The purpose of this qualitative case study was to examine perceptions of East Tennessee State University (ETSU) cohort members on the experience of redesigning the leadership preparation program requirements. Particularly, cohort participants in the Greene-King cohort were chosen by an admission process to participate in a grant program as governed by the Southern Regional Education Board (SREB) in partnership with ETSU and local school agencies in Greeneville and Kingsport. The ETSU Department of Educational Leadership and Policy Analysis (ELPA) in the Claudius G. Clemmer College of Education collaborated with Kingsport City and Greeneville City school districts to redesign educational leadership programs. The SREB partnership initiative was eventually part of a broader effort designed to improve the quality of principal training throughout the state of Tennessee. This research was designed to document the Greene-King cohort member experience of redesigning leadership program expectations and outcomes. Moreover, the descriptive case study was an attempt to assimilate student perceptions of the effectiveness of cohort participation and the emergent design aspect of program expectations as they relate to leadership preparation. This research reinforced the view that the emergent design can provide for more meaningful participation on behalf of learners. Six research questions guided this study and qualitative data derived from the focus group interview and document reviews of cohort member reflection journals were analyzed. Results indicated that Greene-King cohort members were provided more meaningful school-leadership development experiences due to the following: emergent design of curriculum, meaningful and relevant internship experiences, mentoring, and collaborative learning within the cohort.

ABSTRACTLeet, Susanne & Mollin, Pia (2011), Barn gör rätt om de kan. (Children do the right thing if they can)Malmö högskola, Lärarutbildningen, Skolutveckling och ledarskapSyftet med vår studie är att undersöka om CPS - Collaborative Problem Solving, på svenska samarbetsbaserad problemlösning, kan hjälpa barn med problemskapande beteende. Vi vill också ta reda på hur pedagoger ser på dessa barn barn och om arbetet med CPS har förändrat deras synsätt? Våra frågeställningar är: Kan CPS hjälpa barn med problemskapande beteende? Hur ser lärare på dessa barn och har arbetet med CPS förändrat deras synsätt?Vi har valt en kvalitativ forskningsansats och använt oss av ett frågeformulär och en gruppintervju för att samla in vårt empiriska material. Detta är ett litet urval. Av frågeformuläret och intervjuerna har det framkommit att barn med problemskapande beteende bemöts olika och att lärare ofta känner att de inte har de rätta verktygen att möta dessa barn på ett bra och tillfredställande sätt. Vi har, genom vår studie, kommit fram till att dessa barn finns i de flesta klasser och att CPS kan vara ett arbetssätt som kan fungera vid bemötandet av, och i arbetet med, barn med problemskapande beteende.

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This autoethnographic study explores a space for aesthetic education in a Western classical music conservatory setting. It examines my own teaching of a graduate-level elective course called Modernism: Art and Music over the span of three years under the zero-Covid policy in China. Through my own attending as a teacher, I explore areas of wide-awakeness, imagination, and pluralism found within the framework of Maxine Greene’s aesthetic education philosophy. By documenting my transformative and reflexive journey, I hope to shed light on the possibilities for educators and policymakers to consider a wider implementation of aesthetic education approaches in the conservatory to better support students’ personal, musical, and career developments.

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An arts equity gap exists in K–12 grade education. African American and Latinx students have fewer opportunities for access to arts education than do White students. In California, charter schools have an opportunity to address the equity gap for students in those demographic groups. The goal of this qualitative case study was to observe how Kahlo Charter Elementary School, an urban charter elementary school in Los Angeles County, implemented an arts integrated curriculum and to identify benefits and challenges for fourth and fifth grade students of color enrolled at the school. Aesthetic learning (Bose, 2008; Denaway, 2013; Greene, 1978, 1995, 2001; Holzer, 2009), arts integration (Silverstein & Layne, 2010), and Different Ways of Knowing (DwoK) (Johannesen, 1997, 2004) formed the conceptual framework for this study. Participants included fourth- and fifth-grade Latinx and African American students, one 12th-grade student, one parent each, grade level teachers, and arts specialist teachers, and administrators. Data sources included semi-structured interviews, a focus group, observation of classes and observations of school events. Inductive analysis was used to identify themes in the data. The approach at the school was primarily a constructivist, arts-integrated curriculum. Teachers created units from primary source materials and discipline specific visual and performing arts courses complimented the arts-integrated curriculum. Students evidenced increased self confidence, ease of self expression, development of imagination, engagement with school, and empathy of others. However, challenges included uneven implementation across classrooms. The study serves as an example for charter school leaders interested in planning an arts integrated curriculum and provides school leaders with a model program to analyze.

Contaminated wheat flour has been identified as the probable vehicle of a multi-state outbreak of Escherichia coli O157:H7 associated with ready-to-bake cookie dough. Several cookie dough manufacturers are currently using heat-treated flour for ready-to-bake products, although data on thermal inactivation of foodborne pathogens in wheat flour remains scarce. The objective of this research was to first determine appropriate methods and parameters for bacterial inoculation and thermal treatment of wheat flour, and to subsequently determine the population reductions of E. coli O157:H7 and Salmonella Agona in artificially contaminated wheat flour following thermal treatment for 1, 5, 15 or 30 minutes at 55, 60, 65 or 70°C in a shaking water bath. Flour samples (aw = 0.55) in sterile plastic bags were individually inoculated (~109 CFU/g), pulsified to distribute cultures, and pressed to a uniform thickness (1mm) prior to heat treatment. Following treatment, samples were rapidly cooled and diluted with peptone water; then plated onto Tryptic Soy Agar (TSA) and incubated at 37°C for 24 h prior to enumeration. The minimum heat treatments required for a 5-log reduction in microbial populations (~ 109CFU/g to ~ 104CFU/g) were 5 minutes at 70°C and 30 minutes at 70°C for E. coli O157:H7 and S. Agona, respectively. This research supports the hypothesis that the microbiological safety of ready-to-bake products may be improved by the use of heat-treated flour. / Master of Science in Life Sciences

Les années 1970 sont une période de changement pour le monde de l’art américain qui se tourne vers une vision pluraliste de l’art où triomphent l’installation, la performance, l’art vidéo, les écrits d’artistes et la photographie. Dans plusieurs grandes villes, des lieux d’exposition d’un nouveau genre apparaissent simultanément sous le nom d’espaces alternatifs. À New York et Buffalo, le 112 Greene Street, Artists Space (à NY) et Hallwalls (à Buffalo) sont trois espaces où règne un esprit d’expérimentation et de contestation, opposé aux normes esthétiques et aux logiques institutionnelles et marchandes qui dominent le monde de l’art. Comment se construit dès lors l’identité alternative de ces trois espaces et quelle place occupent-ils sur la scène artistique des années 1970 ?Lieux d’exposition marginaux situés dans des quartiers industriels en déclin, le 112 Greene Street, Artists Space et Hallwalls sont des structures avant-gardistes qui produisent des œuvres expérimentales (installations, performance, vidéo) et développent des systèmes de fonctionnement renforçant le pouvoir des artistes. Mais ce modèle alternatif se trouve immédiatement menacé par la précarité artistique qui caractérise ces structures. Le 112, Artists Space et Hallwalls s’institutionnalisent alors peu à peu pour survivre et acquièrent un nouveau statut au sein du monde de l’art : reconnus à la fin de la décennie comme des lieux indispensables à la valorisation de l’art contemporain, l’alternative qu’ils proposent est désormais moins fonctionnelle qu’esthétique. / The 1970s was a decade when important changes took place in the American art world, with a pluralistic approach to art, in which installations, performances, video art, artists books and photography represented new and innovative art forms. Amidst this diversity of practices, new exhibition venues were created in former industrial loft buildings, under the generic name of alternative spaces. In New York City and Buffalo, 112 Greene Street (NYC), Artists Space (NYC) and Hallwalls (Buffalo) were three spaces in which a spirit of protest and a desire for artistic experimentation prevailed, questioning the aesthetic norms of a mainstream art world dominated by institutional and commercial paradigms. Facing a powerful normative art world, how do these three spaces defined their alternative identities and their roles regarding the development of new art forms?From the moment of their births in the early 1970s, 112 Greene Street, Artists Space and Hallwalls represented marginal artistic venues. As avant-gardist exhibition spaces, they were geared towards experimental art and the development of new organizational systems in which artists had more power. However, their alternative status was rapidly threatened by the problem of their economic survival. During the decade, 112 Greene Street, Artists Space and Hallwalls thus progressively became more institutionalized, gaining in artistic maturity and developing a new recognition within the art world. By the late 1970s, as they grew more legitimate in their exhibition of experimental art, the alternative they offered, however, had become less functional and more aesthetic.