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Archive for the ‘Reference’ Category

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Developing a Research Strategy. The “Research Strategy Worksheet” should help you plan your research efficiently. Begin by having your topic and specific purpose clearly in mind. Use the guide at the end of this chapter or the Internet to identify one or more sources of general information to start your search. Read that background material, take notes, and write down the key terms you will use to access in-depth information, Using library indexes and abstracts or an Internet search engine, build a bibliography on your topic. From your bibliography, identify those articles or books that seem most relevant to your specific purpose. If timeliness is important for your topic, find one or two current references. Finally, check for local applications.

Are you one of them? You cannot aspire fo top honors with less than a sharp and quick memory. You cannot afford lapses, either. Here are some tips from leading educators who were themselves very effective students during their time:

• preview the main ideas of a book or another material before reading the details;

• connect the ideas to something in your daily life that has meaning to you and let the impression solidify in your mind:

• as you study, try to involve a many parts of your body and as many of your senses as possible. For example, touch something in the study room that pertains to the subject of your study. Or if it is music, listen to the radio or your player. If it is something in nature, go out and look for a plant, fruit , or an animal which explain the information you are studying:

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The zero-sum formulations associated with competition— gains in Japan meaning necessary losses in the United States—are also self-defeating. Representing the world in these terms causes us to minimize the inequities that currently exist and the imperatives to work actively toward their redress. Is hunger in Africa acceptable? Is the burden of debt carried by Brazil, Peru, Mexico, Nigeria, and Poland their just due? Is that where competitiveness leads?
To speak of economic competitiveness in relation to the world also has an impact at the micro-level of the classroom. Must our goal in the schools also be rooted in a similar competition? Is that how we should define “getting ready for the real world”? Or can cooperation be a principal objective? What are some of the ways to think about this? Shall we, for example, track or not track students? Provide challenge for some and limits for others? Perpetuate inequities or work toward their eradication? Clutter our discourse with labels that pit students against each other, by race, or class, or perceptions of intelligence? Shall we accept the message of test scores or go beyond them? How many of us have seriously challenged the various ways schools separate students? Do we speak about the inequities in the world and ignore those that exist in our schools? In this regard, the inequities tend to be large—and they are growing larger.
We have more than enough to do to create for children and young people genuine communities of learning. Framing our work in terms of competition won’t help us do particularly well the first things, the human things.

I ask often in this regard, are our children being provided a basis for active participation in the life of their communities? Do they understand the problems and the need to work toward solutions? Are they, in other words, learning the meaning of social responsibility, of citizenship?
If we aren’t clear about such questions, keeping them in mind with everything we do, making them a part of our ongoing discourse, we tend to fill our schools with contradictions—and these contradictions only foster cynicism and limited support, hardly the basis for making schools the centers for inquiry, authority, and change they need to be.
I’ll offer two vignettes that are related. I could present many more. You will have similar examples from which to draw, to raise to a fuller consciousness.

We often speak about children and young people in our society as “the future.” What do we imply by such a belief? Preservation, or change? Ensuring that children and young people can live in the world as it is, or ensuring the skills, knowledge, and dispositions that will enable them to change the world, to construct on their terms new possibilities? How we think about that will say a lot about what we do in our schools, the ideas we explore, the questions we raise, the books we read, the experiences we provide.
To raise such questions is, of course, to imply the need keep large hopes before us, to make use of a language and ideals that inspire us beyond our current practices. To those who worry about large hopes serving as guides (and I meet many who are concerned about this), I offer Alfred North Whitehead’s belief that “when ideals have sunk to the level of practice, the result is stagnation” (Whitehead, [1929] 1959). Carlos Fuentes, Mexican novelist and diplomat, phrased it differently but also powerfully: “We say justice, we say development, we say democracy. Words won’t bring them, but without the words, they will never exist” (Fuentes, 1986, p. 16). Not placing our work within this broader framework, not viewing it as a step toward fuller possibilities is to ensure that what we
will decline in its potency. Because I see this as such an important point, I offer several additional entries—essentially corroboration. Thomas Merton, for example, wrote: “The biggest human temptation is to settle for too little” (in Mad lock, 1989, p. 13). And Anton Chekhov offered, “Man is what he believes” (in Mad lock, 1989,
14), a viewpoint that relates closely to Erich Heller’s often quoted statement: “Be careful how you define the world, it is like that” (Heller, 1959, p. 205). In a similar vein, Italo Calvino, one of the world’s best storytellers, wrote, “Literature remains alive only if
set ourselves immeasurable goals, far beyond all hope of achievement. Only if poets and writers set themselves tasks that no one else dares to imagine will literature continue to have a function” (Calvino, 1988, p. i). In this sense, teachers need to be like these poets and writers.

After the meal, once darkness had fallen, we westerners shuttled our precious literature from the van. ‘We carried it into the cabin as if we were bequeathing a fortune.
Marta expressed her gratitude as we left on that snowy January day. But if you come again, she said wistfully, please bring oranges. We haven’t had oranges for years.”
Marta’s request surprised us. Treasure may not look the same to all of us. But it is probably closer to what you’d find in the simplest of kitchens than in any other room—including a library of precious volumes.
I think of Marta whenever I eat oranges and hope that she can now get them by the bagful.
I brought Marta to mind when starting my own writing business out of my home and struggling to put food on the table. During this difficult period a telephone interview with a Christian personality turned out to be a challenge, but not because she was in any way ungracious. It was my own interior stuff with which I was at war. Doralyn Luca do, wife of author Max Luca do and a former missionary to Rio de Janeiro, had a lot to tell me—stories of life with children and what makes a house a home. The previous week her family had moved into what she called a French country farm- style home in Texas. There I was, a journalist listening to a tale of transition from a tough missionary existence to the good life in the United States, and I was the one who had the problem.

Have you always wanted to be a director? Here’s your opportunity. You and your children take on the tasks of a production company planning to shoot a made-for-TV film or major film based on a book you’ve all read. If possible, plan this activity before you see a film or television adaptation.
Everybody plays the director by considering which real actors and actresses to cast in the major characters’ roles. In deciding who would best be cast in each role, your children will be voicing their insights into the various characters. The differences in their perceptions can be a springboard for further discussion.
Using a similar approach, the directors also choose the best location for the shoot based on details the author provides for the story’s setting. You may want to concentrate on a central scene rather than the whole book. Choose a musical score for the same scene — a hit song or classical theme that would set the appropriate mood.
If possible, compare your imaginary production with a real film or tckvision production. What did your family think of the director’s casting job? Did an actor or actress play a character differently than you would have? Did the setting appear as you had imagined? Did the musical score put you in the appropriate mood for the scene? In what ways did the commercial production depart from the bock? Which did you like better, and why?

If your children have a favourite soap opera or dramatic series, make the most of the minutes you have during commercial breaks. That’s really about all the time your children will need to review what they know about the characters and simple plot and predict the outcome of the programme.
Turn down the sound as soon as the script breaks. Ask a child, ‘What do you think is going to happen next?’ or ‘How do you think the story will end?’ — depending where you are in the plot sequence. Your child may very well be able to predict the entire sequence of events after the break.
If you have a video recorder, you can try one of these variations:
Stop the Cameras. Tape a film or hour-long programme while it is being shown, but plan to view it later. Stop the tape at crucial intervals — when you learn a character’s secret, after you witness a significant event, or at a cliffhanger — and ask your children those same questions. Encourage them to support their predictions with insights into the characters and foreshadowing in the plot.
Write 2ur Own Ending. Watch a programme with your children until just before the end. Then turn off the TV and turn on the video recorder.
While it tapes the end of the programme, family members write their own endings. (A couple of paragraphs will do, but a short script is more fun.) Take turns reading your endings aloud, then play back the one you recorded on the tape. Were any of the endings the same or similar? Vote for the one you thought was best.
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