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The Proteus Project and the Occasional Paper Submitted by dorothy45 on 2010-09-06
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I was introduced to the Proteus Project by Laury Fischer at a Bay Area Writing Project workshop. The Proteus Project, as its name indicates, can take as many forms as there are individual students with a passion to know more about someone or something. It involves primary and secondary research and writing in the no-holds-barred tradition of New Journalism (Wolfe). In its current incarnation, my juniors work on the Proteus Project for the entire year, writing first a nonfiction narrative, then a field study based on the narrative, followed by intercalary chapters and a recurring motif (see fig. 1 for assignment sheets and a rubric). The parts correspond with the readings for the course. For example, the nonfiction narrative follows a summer assignment focused on memoir, and the intercalary chapters are written after students Omega Replica(http://www.bestwatches4u.com/omega-c-340.html)  have read The Grapes of Wrath and prior to reading In Our Time, The Proteus Project provides a flexible framework, but it is the exercise of individual imagination that fills that framework with the interwoven threads of the student\'s story, findings, associations, visualization, revelations, and reflections.\r\n\r\nThe Proteus Project was already intuitively multigenre, as it integrates narrative with other patterns of exposition more typical of research papers. The inspiration to make Proteus explicitly multigenre came from an English Journal article by Nancy Mack. In her article Mack discusses in detail the power and possibilities of multigenre writing and concludes by compressing its characteristics into a concise list (see fig. 2).\r\n\r\nMack\'s list has become part of the handout that I give students when they are about halfway through the Proteus Project and start to see that the whole is more than the sum of its parts. I compensate for the additional time and energy that students invest in the Proteus Project by making it serve as the final exam for the course. An additional advantage of this is that there is no rush to complete a final project or to cram for an exam when we near the end of the academic year. My goal is for all students to earn 100% of the possible points for the project, and most do.\r\n\r\nAnother assignment that has a significant impact on my students\' willingness to truly engage in their writing is the Occasional Paper, which I discovered from an article by Bill Martin in English Journal. The article is called \"A Writing Assignment/A Way of Life\" and it has certainly become both for my Omega Replica Watches(http://www.bestwatches4u.com/omega-c-340.html)  students. The Occasional Paper, or OP, as it is fondly known, is a paper anchored in the quotidian. Already this year there have been OPs about writing utensil preference, PostSecret, switching roles with one\'s twin, Humpty Dumpty, National Novel Writing Month, and correct urinal behavior, to name just a few. Following Martin\'s guidelines, the due date for the OP is flexible and the paper is read aloud to the class. Students will sometimes offer me a copy, knowing that I collect samples for future students (and I sometimes beg for a copy), but the paper is not turned in for assessment. The only assessment students receive is the collective gasp or howls of laughter or awed \"Wow!\" of their colleagues\' response; their peers\' responses have proven to be a mighty motivator for work that combines critical thinking with imagination. I provide guidelines (see fig. 3) and enter credit for a good faith effort.\r\n\r\n Students don\'t have to worry about the grade when they present their OPs; they have to worry about something much more important: moving a real audience with trenchant observation and artful use of language. Over the course of two or three rounds of OPs, students pick up new strategies, refine their craft both as writers and presenters, deepen their appreciation of their colleagues, and broaden their understanding of the foolishness and the sweetness of the world they inhabit.\r\n

Article No is 5529 Category is Erotica

Using Picture Books to Expand Adolescents\' Imaginings of Themselves and Others Submitted by elle on 2010-09-04
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Multicultural education and a multicultural curriculum are vital components of contemporary education. Today\'s students are living in a \"flat\" world, a world in which infinite possibilities exist for transacting across cultures (Friedman). Unfortunately, as evidenced too frequently on the nightly news, not all of these transactions are positive, and \"for all the trumpeted diversity in this nation, few interact across cultures with regularity, with grace, or with significance\" (Fecho 26). While most educators recognize the value of multicultural education in Tag Heuer Replica(http://www.itscopied.com/GoodsBrand/Replica-Tag-Heuer-Watches-65.html)  attempting to create a more just world, some lament that they do not have time to incorporate multiculturalism into their classrooms in light of all the content that must be covered to prepare students for high-stakes standardized tests, and others admit that they do not know enough about how to incorporate multicultural lessons into their classrooms (Gay).\r\n\r\nAs a high school English teacher, I have struggled—and continue to struggle—with those same issues. The concerns expressed by educators trying to enact a multicultural curriculum are intimately linked to the concept of imagination, which Vygotsky considered to be \"a process directly connected with meaning-making, a higher psychological function that has connections not only with emotions but also with intellectual functions\" (Gajdamaschko 16). Literature contains the power to help us recognize the commonalities that human beings share while at the same time highlighting the particular differences that make us individuals. It can help us better understand one another and ourselves, and it can awaken us to possibilities that we never thought existed. But we must be able to imagine the content of books and the possibilities that books suggest, and for some students, this act of imagination can be difficult (Glazier and Seo). As Kathy G. Short states, \"Children\'s engagements with literature have the potential to transform their world views as they come to understand their current lives and imagine worlds beyond themselves. Students do need to find their lives reflected in books, but if what they read in school only mirrors their own view of the world, they cannot envision alternative ways of thinking and being\".\r\n\r\nWhen students can imagine themselves in the world of a novel, when they can understand the worldviews that inform characters\' attitudes and beliefs, then it becomes possible for them to develop empathy for characters whose lives are different from their own. For this empathetic response to occur, though, students need to have some knowledge of the particular circumstances of the characters\' lives. To understand why characters respond and behave in particular ways, students need to understand how society and culture shaped the identities of the characters whose lives they are exploring. They can then begin to turn their reflections inward, imagining Tag Heuer Replica Watches(http://www.rep1ica.com/GoodsBrand/Replica-Tag-Heuer-Watches-65.html)  themselves responding to circumstances never before encountered or adopting different solutions to problems that they currently face. How can we, as teachers, help students understand and empathize with characters whose lives are far removed from their own, a process that can often be uncomfortable and that is at times hindered by students\' preconceived notions of others?\r\n\r\nI tried to address these issues when I implemented a novel study of Chinua Achebe\'s Things Fall Apart in a predominantly middle-class ninth-grade classroom. In the unit I used African picture books to help students imagine alternative views of Africa and of themselves-new views that led several of them to take their first steps in advocating for a more just world.\r\n

Article No is 5477 Category is Erotica

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