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Sequence 1Maria Montessori Through the Seasons of the "Method" Adler A., 134n. Index of Names Maria Montessori… |
Sequence 2216 Maria Montessori Through the Seasons of the "Method" Di Rudini A., 25n. Dolmetseh E. A., 149. Ercole… |
Sequence 3Maria Monlessori Through the Seasons of the "Method" 217 Maccheroni A. M., XIII, 7, 13, 14n, 57, 66, 69n,… |
Sequence 4218 Maria Montessori Through /he Seasons of the ''Method" Rousseau J. J .. 63, 158. Russel B., 164.… |
Sequence 1SECTION I ABOUT NATURE, STORYTELLING, AND CREATIVITY by David Kahn This journal is certainly a mixed assemblage of articles… |
Sequence 1STORY AND SELF-CONSTRUCTION by Elise Huneke-Stone Elise Hu11eke-Stone's definition of story and its f111Zctions arises… |
Sequence 2Here'smyhouse,analmost-hundred-year-oldbungalowinPortland, Oregon. I don't live in my house in Portland right now.… |
Sequence 3in. I started a quest to better understand storytelling, particularly the storytelling that we do about ourselves. My heart-… |
Sequence 4husband Dave would stuff with cheese and herbs and then saute as a late summer appetizer. And for a third thing, one year we… |
Sequence 5This keynote today is a collection of zumpkins. In the two and a half years since l had my own class, I've had time to… |
Sequence 6So I've started with a story, and this story does many things for us in this relationship we have here today as… |
Sequence 7We want to do a good job with this storytelling, and we want it to be colorful, a metaphor we'll look at more closely… |
Sequence 8One of the things that I hope the zumpkin story did for us was to establish me as a narrator with some likable qualities. In… |
Sequence 9three-year-old can. So when we speak to children, we need to keep in our minds their exquisite sensitivity to our voices. We… |
Sequence 10of human speech. The baby babbles the full range of human speech sounds then further classifies those sounds into the ones… |
Sequence 11• We narrate. According toGopnik, Meltzoff and Kuhl, in their book The Scientist in the Crib, "When babies are about… |
Sequence 12Now let's look more closely at that narration starting at twelve months. The researchers found that this kind of parental… |
Sequence 13almost always include nouns, and English speaking parents spend a lot of time pointing out objects and giving them names. So… |
Sequence 14tion, and singing. We'd also learned about grace and courtesy and about the Sound Game. We had presentations on all of… |
Sequence 15complete sentences whatever the children said to her upon arrival. It was a dance of attunement and connection and belonging,… |
Sequence 16the later attachment to the words we use for those actions. "Never give more to the mind than you do to the hand,… |
Sequence 17Look at any Montessori primary presentation and you'll see ele- ments of that first narration with a child. In a… |
Sequence 18The child in the Cnsn spends three years absorbing up all those nouns and verbs and adjectives, all that mode led language,… |
Sequence 19these new powers of mind? We begin to tell lots and lots of stories. And the children begin to tell and write lots and lots of… |
Sequence 20tive, that we use narrative structures to think with. The wonder- fully dense book describes how we collect and classify all… |
Sequence 21Incidentally, I mentioned that we start using metaphor once we have enough practice with the concrete use of language to… |
Sequence 22common culture. And yet, because of the way that we each process stories in our own brains, nobody is hearing the exact same… |
Sequence 23initiating and responding and put on a still face. What happens is that babies make more efforts to engage the parent, and… |
Sequence 24or to "know" something. Of course, Dr. Montessori didn't need to know which neurons were firing in the… |
Sequence 25about storytelling, we're on solid ground to say that when engaged in storytelling, children are processing at many… |
Sequence 26ence. It gives the patients a way to share who they are when other ways of communicating that sense of self are compromised by… |
Sequence 27Counter-narrative interventions are being developed for reha- bilitation of terrorists. Ad11/t Attnc/1ment Interview At a… |
Sequence 28And here's another zumpkin. There's a similar understand- ing of the importance of words to process emotion at work… |
Sequence 29The thing about the elements of Dangerous Writing is that because they're expressed and used by writers, they themselves… |
Sequence 30These items sell better. According to Chris Speed4, principle researcher at Totem, the organization running some of these&… |
Sequence 31reveal so much more. How he flung open the door, how he lingered on the threshold or leapt off the porch steps, whether or not… |
Sequence 32Thank you for listening to me today. We have looked at many zumpkins, seemingly unrelated things that can come together into… |
Sequence 33were building the foundation for a just, harmonious society. This truth was brought to me very powerfully in my primary… |
Sequence 34REFERENCES Bronson, Po & Ashley Merryman. N11r/11res!tock: New TJ,i11ki11g About CJ,i/dre11. New York: Hatchette Book… |
Sequence 35Pink, Daniel. A Wl,o/e New Mind. New York: Riverhead Books, 2005. Ramachandran, V.S. A Brief Tour of Humnn Co11scio11s11ess… |
Sequence 1A PLACE FOR WONDER: READING AND WRITING NONFICTION by Georgia Heard Georgia Henrd's intuitive knowledge about wonder… |
Sequence 2When I set up these centers, I want young learners to explore materials with all their senses, to ask questions, to use… |
Sequence 3anything and not exclaim about the world. I realized that a lot of the primary schools that I was visiting had a different… |
Sequence 4This experience, typical of some of the schools that I was looking at (but not the Montessori schools), amazed me. When I… |
Sequence 5the day they can go to this place and write a question down. J also want to encourage them to use writing to speculate, to… |
Sequence 6day so that children can explore these centers when they first ar- rive. These centers take place throughout the school year,… |
Sequence 7One of the values of the wonder of the week is giving kids time to ponder. Kids love this word ponder, which means to think… |
Sequence 8her heart wonder about how to make friends because she just did not know how to do it. I wonder about how do you make friends… |
Sequence 9kids were gravitating toward, what excited them, and what excited their learning: animals, nature, and pets. Someone had… |
Sequence 10I also work a lot with poetry. So much of poetry is observational. This is a poem by a boy who wrote about his turtle. What l… |
Sequence 11used, they could have spent all day talking about these objects they brought in. A lot of them were personal. "I… |
Sequence 12transform it into poetry. Jn this particular class we had read a lot of poetry and a boy wrote: The shells make life come… |
Sequence 13how does that change it? Here's another example using your eyes and then using a magnifying glass. This is Kate and her… |
Sequence 14Wonder Boxes For slightly older children I found some wonder boxes at a dol- lar store, all shiny and beautiful, the size… |
Sequence 15In Florida, zoysia is an incredibly hardy grass with a root system designed to keep it moist during the hot summer days. When… |
Sequence 16bark of trees. Essentially we were putting a frame around different sensory images and helping the children to translate them… |
Sequence 17them T always ask open-ended questions. What do you know about snakes? What do you notice about that? Their conversations with… |
Sequence 18way now. Fiction has truth in it, obviously, and nonfiction has story in it. There are similarities and blending between… |
Sequence 19teresting to you? I want to know what they are responding to. There are some books they really didn't like. It's… |
Sequence 20enjoyment. An efferent book would answer your questions about how to take care of your new puppy. Traditionally we think of… |
Sequence 21watched movies about them .... " Lastly, writing from personal experience, a lot of nonfiction books have a personal… |
Sequence 22Many states have adopted core standards. Some of the lessons are very good and they make sense, such as teaching what is a… |
Sequence 23they thought it was a heart question and a symbol of an eye if it was a research question. Some questions were both. When we… |
Sequence 24answer. Heart wonders can have many different answers just like Wilfrid Gordon got many different answers. A lot of kids will… |
Sequence 25Some people use a planning sheet to explore their wonder. What other questions do you have about your topic? You should have a… |
Sequence 26write down some of the facts that they have learned they can go to the writing station. You can also send letters home to… |
Sequence 27Features of Nonfiction Writing Nonfiction writing is crafted by authors, not written by a com- mittee or a machine. The… |
Sequence 28Don't tell, but use imagery to show, "In the warm ocean among the waving sea grass meadows, an eye like a small… |
Sequence 29Example The boys love shark stories. Great Whites have been known to be one of the most dan- gerous sea creatures in the… |
Sequence 1THE ART OF SPOKEN LANGUAGE IN THE CHILDREN'S HOUSE by Polli Soholt Looking nt the classical components of language, Po/… |
Sequence 2guided by the sensitive period for language, which helps the child adapt to the culture in which she was born. It is active… |
Sequence 3dren. First the children develop the mechanics of speech, absorb- ing and practicing the sounds of their language individually… |
Sequence 4different kinds of shirts or parts of a shirt. [f we see that the child knows what a shirt is, then we can identify whnt kind… |
Sequence 5So even before he knows how to read and write, this mechanism so necessary for the later study of the gram- matica I… |
Sequence 6to individual children or small groups during the work period, or they can be told at the lunch table. Once the children hear… |
Sequence 7Casual Vocabulary Enhancement The most natural way to help the children add words to their vocabulary is to make sure that we… |
Sequence 8Vocabulary Cards We cannot discuss vocabulary enrichment without mentioning the vocabulary cards that are in the prepared… |
Sequence 9Naturally, this needs to be preceded by the adult naming each cat- egory of the food groups and helping the children… |
Sequence 10them develop their ability to focus and listen intently to stories and poems, this experi- ence needs to be available to… |
Sequence 11While this information was written for parents, it also applies to us as we read to these young children. Parents will… |
Sequence 12lence and are wary of new adults. The best way to help this type of child feel comfortable is to not ask questions, but give… |
Sequence 13to the extent that most children have had. To assist them in their language development, we need to give them all the… |
Sequence 14Sometimes this finely tuned phonological system misfires somewhere along the line. The most commonly diagnosed language… |
Sequence 15a table, then say tnble and pause, the child will practice the word. In any case, now the new child knows what we call a table… |
Sequence 16rishl'r, David & Rcgin,1ld Bragonicr. What's What: A Visual Clo"ary ()f //11 l'hl/Slf,1I World… |
Sequence 1Guadalupe Borbolla 86 The NAMTA Journal • Vol. 36, No. 3 • Summer 2011 |
Sequence 2THE SEARCH FOR A NEW DEFINITION OF CREATIVITY by Guadalupe Borbolla Begin11ing with traditional definitions of creativity,… |
Sequence 3Studies show that intelligence has little correlation with creativ- ity; thus, a highly intelligent person may not be very… |
Sequence 4generosity .... A degree of spontaneous ability has made itself known, always a gift however much one reaches for it. (cited… |
Sequence 5an unconscious process in which the child makes deep contact with an external factor that offers what is needed for natural… |
Sequence 6conscious essence of man.His pre-conscious essence is the unconscious state of earliest childhood; his post-conscious essence… |
Sequence 7sonal formation and practical training to be able to make it happen. The primary goals of Montessori education are the… |
Sequence 8creativity-first, because there is none; second, because such a recipe would provide uncreative role-modeling So think… |
Sequence 9unique discovery made by the child in the ways an apparatus can be used and also the connection between different materials in… |
Sequence 10Sternberg and Williams say that during the creative process, questions have to be asked as a tool to reaching the ultimate… |
Sequence 11The child accumulates sensorial impressions through his first three years of life. At first, his impressions are vague in an… |
Sequence 12Montesso1·i noticed that children are capable of forming in their minds touchstone perceptions with which they can establish… |
Sequence 13impact that the sensorial materials will make on him, through their quality of exactitude. A sense of order, ability to follow… |
Sequence 14not giving any "artistic" importance to the work of the child. We approach this material in a unique way, a… |
Sequence 15for the development of creative individuals giving life to a creative community. Montessori says that the child cares very… |