Thesis (Ed.M.)--Boston University / Purpose of the workbook: It is the purpose of this workbook to present a series of special activity gtion sheets to be used a.s teaching devices and resource material in basic shop mechanics. These activity guides or instruction sheets have been devised for the use of pupil and teacher in classes for the mentally retarded ( cominonly called special classes). Scone of the workbook material: The activity guides herein presented have been developed and graded for 14 to 16 year old boys to whom the special class is a terminal room. The sheets are to be used in the industrial arts program, either in the section of the special class room used. for this purpose and taught by the special class teacher, or in the regular shop classes in unit shops and general industrial arts shops.

This study was conducted to identify certain effective practices currently being utilized in teaching multiple activity industrial arts classes. The study was concerned with those practices being used in middle school, junior high school, and intermediate school general shop classes where multiple activities were being taught.

Esta dissertação articula conceitos do campo da filosofia, da arte e da educação junto às múltiplas formas de expressão da arte, afirmando as experimentações e as intensidades de autores como Nietzsche, Deleuze, Guattari e de outros estudos do pensamento da Diferença. A disposição gráfica “inSuportes” indica a impossibilidade de fundamentar os movimentos no campo da arte e do ensino da arte. A heterogeneidade das formas de expressão artística não possibilita criar uma determinada ordem nem propor uma classificação. Ao afirmar os afectos da arte no fazer e no pensar a arte e o ensino da arte, a presente pesquisa tem por intenção contribuir para uma maior abertura do conceito de criação no meio escolar. Diferentes práticas se sobrepõem, justapõem e coexistem, mas cada uma delas opera em sua singularidade. A multiplicidade das manifestações não permite que se extraia uma significação particular, mas possibilita afirmar a singularidade da arte para pensar o mundo com múltiplas possibilidades de vida. O pensamento da diferença e do múltiplo abre um frágil espaço para respostas possíveis a problemas colocados num determinado horizonte de eventos. A escrita e as imagens que compõem esse ensaio pretendem mostrar a potência da arte e a conexão entre o desejo e a criação em aulas de artes. Dessa forma, na vastidão dos continentes, nos limites das ilhas, na superfície do papel A4, em muros e paredes, em suportes de todos os tipos e na variedade dos papéis desempenhados por um professor, a força que move a arte vem a ser sempre a mesma: a criação. / This dissertation combines concepts from the field of philosophy, art and education with the many forms of artistic expression, affirming the experiments and intensities of authors as Nietzsche, Deleuze, Guattari as well as others studies of the concept of Difference. The graphic layout "unSupport" indicates the inability to substantiate the movements in art and art education. The heterogeneity forms of artistic expression do not intend to create a determinate order and to propose a classification. While affirming the affects of art at doing and thinking about art and art education, this research aims to contribute to a more open concept of creation in schools. Different practices overlap, juxtapose and coexist, but each one operates in its singularities. The multiplicity of events does not allow extracting a particular meaning, but it turns possible to assert singularities of art in order to think the world with multiple possibilities of life. The thought of difference and multiple opens a fragile space for possible answers to problems placed in a particular event horizon. The writing and the images that compose this essay aims to show the potency of art and the connection between desire and creation in arts classes. In this way, in the vastness of the continent, in the limits of an island, on the surface of an A4 paper, on the walls, in all media types and on the variety of the roles of a teacher, the force that moves the art is always the same: creation.

Esta dissertação articula conceitos do campo da filosofia, da arte e da educação junto às múltiplas formas de expressão da arte, afirmando as experimentações e as intensidades de autores como Nietzsche, Deleuze, Guattari e de outros estudos do pensamento da Diferença. A disposição gráfica “inSuportes” indica a impossibilidade de fundamentar os movimentos no campo da arte e do ensino da arte. A heterogeneidade das formas de expressão artística não possibilita criar uma determinada ordem nem propor uma classificação. Ao afirmar os afectos da arte no fazer e no pensar a arte e o ensino da arte, a presente pesquisa tem por intenção contribuir para uma maior abertura do conceito de criação no meio escolar. Diferentes práticas se sobrepõem, justapõem e coexistem, mas cada uma delas opera em sua singularidade. A multiplicidade das manifestações não permite que se extraia uma significação particular, mas possibilita afirmar a singularidade da arte para pensar o mundo com múltiplas possibilidades de vida. O pensamento da diferença e do múltiplo abre um frágil espaço para respostas possíveis a problemas colocados num determinado horizonte de eventos. A escrita e as imagens que compõem esse ensaio pretendem mostrar a potência da arte e a conexão entre o desejo e a criação em aulas de artes. Dessa forma, na vastidão dos continentes, nos limites das ilhas, na superfície do papel A4, em muros e paredes, em suportes de todos os tipos e na variedade dos papéis desempenhados por um professor, a força que move a arte vem a ser sempre a mesma: a criação. / This dissertation combines concepts from the field of philosophy, art and education with the many forms of artistic expression, affirming the experiments and intensities of authors as Nietzsche, Deleuze, Guattari as well as others studies of the concept of Difference. The graphic layout "unSupport" indicates the inability to substantiate the movements in art and art education. The heterogeneity forms of artistic expression do not intend to create a determinate order and to propose a classification. While affirming the affects of art at doing and thinking about art and art education, this research aims to contribute to a more open concept of creation in schools. Different practices overlap, juxtapose and coexist, but each one operates in its singularities. The multiplicity of events does not allow extracting a particular meaning, but it turns possible to assert singularities of art in order to think the world with multiple possibilities of life. The thought of difference and multiple opens a fragile space for possible answers to problems placed in a particular event horizon. The writing and the images that compose this essay aims to show the potency of art and the connection between desire and creation in arts classes. In this way, in the vastness of the continent, in the limits of an island, on the surface of an A4 paper, on the walls, in all media types and on the variety of the roles of a teacher, the force that moves the art is always the same: creation.

Esta dissertação articula conceitos do campo da filosofia, da arte e da educação junto às múltiplas formas de expressão da arte, afirmando as experimentações e as intensidades de autores como Nietzsche, Deleuze, Guattari e de outros estudos do pensamento da Diferença. A disposição gráfica “inSuportes” indica a impossibilidade de fundamentar os movimentos no campo da arte e do ensino da arte. A heterogeneidade das formas de expressão artística não possibilita criar uma determinada ordem nem propor uma classificação. Ao afirmar os afectos da arte no fazer e no pensar a arte e o ensino da arte, a presente pesquisa tem por intenção contribuir para uma maior abertura do conceito de criação no meio escolar. Diferentes práticas se sobrepõem, justapõem e coexistem, mas cada uma delas opera em sua singularidade. A multiplicidade das manifestações não permite que se extraia uma significação particular, mas possibilita afirmar a singularidade da arte para pensar o mundo com múltiplas possibilidades de vida. O pensamento da diferença e do múltiplo abre um frágil espaço para respostas possíveis a problemas colocados num determinado horizonte de eventos. A escrita e as imagens que compõem esse ensaio pretendem mostrar a potência da arte e a conexão entre o desejo e a criação em aulas de artes. Dessa forma, na vastidão dos continentes, nos limites das ilhas, na superfície do papel A4, em muros e paredes, em suportes de todos os tipos e na variedade dos papéis desempenhados por um professor, a força que move a arte vem a ser sempre a mesma: a criação. / This dissertation combines concepts from the field of philosophy, art and education with the many forms of artistic expression, affirming the experiments and intensities of authors as Nietzsche, Deleuze, Guattari as well as others studies of the concept of Difference. The graphic layout "unSupport" indicates the inability to substantiate the movements in art and art education. The heterogeneity forms of artistic expression do not intend to create a determinate order and to propose a classification. While affirming the affects of art at doing and thinking about art and art education, this research aims to contribute to a more open concept of creation in schools. Different practices overlap, juxtapose and coexist, but each one operates in its singularities. The multiplicity of events does not allow extracting a particular meaning, but it turns possible to assert singularities of art in order to think the world with multiple possibilities of life. The thought of difference and multiple opens a fragile space for possible answers to problems placed in a particular event horizon. The writing and the images that compose this essay aims to show the potency of art and the connection between desire and creation in arts classes. In this way, in the vastness of the continent, in the limits of an island, on the surface of an A4 paper, on the walls, in all media types and on the variety of the roles of a teacher, the force that moves the art is always the same: creation.

The purpose of this study is to determine the pupil load in relationship to the amount of equipment available for use in industrial arts classes in the junior high schools of Texas.

The developmental appropriateness of the English language arts essential elements for kindergarten children in the State of Texas was evaluated by surveying the opinions of thirty-six kindergarten teachers in one school district. A questionnaire was developed using the essential elements so that respondents could record a yes or no opinion and supply additional comments on each essential element. Ninety-seven percent of the teachers responded. The results indicated rates of agreement for developmental appropriateness by the teachers surveyed to be 100% for language, 95% for listening, 94% for speaking and reading and 81% for writing.

The problem of this study was to ascertain the status of Texas secondary school industrial arts programs in regard to serving physically handicapped students and to analyze the attitudes of industrial arts teachers toward the physically handicapped students in industrial arts classes. The purposes of this study were, (1) to describe the nature and extent of participation by industrial arts programs in Texas secondary schools in complying with federal and state laws concerning the education of handicapped children, and (2) to acquire and interpret information which may be included in college courses for preparing industrial arts teachers and/or in-service programs for industrial arts teachers. Among the major findings revealed by an analysis of the data are the following. 1. Of the 366 industrial arts teachers surveyed, 86 per cent had no pre-service courses and 79 per cent had no in-service instruction concerning handicapped students; however, 67 per cent had experience teaching physically handicapped students. 2. Of the 37,659 students who were served by 355 industrial arts teachers during the 1977-78 school year, 727, or 2 per cent, were physically handicapped; 171 students were in separate special classes and 566 were integrated into regular classes. 3. Of the 727 physically handicapped students, 47 per cent attended senior high schools; 87 per cent attended schools with an enrollment of over 550 students; 83 per cent were in an urban or suburban educational setting; and the four predominate industrial arts areas in which they were enrolled are, in order: Drafting, Woodworking, General Shop, and Metalworking. 4. The attitudes of industrial arts teachers toward physically handicapped students and the attitudes of industrial arts teachers toward the integration of physically handicapped students were slightly positive. The industrial arts teachers' attitude toward the potential success of physically handicapped students in the world of work was positive. The industrial arts teachers' assessment of their own competencies to teach physically handicapped students was neither positive nor negative. 5. The attitudes of the industrial arts teachers were not significantly influenced by their age, education, teaching experience, type of school organization, type of educational setting or total enrollment of the schools in which they taught. Female teachers and teachers with experience in teaching physically handicapped students were significantly more positive in their attitudes toward the physically handicapped.