing adequate meanings by reducing abstraction and enriching the curriculum. 2. Establishing learning readiness and motivating learning. 3. Acquainting children with their cultural heritage. 4. Teaching fundamental skills. 5. Providing for individual differences and socializing experiences. 6. Developing desirable personality traits"--Introduction. / "January, 1959." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / Advisor: Marian W. Black, Professor Directing Paper. / Includes bibliographical references (leaves 67-74).

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"This study was conducted to find the extent to which girls are involved in industrial arts classes and related activities in Texas public schools, the factors which limit their enrollment, and teachers' opinions concerning industrial arts experiences most beneficial for girls. Data were obtained from bulletins, books, magazines, related studies, and from information forms completed by 123 industrial arts teachers....Among the more important findings were: 1. Girls tend to enroll in certain areas of industrial arts with little or no participation in other areas. 2. A large majority of the respondents indicated they would be receptive to teaching industrial arts to girls. 3. The respondents indicated industrial arts would be of great value to girls. 4. The optimum number of industrial arts credits for girls is one or two. 5. Girls should be taught in mixed classes. 6. The realization of the states objectives of industrial arts is of equal value to boys and girls. 7. Many girls have negative feelings toward becoming involved in industrial arts. 8. Exchange units and unified arts programs are of value to girls and boys." --p. 2

This is a study to determine whether the colleges of Texas are preparing their students of industrial arts to teach effectively in the high schools of Texas. The objectives of this study are to draw conclusions as to whether or not the colleges of Texas are preparing their students of industrial arts to teach effectively in the modern high schools; to show the training of industrial arts teachers; and to determine to what extent industrial arts are offered in the high schools of Texas.

The purpose of this study was to identify the forces and pressures that have influenced curriculum design decisions regarding general education requirements in the fine arts professional baccalaureate degree programs and to determine how curriculum planners are responding to these pressures. A review of the literature revealed a national movement to examine general education requirements in higher education. Problems arise when particular degree programs are already discipline-specific in nature with a substantial number of course requirements prescribed in the major area of study. The problems are compounded further in the professional degree programs where emphasis is often placed on knowledge and skills that are acquired through practical application of theoretical principles. The fine arts professional degree programs were selected as the focal curriculum structures. Based on the literature review it was expected that specific environmental forces, such as the renewed national interest in general education, would emerge as influences affecting curriculum design processes in the fine arts. Recent theoretical studies on emerging curricula structures also indicated a prevalence of systems perspectives where curriculum design processes focus on environmental influences that are precipitating a redefinition of program structures. It was anticipated by the researcher that a reexamination of curriculum design processes would reveal a responsiveness to specific forces identified in the theory as both internal and external environmental considerations. The research approach was primarily observational, utilizing parametric estimates and analyses. Particular data gathered were periodically subjected to inferential analysis. The researcher found that a majority of the fine arts curriculum planners contacted for this study were involved in curriculum review and revision of the professional baccalaureate degree programs. It was also revealed from results of the study that curriculum design influences were primarily institutional/internally motivated although current theoretical literature on curriculum design processes indicated that systems perspectives dominated these processes. Finally, it was discovered that fine arts alumni from professional baccalaureate degree programs favor traditional general/liberal curricular structures in higher education.

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How to teach writing is a consistently complex problem in the field of English education. This qualitative narrative research project seeks to further complicate that problem by suggesting, through improvisation theories, two shifts in understanding writing instruction: that texts themselves do not fully constitute the wholeness of the work and thus involve the meanings we ascribe to them (as writers, readers, teachers, and students); that our role as writing instructors is as disruptors and must be improvised (altered, shifted, adjusted) based on the meaning ascribed to the written work by students and teachers. This project explores the following questions: (1) If texts do not fully constitute the whole of the written work, then how do students and teachers explain and understand what writing is about? This question is addressed in two ways: (A) How do students understand what their writing is about? (B) How do I understand what they report to me? (2) What might it mean to improvise our role in writing instruction? How might student explanations provide the context to improvise our roles as writing instructors? The participants were three high school seniors. As the sole researcher, I interviewed each of the three participants, two males and one female, over the course of the first semester of their senior year. Through qualitative research, with dimensions of narrative research, this study suggests that provoking crucial disruptions in the students’ writing is an approach to writing instruction that involves dialogue with students, and reflection on practice. It is a collaborative approach between students and teachers. This study further suggests that how we prompt students is crucial to their writing experiences. And, through dialogue with students (which can be conceived of as a form of writing instruction), we can inform, explore, and question when and how we inspire students in their writing. This dissertation proposes that writing instruction is continuously and simultaneously inquiry and practice.

Many high school communities across the United States grapple with issues of bullying, harassment and other forms of student conflict that are often the result of intolerance and misunderstandings across and among social identities (Griffin et. al., 2012). In an effort to rebuild tone and community, however, schools have focused predominantly on (1) addressing only antagonistic student behavior and (2) tolerance-based approaches that result in the superficial “choreography of civil speech” (Mayo. 2004). Both methods, in different ways, have struggled to meaningfully address many of the underlying issues responsible for intergroup and interpersonal conflict and the deterioration of community in schools (Dessel, 2010; Poteat & DiGiovanni, 2010). This qualitative case study examines the impact of an innovative arts-based curriculum designed to center the construction and performance of student “creative authoethnographies” in the classroom as a way of proactively working toward dialogue about identity and social analysis. Conducted over the course of a single school year at a high school in New York City, this research looks carefully at the experiences of seven students. Through close analysis of student interviews, archived student writing, curriculum documents, student surveys and other qualitative data, this work strives to articulate what courses such as these offer students, and how their presence in schools holds the potential to directly address issues of bullying and conflict across difference. Responding to the critical multiculturalist call (Banks, 1995, Morrell, 2007; Camangian, 2010) for a pedagogy that combines the successful but historically separate practices of autoethnography and the teaching of dialogue skills, this study introduces “cultural ruptures” and a “pedagogy of disruption” as part of a new approach to engaging young people in an of education that is explicit in it’s efforts to critique society and interrogate one’s own identity (Freire & Macedo, 1987). This research also advocates strongly on behalf of English classrooms (and English teachers specifically) as among the most important “actors” in the work of humanizing education, and offers tangible recommendations and strategies for practitioners toward that end.

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