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.

No description available.

The push for educational reform in the province of Quebec, Canada has brought to the foreground many ideas about what needs to be done to improve the learning experience of students. While there has been some movement in the primary grade levels, change in the secondary level is still in its infancy. There are some teachers, however, in high schools who have been on the cutting edge of educational reform. The purpose of this study is to look at participation within a secondary classroom where the philosophy of the reform is being acted upon. The study, qualitative in design, is a type of ethnographic investigation of a teacher and students in a Grade VII language arts classroom. The classroom is a part of an exclusive program, namely the Alternative Learning Program, nested in a public high school in the Montreal area. / Using various means of data collection such as field notes and interviews, the researcher examines the various dimensions of participation as it unfolds in this particular classroom. The researcher identifies these dimensions as assigned and shared participation. The data suggests that dynamics beyond assigned and shared participation are also evident. The dynamics, identified as participative tone, contribute to student views of the uniqueness of this particular learning environment. To present a trustworthy description of what is observed, however, the investigator shows situations in which participation is not apparent. These situations are identified as participative resistance. The researcher deduces that participation and participative resistance need to be viewed as context-bound and are, in many respects, points on a continuum. / Attempts have been made in the research to allow the study participants to express their views. Through interviews, students share in their own words what participation means to them. Their words add depth to understanding of what student participation is. The study suggests that notions of the child-centered or student-centered classroom, while commendable, are not necessarily an aspiration to strive for. / The study affirms that the teacher plays a key position in the classroom environment. The study begins by showing the various roles that the teacher assumes in her daily practice. Views of the teacher are presented along with perceptions of the students and the researcher to determine the various roles played out in this site. The study concludes that the teacher conducts her practice by exceeding the boundaries of her roles so identified. / The study shows that the classroom does not stand in isolation, but is subject to various influences from the school, as well as the community at large. The researcher identifies these influences as context and conditions using another site as a point of reference. The secondary sight brings clarity to what the researcher observes. The researcher concludes that in addition to communal influences, learning in the primary site takes place under the banner of what is defined as an arts-oriented curriculum. The arts-oriented curriculum contributes to the sense of community in the classroom. But data also suggest that the classroom does not always function as a community. In spite of the teacher's good intentions, tensions sometimes foster a competitive rather than collaborative spirit among the students.

During the 1987-88 academic year at Ball State University, it was decided that a series of transparency masters should be produced to support changes occurring in the state's curriculum for industrial technology education. With my interests in instructional material, I felt that this was the year to produce such materials. The instructional benefits to prospective and veteran teachers seem well worth the time and effort.Upon the discussion of changes in the curriculum conclusions as to personal feelings have ranged from panic to delight. Most feelings of panic stemmed from unpreparedness and lack of high quality instructional material. The observation has formed the objective for this creative Project: to use data gathered from Indiana's State Curriculum Guides, recommended textbooks and interviews with high school instructors to design transparency masters for instructional implementation. / Department of Industry & Technology

There is no abstract available for this thesis.

There is no abstract available for this thesis.

The major work involved is the debugging procedure on the Varian Model V-21003 electromagnet, power supply and spectrometer and the design and construction of supporting structure to house the various pieces of apparatus which were required to complete the system.Equipment which was not immediately available was then designed and constructed, with the final step being the testing. of the entire system for its integrity.Adjustments to each component was then carried out to obtain the best signal possible, noting the various changes caused by the condition and setting of each section of the system.

This study was concerned with developing an innovative program for the Thomas Butcher Children's School of Kansas State Teachers College, Emporia, Kansas.A survey was made of the known innovative programs, with an in-depth comparison of similarities and dissimilarities of the three most notorious programs: The Industrial Arts Curriculum Project, The American Industries Project, and The Maryland Plan, and of the three most recent books directed toward elementary industrial arts: Teaching Elementary Industrial Art, Teaching Children About Technology, and Elementary School Industrial Arts, relative to rationale, objectives, and structure.The suggested program began with a definition of Industrial Arts for elementary education, followed by the rationale, objectives and structure. Communications was to receive the major emphasis at the Kindergarten level; transportation at the first grade level; shelter at the second grade level; clothing at the third and fourth grade level; and foods at the fifth and sixth grade level, although each could not be limited to any one grade level. Units under each category were followed by room preparation, minimal tool list, and material media suggestions.

The purpose of this study was to begin to define and describe some of the complex intersections between teaching and learning first-year composition with digital portfolios, focusing on the construction, presentation, and assessment processes in one first-year composition course at Ball State University. The study employed a qualitative ethnographic methodology with case study, and used grounded theory to develop a resultant guide to code the data collected through several methods: observation, interview, survey, and artifact assessment.The resultant coding guide included the core categories "reflective immediacy," "reflexive hypermediacy," and "active remediation." With the guide findings indicate several effective "common tool" digital portfolio strategies for both teachers and learners. For teachers: introduce the digital portfolio as early in the course as possible; make connections between digital portfolios and personal pedagogical strategies; highlight rhetorical hyperlinking and constructing navigational schemes; emphasize scalability; create a sustainable support system. For learners: consider the instructor's objectives within the framework of the portfolio; synthesize writing process with course content and portfolio construction; include each component of the writing process in the portfolio. / Department of English

This creative project has simplified technical information concerning electrical discharge machining so that it may be better understood by secondary vocational and post-secondary students. The material has been collected from sources including manufacturers of electrical discharge machines, industrial personnel, industrial educators from vocational schools and universities, and technical papers from trade magazines. It has been written for the secondary vocational student at a reading level that he should be able to comprehend.Included in the text are drawings which can be used to make transparencies, exercises that can be adapted to the different types of EDM machines, and a glossary of EDM terms.