A field-tested, classroom-based approach for developing the critical thinking, social-emotional, problem-solving, and discussion skills students need to be good citizens and effective changemakers. We often hear that a key purpose of schooling is to prepare students for informed and active citizenship. But what does this look like in practice? How do teachers pursue this goal amid other pressing priorities, including student mastery of both academic content and social-emotional competencies? Students Taking Action Together, based on a program of the same name developed at Rutgers University, clarifies that the way to prepare young people for life in a democracy is by intentionally rehearsing democratic behaviors in the classroom. This field-tested program ("STAT" for short) is built on five research-backed teaching strategies that work with existing social studies, English language arts, and history curriculum in the upper-elementary, middle, and high school levels. Incorporating these strategies into your lessons is a way to meet students' natural desire to be heard with skill-building that empowers them to * Adhere to norms of civil conversation, even when topics are controversial and emotions are high; * Speak confidently and listen actively; * Engage in respectful debate aimed at understanding issues rather than winning points; * Target communication to different audiences, needs, and contexts; and * Examine problems from many sides, considering potential solutions, drawing up action plans, and evaluating these plans' effectiveness against historical examples. In addition to vignettes that show the five STAT strategies in action, you'll find practical teaching tips and sample STAT lesson plans. For school leaders, there is a road map for schoolwide STAT implementation and guidance on communicating the program's value to stakeholders. Are you ready to help students understand complex content, confront pressing social issues, and engage with the structures of power to advocate for change? This book is for you.
Mary Delany’s phrase “the matrimonial trap” illuminates the apprehension with which genteel women of the eighteenth century viewed marriage. These women were generally required to marry in order to secure their futures, yet hindered from freely choosing a husband. They faced marriage anxiously because they lacked the power either to avoid it or to define it for themselves. For some women, the written word became a means by which to exercise the power that they otherwise lacked. Through their writing, they made the inevitable acceptable while registering their dissatisfaction with their circumstances. Rhetoric, exercised both in public and in private, allowed these women to define their identities as individuals and as wives, to lay out and test the boundaries of more egalitarian spousal relationships, and to criticize the traditional marriage system as their culture had defined it.
The Counterhuman Imaginary proposes that alongside the historical, social, and institutional structures of human reality that seem to be the sole subject of the literary text, an other-than-human world is everywhere in evidence. Laura Brown finds that within eighteenth-century British literature, the human cultural imaginary can be seen, equally, as a counterhuman imaginary—an alternative realm whose scope and terms exceed human understanding or order. Through close readings of works by Daniel Defoe, Jonathan Swift, and Alexander Pope, along with lapdog lyrics, circulation narratives that give agency to inanimate objects like coins and carriages, and poetry about the Lisbon earthquake of 1755, Brown traces the ways presence and power of the nonhuman—weather, natural disasters, animals, even the concept of love—not only influence human creativity, subjectivity, and history but are inseparable from them. Traversing literary theory, animal studies, new materialism, ecocriticism, and affect theory, The Counterhuman Imaginary offers an original repudiation of the centrality of the human to advance an integrative new methodology for reading chaos, fluidity, force, and impossibility in literary culture.
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