Grades and grading are an accepted part of modern education. But why? Why do we accept a system that is more focused on ranking students than on learning? Why do we accept the negative effects of standard grading approaches, including turning students off from learning, increasing stress, creating winners and losers, and perpetuating racial and economic inequality? Why do we accept these things when there are better alternatives?
Wad-Ja-Get? is a unique discussion of grading and its effects on students. The book was written by three education professors who have had first-hand contact with the problems of grading in all its forms. Written in the form of a novel, the topic is explored through the eyes of students, teachers, and parents in one high school embroiled in a controversy around grading. Possible alternatives to the grading system are examined in detail and the research on grading is summarized in an appendix. This 50th anniversary edition of the book includes a new introduction by Professor Barry Fishman, updating the research and setting the original book in the context of today’s educational and societal challenges. Wad-Ja-Get? remains timely five decades after its original publication, and will be inspiring to students, parents, educators, and policymakers.
What makes a great teacher great? Who are the professors students remember long after graduation? This book, the conclusion of a fifteen-year study of nearly one hundred college teachers in a wide variety of fields and universities, offers valuable answers for all educators.
The short answer is—it’s not what teachers do, it’s what they understand. Lesson plans and lecture notes matter less than the special way teachers comprehend the subject and value human learning. Whether historians or physicists, in El Paso or St. Paul, the best teachers know their subjects inside and out—but they also know how to engage and challenge students and to provoke impassioned responses. Most of all, they believe two things fervently: that teaching matters and that students can learn.
In stories both humorous and touching, Ken Bain describes examples of ingenuity and compassion, of students’ discoveries of new ideas and the depth of their own potential. What the Best College Teachers Do is a treasure trove of insight and inspiration for first-year teachers and seasoned educators.
What makes a great law professor? The first study of its kind, What the Best Law Teachers Do identifies the methods, strategies, and personal traits of professors whose students achieve exceptional learning. This pioneering book will be of interest to any instructor seeking concrete, proven techniques for helping students succeed.
What the Best Law Teachers Do introduces readers to twenty-six professors from law schools across the United States. These instructors are renowned for their exacting standards: they set expectations high, while also making course requirements--and their belief that their students can meet them--clear from the outset. They demonstrate professional behavior and tell students to approach class as they would their future professional life: by being as prepared, polished, and gracious as possible. And they prepare themselves for class in depth, even when they have taught the course for years.
The best law professors understand that the little things matter. They start class on time and stay afterward to answer questions. They learn their students' names and respond promptly to emails. These instructors are all tough--but they are also committed, creative, and compassionate mentors. With its close-to-the-ground accounts of exceptional educators in action, What the Best Law Teachers Do offers insights into effective pedagogy that transcend the boundaries of legal education.
What We Really Value traces the origins of traditional rubrics within the theoretical and historical circumstances out of which they emerged, then holds rubrics up for critical scrutiny in the context of contemporary developments in the field. As an alternative to the generic character and decontextualized function of scoring guides, he offers dynamic criteria mapping, a form of qualitative inquiry by which writing programs (as well as individual instructors) can portray their rhetorical values with more ethical integrity and more pedagogical utility than rubrics allow.
To illustrate the complex and indispensable insights this method can provide, Broad details findings from his study of eighty-nine distinct and substantial criteria for evaluation at work in the introductory composition program at "City University." These chapters are filled with the voices of composition instructors debating and reflecting on the nature, interplay, and relative importance of the many criteria by which they judged students' texts. Broad concludes his book with specific strategies that can help writing instructors and programs to discover, negotiate, map, and express a more robust truth about what they value in their students' rhetorical performances.
Schools are places of learning but they are also workplaces, and teachers are employees. As such, are teachers more akin to professionals or to factory workers in the amount of control they have over their work? And what difference does it make?
Drawing on large national surveys as well as wide-ranging interviews with high school teachers and administrators, Richard Ingersoll reveals the shortcomings in the two opposing viewpoints that dominate thought on this subject: that schools are too decentralized and lack adequate control and accountability; and that schools are too centralized, giving teachers too little autonomy. Both views, he shows, overlook one of the most important parts of teachers' work: schools are not simply organizations engineered to deliver academic instruction to students, as measured by test scores; schools and teachers also play a large part in the social and behavioral development of our children. As a result, both views overlook the power of implicit social controls in schools that are virtually invisible to outsiders but keenly felt by insiders. Given these blind spots, this book demonstrates that reforms from either camp begin with inaccurate premises about how schools work and so are bound not only to fail, but to exacerbate the problems they propose to solve.
Classroom set includes 25 copies of the Spanish textbook (978-0-87020-512-5) PLUS 1 copy of the Teacher's Edition in English (978-0-87020-379-4) and 1 copy of the Student Activity Guide DVD in Spanish (978-0-87020-688-7)
"Wisconsin: Our State, Our Story" brings history to life! Thinking Like a Historian questions in each chapter encourage critical thinking. Scores of artifacts and documents invite students to become eyewitnesses to the past.
Lively, classroom-tested text will engross students. The rich content aligns with relevant, cross-curricular Wisconsin Model Academic Standards. The specially designed Teacher's Edition and Student Activity Guide provide additional tools to reach all learners.
The Teacher's Edition provides educators with the background, literacy, and other skill-building strategies to teach "Wisconsin: Our State, Our Story" in both social studies and literacy classes.
"Wisconsin: Our State, Our Story" textbook promotes content-focused reading to address both social studies and language arts standards for the state of Wisconsin.
The Teacher's Edition draws on the research-based pedagogy in both literacy development and in historical inquiry to help reach the many different levels of learners in today's classrooms.
Words Unbound draws on Milton Burke’s thirty years of teaching experience to help educators bring Inferno alive for today’s young reader. In a conversational, “colleague-to-colleague” style, Burke shares the interpretations, questions, and exercises he found effective in his high-school classroom, emphasizing group discussion to help students, no matter their religious or philosophical moorings, engage meaningfully with the notoriously difficult text.
Addressing how composers transfer both knowledge about and practices of writing, Writing across Contexts explores the grounding theory behind a specific composition curriculum called Teaching for Transfer (TFT) and analyzes the efficacy of the approach. Finding that TFT courses aid students in transfer in ways that other kinds of composition courses do not, the authors demonstrate that the content of this curriculum, including its reflective practice, provides a unique set of resources for students to call on and repurpose for new writing tasks.
The authors provide a brief historical review, give attention to current curricular efforts designed to promote such transfer, and develop new insights into the role of prior knowledge in students' ability to transfer writing knowledge and practice, presenting three models of how students respond to and use new knowledge—assemblage, remix, and critical incident.
A timely and significant contribution to the field, Writing across Contexts will be of interest to graduate students, composition scholars, WAC and writing-in-the-disciplines scholars, and writing program administrators.
This volume was conceived as a "best practices" resource for writing teachers in the way that Vocabulary Myths by Keith S. Folse is one for reading and vocabulary teachers. It was written to help ensure that writing teachers are not perpetuating the myths of teaching writing.
Each author is a practicing teacher who selected his or her "myth" based on classroom experience and expertise. Both the research and pedagogy in this book are based on the newest research in, for example, teacher preparation, EAP and ESP, and corpus linguistics. The myths discussed in this book are:
§ Teaching vocabulary is not the writing teacher's job. (Keith S. Folse)
§ Teaching citation is someone else's job. (Cynthia M. Schuemann)
§ Where grammar is concerned, one size fits all. (Pat Byrd and John Bunting)
§ Academic writing should be assertive and certain. (Ken Hyland)
§ Students must learn to correct all their writing errors. (Dana Ferris)
§ Corpus-based research is too complicated to be useful for writing teachers. (Susan Conrad)
§ Academic writing courses should focus on paragraph and essay development. (Sharon Cavausgil)
§ International and U.S. resident ESL writers cannot be taught in the same class. (Paul Kei Matsuda)
The book concludes with a discussion of students' myths about academic writing and teaching written by Joy Reid.As new media mature, the changes they bring to writing in college are many and suggest implications not only for the tools of writing, but also for the contexts, personae, and conventions of writing. An especially visible change has been the increase of visual elements-from typographic flexibility to the easy use and manipulation of color and images. Another would be in the scenes of writing-web sites, presentation "slides," email, online conferencing and coursework, even help files, all reflect non-traditional venues that new media have brought to writing. By one logic, we must reconsider traditional views even of what counts as writing; a database, for example, could be a new form of written work.
The authors of Writing New Media bring these ideas and the changes they imply for writing instruction to the audience of rhetoric/composition scholars. Their aim is to expand the college writing teacher's understanding of new media and to help teachers prepare students to write effectively with new media beyond the classroom. Each chapter in the volume includes a lengthy discussion of rhetorical and technological background, and then follows with classroom-tested assignments from the authors' own teaching.
2001 CCCC Outstanding Book Award
The vast majority of academic books are written from the scholar’s position, even those that primarily concern teaching. Writing/Teaching, on the other hand, is a book about teaching written from the position of the teacher. As the title suggests, Kameen’s book is split into two halves—yet both, in different ways and through different discourses, are derived from his work in the classroom, and his own struggle with issues and problems all teachers of writing must face.
The first half is a series of essays originating from a graduate seminar Kameen team-taught with professor and poet Toi Derricotte in 1994. Included are essays Kameen wrote, a selection of pieces written by other members of the group, and a reflective “postscript.” These essays combine personal narrative, reflective meditation, and critical inquiry—all used as discourse to depict and examine the process of teaching.
The second half of the book contains essays on Plato’s dialogues—primarily Phaedrus and Protagoras—as a means to interrogate the position of teacher through the lens of the most famous of Western pedagogues—Socrates. Here, Socrates is used as a tool to examine and critique both Kameen’s own teacherly identity and, in a wider sense, the set of cultural forces that pre-figure the available positions for both “teacher” and “student” in contemporary education.
What unites both halves is the way Kameen approaches each—the “personal” and the “scholarly”—from his position as teacher. The texts presented provide the occasion for a complex and nuanced meditation on the classroom as a legitimate arena for the production of knowledge and research. Sure to be timely and controversial, Writing/Teaching will enter into the debate on whether to reconfigure the relationship between research and teaching currently taking place among teachers of composition, cultural studies, and rhetoric. Compelling reading for teachers or those contemplating a career in the profession.
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