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Sequence 72How to Write the Stories A good story can be written in 15-20 minutes. Remember that we do not want to provide all of the… |
Sequence 73Start with a hook. This is how we seduce them. A conspiratorial tone as you lean in to tell them something really amazing… |
Sequence 74our country? What happens when you put a bouquet of alstromeria in a warm room? The Chart of Interdependencies: Another way… |
Sequence 75depth considering the nature of the universe. l believe vehemently, however, that these provide a Hat depiction of concepts… |
Sequence 76vated and organized students can do it, sometimes a parent volunteer. There are lots of ways to run a school garden for all… |
Sequence 77sure how much they were getting out of the activity. Last year, I had three students who once again proved to me that the… |
Sequence 78and it is my job to give them all. However, over the years as I've gone back to look more deeply at the plan of Cosmic… |
Sequence 79our students to observe the differences between a scalene and isosceles triangle, or to observe the similarities between an… |
Sequence 80the response, "I think it will make a gooey mess and that's why my morn would never let me do this at home.&… |
Sequence 81Because classification appeals to the reasoning mind of the second-plane child, it emerges in many areas of our classrooms,… |
Sequence 82child around, then remove blindfold and have the child try to find the tree again. • Seton Walk: Spread students out along a… |
Sequence 83and sees nature at work. This is a constant exercise. And if carried out in calm and tranquility which touches and educates… |
Sequence 84values of individuality and doesn't bring about a harmony in rela- tionships between humans and between humans and their… |
Sequence 85and service to the earth itself. When students work in service of something larger than themselves, they feel connected. This… |
Sequence 87Greg MacDonald 82 The NAMTA Journal • Vol. 36, No. I • Winter 201 I |
Sequence 88GREAT STORIES ARE GREAT FOR THE BRAIN! by Greg MacDonald According to Greg MacDonald, the Montessori use of stories is… |
Sequence 89Twenty-first century life is intertwined with stories. Our televisions pump out endless stories. The Internet has… |
Sequence 90in 1929 by Hans Berger, a neuropsychiatrist at the University of Jena in Germany. His machine created a graphical… |
Sequence 91Others may capture the story while in an alpha brain state. Con- sider the words that we use to describe a storyteller's… |
Sequence 92meaning and relationship with the material. Here is an echo of Montessori's recommendation that we provide what is… |
Sequence 93SUPPORTING THE MONTESSORI APPROACH TO ELEMENTARY CHILDREN When we tell the Great Story "God Who Has No Hands,&… |
Sequence 94The benefits don't stop with the story however. As the children are freely and spontaneously active after the story has… |
Sequence 95Stories, however, demand exercise of this inherent human ability to recognize patterns. They don't serve up isolated,… |
Sequence 96How did Montessori put it? Knowledge can best be given where there is eagerness to learn, so this is the period when the… |
Sequence 97SPANNING SPACE 92 The NAMTA Journal • Vol. 36, No. I • Winter 201 I |
Sequence 98SPANNING SPACE by Claude A. Claremont Claude Claremont's little treasure book Spanning Space is a11 imagina- tive… |
Sequence 99Marvellous-Marvelous bridges are those one would have to go miles to see, since few countries boast more than one or two of… |
Sequence 100How are bridges paid for? The need for them is evident, but who is to put them up? Time was when the builder of a bridge was… |
Sequence 101designs from different engineers are discussed and their estimated costs compared. Then the work itself takes years. The… |
Sequence 102CHAPTER I: THE ARCH BRIDGE Smash! "Sorry, M'um, it came to pieces in me 'and." What? Has this… |
Sequence 103I once asked some students, "What is the function of a brick? What does it do? What is its job?" Some said… |
Sequence 104This teaches another of the engineer's secrets. There are dif- ferent kinds of forces. Compression is one of them. But… |
Sequence 105still survive, and in many modern buildings imitating them. It is a perfect semicircle, and is called the Roman, or Norman,… |
Sequence 106long tube, and let it follow the ups and downs of the land. But the trough system has to go level, with just the mildest slope… |
Sequence 107The various types of bridge are not quite easy to recognize at a glance. You can soon learn to pigeon-hole any bridge you meet… |
Sequence 108In some ancient buildings in England (for example, Stokesay Castle, Shropshire) the architect has not understood this weakness… |
Sequence 109hold a penny to the light, and look a it neither full face, nor quite on edge. To draw one, stick two pins into your drawing… |
Sequence 110recent times; so, generally speaking, the wider and flatter the arch, the more modern the bridge. Every bridge has a… |
Sequence 111SECTION II: THREE-PERIOD LESSON AND THE IMPORTANCE OF STRUCTURE |
Sequence 113John R. Snyder 108 TheNAMTAJournal • Vol. 36. No. I• Winter20/J |
Sequence 114STRUCTURE AND SPONTANEOUS LEARNING by John R. Snyder Begin11i11g with the origins of freedom and responsibility in the Ameri… |
Sequence 115new future. He had remarked to a friend not long before, "I am not satisfied with the work I have done so far. From… |
Sequence 116at the center of his program for the realization of that destiny. His ideas took hold, and reinvention of the Prussian… |
Sequence 117institutional oppression, and competing visions of education as the conscious imposition of a culture or the more traditional… |
Sequence 118like, to amuse them with light occupations, to lead them back to an almost wild state, does not solve the problem. The… |
Sequence 119an abstract idea but an embodied way of life embedded in a specific culture that, again, provides both its meaning and purpose… |
Sequence 120adults through responsible exercise of freedo111-to, we are pursuing a liberationist strategy: we are building institutions-… |
Sequence 121Each of these is a vast territory to explore, but it does all come down, in the end, to the interactions. All that the design… |
Sequence 122If these common prac- tices bear a superficial resemblance to the 3PL, as we want to understand and practice it, l consider… |
Sequence 123to see many possible solutions to any given problem. If we become too attached to the 3PL too soon, or to the exclusion of… |
Sequence 124between this or that part of a structure are conventional, provisional, and pragmatic; they shift as our purposes change and… |
Sequence 125Rather than writing rhapsodically with no formal limitations, Beethoven uses a given form and then innovates within that.… |
Sequence 126Beethoven stretches the limits of the form by writing a very long coda that almost counts as a second development section. He… |
Sequence 127Symphonic form and sonata form are just two of the many musi- cal forms available. Here are a few others worth exploring: •… |
Sequence 128through the senses, the intellect and the emotions with what is be- fore one-as opposed to an "anaesthetic experience… |
Sequence 129• Harmonic progression-relies on culturally learned expectations regarding what chords follow others • Harmonic rhythm-how… |
Sequence 130Structure in the Mind of the Guide Perhaps this is a good place to develop what I see as a key insight into the structure of… |
Sequence 131• How do the major sequences ("chapters") of each discipline connect and support each other? • In a given… |
Sequence 132We need to inquire carefully into how Montessori philosophy does or does not assimilate these dualisms-especially the… |
Sequence 133the child is actually revealing to us. The circle of ironies is then com- plete, because it is precisely through Dr.… |
Sequence 134to the circumstances they helped to create for us." This is what is to be discovered and rediscovered in the… |
Sequence 135Introduction) that what we often refer to as "traditional education" is anything but traditional-tradition… |
Sequence 136manual before touching the device? Or do you fire it up and play around with it until you get stuck and have to look up… |
Sequence 137What makes this metaphor of "joining clubs" so powerful? For one thing, visitors and new members are… |
Sequence 138Pink writes: Ultimately, [intrinsically motivated] behavior depends on three nutrients: autonomy, mastery, and purpose. [This… |
Sequence 139Beethoven the structure of the Classical symphony within which he was able to innovate and express what could not have… |
Sequence 140may not know is that Csikszentmihalyi's original term for flow was nutote/ic experience. "Auto" meaning… |
Sequence 141Csikszentmihalyi, Montessori, Pink, and Lev Vygotsky all agree that the greatest developmental aid we can give our children is… |
Sequence 142Purpose To create a context in which the energy of learning flows freely, we need a third ingredient: purpose. To Pink,… |
Sequence 143Loving the Universe There is another aspect of the Montessori classroom that I think speaks to the issue of purpose in… |
Sequence 144RECAPITULATION With Albert Joosten's solemn words in our ears, we come to the recapitulation, determined that we will… |
Sequence 145REFERENCES Einstein,Albert. "Autobiography." In P. Schilpp, Ed.,Albert Ei11stei11: Philosopher-Scie11tist.… |
Sequence 147Annette Haines 142 The NAMTA Journal • Vol. 36, No. I• Winter 2011 |
Sequence 148ORIGINS AND THEORY OF THE THREE-PERIOD LESSON by Annette Haines Beginning with Seg11i11, Annette Haines explores ti,e t!,ree… |
Sequence 149around her are Form, Colar, and lmagination. But I am going to take some poetic freedom and reassign the angels to the first,… |
Sequence 150very logical, but when put into practice are not so" (Unpublished 1944 lectures 7). Her pragmatism was particularly… |
Sequence 151riods," the accepted pedagogy of the time, because it didn't work with the "defective"… |
Sequence 152The third stage is a verification of a lesson. Again, picking up one of the tablets, the teacher asks the child, "… |
Sequence 153resonance (FMR), a technique based on the increase in blood flow to the most active areas of the brain, have observed that… |
Sequence 154year after year, not of one, but of a multitude of persons who have nothing in common with us, not even years, is indeed a… |
Sequence 155The sixth characteristic of a Montessori lesson is that it is de- signed to elicit activity from the child. In every instance… |
Sequence 156Growth comes from this activity. The material is necessary only as a starting point. For knowledge to be of any use, it must… |
Sequence 157The third period of the child's work may be observed in the "aha" reaction. A light bulb goes on. The… |
Sequence 158And this is all essential for reading. I know that reading has taken over in many schools as the most important subject-you… |
Sequence 1591\lontt>..,..,ori, l\-1.lria. Unpublishl•d 19-!6 lecture.., Dr l\.1.uia Monll'..,..,ori'.., lntern,Hional lr… |
Sequence 161156 The NAMTA Journal • Vol. 36. No. 1 • Winter 2011 |
Sequence 162EVOLUTION OF A THREE-PERIOD LESSON APPROACH: UNDERSTANDING THE LEARNING CYCLE AND MOVING FORWARD WITH THE ADOLESCENT IN… |
Sequence 163jacked and reinvented the three-period lesson for use with students in the third plane of development. When we started this… |
Sequence 164business endeavors and learn about production, exchange, and economics; and that the farm can be "the approach to… |
Sequence 165to those lessons look like? What do we expect the adolescents to do once they have received those lessons? As an elementary… |
Sequence 166Not that the first and third periods (as I am describing them) aren't important. Without a carefully prepared first-… |
Sequence 167First, let's take a look at a couple of learning cycle descriptions from current research. In the recent book Connecting… |
Sequence 168• Summarizing information presented through text or lecture • Fostering creativity through the use of visual arts, music, or… |
Sequence 169concept that is so essential to understanding the knowledge at hand that it opens the door to understanding, providing the… |
Sequence 170periences in the environment; and to indirectly assess the child's internalization process. (I prefer the focus on &… |
Sequence 171The Montessori environment and its materials foster precisely these kinds of activities and these conditions for learning (if… |
Sequence 172different emotional triggers" (27). She also strongly emphasizes the power of choice in motivating students: &… |
Sequence 173In addition, Dr. Montessori reminds us that the role of the adult is to connect the child to the materials and the environment… |
Sequence 174of appropriate language, and prevents the internalizing of misconceptions. Control of error built into the materials makes… |
Sequence 175"Meaningful work" for the adolescent translates into learning for the sake of contributing to the social… |