DOC Geschlechtskonstruktionen im imaginauml;ren Raum: Zur medialen Prauml;sentation von Weiblichkeit im nationalsozialistischen Rundfunk (German Edition) by Laura Dorfer in Arts-Photography

Description

The first edition of this bestseller was featured inThe New York TimesandThe Boston Globefor its groundbreaking research on the positive effects of art education on student learning across the curriculum. Capitalizing on observations and conversations with educators who have used the Studio Thinking Framework in diverse settings; this expanded edition features new material; including: The addition ofExhibitionsas a fourth Studio Structure for Learning (along with Demonstration-Lecture; Students-at-Work; and Critique). Explanation and examples of the dispositional elements of each Habit; includingskill; alertness(noticing appropriate times to put skills to use); andinclination(the drive or motivation to employ skills). A chart aligning Habits to the English Language Arts and Mathematics Common Core. Descriptions of how the Framework has been used inside and outside of schools incurriculum planning; teaching;andassessmentacross arts and non-arts disciplines. A full-color insert with new examples of student art.Studio Thinking 2will help advocates explain arts education to policymakers; help art teachers develop and refine their teaching and assessment practices; and assist educators in other disciplines to learn from existing practices in arts education.Lois Hetlandis professor and chair of art education at Massachusetts College of Art and Design and senior research affiliate at Project Zero; Harvard Graduate School of Education.Ellen Winneris professor and chair of psychology at Boston College and a senior research associate at Project Zero.Shirley Veenemais an instructor in visual arts at Phillips Academy in Andover; Massachusetts.Kimberly M. Sheridanis an assistant professor in the College of Education and Human Development and the College of Visual and Performing Arts at George Mason University.ldquo;Our decade of using the Studio Thinking Framework in Californiarsquo;s schools positions us for success in this new era because of the foundation of reflective; creative; and critical thinking developed in our schools and districts.rdquo;mdash;From the Foreword to the Second Edition byLouise Music; Executive Director of Integrated Learning; Alameda County Office of Education; Hayward; CAldquo;Studio Thinking[is] a vision not only of learning in the arts but what could be learning most anywhere.rdquo; mdash;From the Foreword to the First Edition byDavid N. Perkins; Professor of Education; Harvard Graduate School of Education; and Senior Co-Director of Harvard Project ZeroPraise for the First Edition ofStudio Thinkingmdash;ldquo;Winner and Hetland have set out to show what it means to take education in the arts seriously; in its own right.rdquo;mdash;The New York Timesldquo;This book is very educational and would be helpful to art teachers in promoting quality teaching in their classrooms.rdquo; mdash;School Arts Magazineldquo;Studio Thinkingis a major contribution to the field.rdquo; mdash;Arts Learning Reviewldquo;The research inStudio Thinkingis groundbreaking and important because it is anchored in the actual practice of teaching artists.... The ideas inStudio Thinkingcontinue to provide a vehicle with which to navigate and understand the complex work in which we are all engaged.rdquo; mdash;Teaching Artists Journalldquo;Hetland and her colleagues reveal dozens of practical measures that could be adopted by any arts program; inside or outside of the school.... This is a bold new step in arts education.rdquo; mdash;David R. Olson; Professor Emeritus; University of Torontoldquo;Will be at the top of the list of essential texts in arts education. I know of no other work in art education with this combination of authenticity and insight.rdquo; mdash;Lars Lindstrouml;m; Stockholm Institute of Educationldquo;The eight studio habits of mind should become a conceptual framework for all preservice art education programs; this book should be read by all early and experienced art educators.rdquo; mdash;Mary Ann Stankiewicz; The Pennsylvania State University