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Sequence 70Features of Nonfiction Writing Nonfiction writing is crafted by authors, not written by a com- mittee or a machine. The… |
Sequence 71Don't tell, but use imagery to show, "In the warm ocean among the waving sea grass meadows, an eye like a small… |
Sequence 72Example The boys love shark stories. Great Whites have been known to be one of the most dan- gerous sea creatures in the… |
Sequence 73Polli Soholt 68 The NAMTA Journal • Vol. 36, No. 3 • S11111mer 201 I |
Sequence 74THE ART OF SPOKEN LANGUAGE IN THE CHILDREN'S HOUSE by Polli Soholt Looking nt the classical components of language, Po/… |
Sequence 75guided by the sensitive period for language, which helps the child adapt to the culture in which she was born. It is active… |
Sequence 76dren. First the children develop the mechanics of speech, absorb- ing and practicing the sounds of their language individually… |
Sequence 77different 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 78So even before he knows how to read and write, this mechanism so necessary for the later study of the gram- matica I… |
Sequence 79to individual children or small groups during the work period, or they can be told at the lunch table. Once the children hear… |
Sequence 80Casual Vocabulary Enhancement The most natural way to help the children add words to their vocabulary is to make sure that we… |
Sequence 81Vocabulary Cards We cannot discuss vocabulary enrichment without mentioning the vocabulary cards that are in the prepared… |
Sequence 82Naturally, this needs to be preceded by the adult naming each cat- egory of the food groups and helping the children… |
Sequence 83them develop their ability to focus and listen intently to stories and poems, this experi- ence needs to be available to… |
Sequence 84While this information was written for parents, it also applies to us as we read to these young children. Parents will… |
Sequence 85lence 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 86to the extent that most children have had. To assist them in their language development, we need to give them all the… |
Sequence 87Sometimes this finely tuned phonological system misfires somewhere along the line. The most commonly diagnosed language… |
Sequence 88a 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 89rishl'r, David & Rcgin,1ld Bragonicr. What's What: A Visual Clo"ary ()f //11 l'hl/Slf,1I World… |
Sequence 90Guadalupe Borbolla 86 The NAMTA Journal • Vol. 36, No. 3 • Summer 2011 |
Sequence 91THE SEARCH FOR A NEW DEFINITION OF CREATIVITY by Guadalupe Borbolla Begin11ing with traditional definitions of creativity,… |
Sequence 92Studies show that intelligence has little correlation with creativ- ity; thus, a highly intelligent person may not be very… |
Sequence 93generosity .... A degree of spontaneous ability has made itself known, always a gift however much one reaches for it. (cited… |
Sequence 94an unconscious process in which the child makes deep contact with an external factor that offers what is needed for natural… |
Sequence 95conscious essence of man.His pre-conscious essence is the unconscious state of earliest childhood; his post-conscious essence… |
Sequence 96sonal formation and practical training to be able to make it happen. The primary goals of Montessori education are the… |
Sequence 97creativity-first, because there is none; second, because such a recipe would provide uncreative role-modeling So think… |
Sequence 98unique discovery made by the child in the ways an apparatus can be used and also the connection between different materials in… |
Sequence 99Sternberg and Williams say that during the creative process, questions have to be asked as a tool to reaching the ultimate… |
Sequence 100The child accumulates sensorial impressions through his first three years of life. At first, his impressions are vague in an… |
Sequence 101Montesso1·i noticed that children are capable of forming in their minds touchstone perceptions with which they can establish… |
Sequence 102impact that the sensorial materials will make on him, through their quality of exactitude. A sense of order, ability to follow… |
Sequence 103not giving any "artistic" importance to the work of the child. We approach this material in a unique way, a… |
Sequence 104for the development of creative individuals giving life to a creative community. Montessori says that the child cares very… |
Sequence 105movement are some of the activities the child has the opportunity to do every day. A long and uninterrupted work period… |
Sequence 106Creative persons differ from one another in a variety of ways, but in one respect they are unanimous: They love what they do… |
Sequence 107Gardner, Howard. The U11schooled Mind. NY: Basic Books, 1991. Haines, Annette. Lecture. "Creativity: Our Challenge.… |
Sequence 108Olga Dantus I 04 The NAMTA Journal • Vol. 36. No. 3 • Summer 20 I I |
Sequence 109CHILDREN THE MAKERS OF CULTURE: THE ARTIST WITHIN by Olga Dantus Olgn Da11t11s writes 11 refreshing, impressionistic view of… |
Sequence 110Art is a talent special to human beings. It helps us understand and explore our world. It is an outlet, a way of expressing,… |
Sequence 111Art takes place in our daily life in many ways: • We express ourselves by talking, crying, moving, writing, drawing, etc. •… |
Sequence 112• Use no value j11dge111ent. Be objective and descriptive: "You used a lot of red." "I see a lot… |
Sequence 113II is oocoswy 10 have in mind lhat evaluating the payoft' and lbc bcnefil taken by lbc Sludcnl, lbc •laiC of dcvel- of… |
Sequence 114In the 1950s, scientists determined that there are two sides of the brain: The left side being intellectual and the right side… |
Sequence 115The special conditions for creativity to happen: • Emotional security /unconditional acceptance, and • No external judgment… |
Sequence 116Figure 3. Controlled scribble. a blanket, etc. The purpose is not the drawing but the pleasure of performing the movement.… |
Sequence 117human figure. In the first human figure the arms and legs come out of the head , sometime later the arms are omitted to make… |
Sequence 118xDDOo+ Figure 4 Realistic Close to twelve years of age, the child can perceive the differ- ence between what he sees and… |
Sequence 119world brings them a variety of designs, ways to solve problems, the opportunity to explore the similarities and differences in… |
Sequence 120BODY EXPRESSION, MOVEMENT, ANO DRAMA Our body is something like the house in which we live every day. It is the vehicle or… |
Sequence 121bubble) and common space (don't break anybody else's bubble). In this exercise, we can move our bodies in many… |
Sequence 122118 The NAMTA Journal • Vol. 36, No. 3 • Summer 20 I I |
Sequence 123DOWNPLAYING PLAY: WHAT WE Miss WHEN WE HESITATE TO SHAKE LOOSE AND FROLIC by Alyssa Conklin-Moore Alyssa Conk/ in-Moore en/… |
Sequence 124conference and later submit this article, T had the opportunity to spend considerable amounts of time researching play, day-… |
Sequence 125strong idea, I settled on the definition, created colJectively by Bob King and Frank Hughes, that seemed to be modestly… |
Sequence 126When we cons.ider the public-at-large, we also have to consider that play doesn't typically translate as particularly… |
Sequence 127will chaos reign? Many of us harbor the concern that if we actively invite play into our communities, somehow activity will… |
Sequence 128The Physical World In relation to the physical world, play gives us new ways of see- ing and understanding our surroundings.… |
Sequence 129The Social Domain Play pulls us into relationships where we can explore what it is to be social. Tt teaches us to cooperate… |
Sequence 130choose to do. Play can propel a child to discover his own unique passions and interests while supporting open-ended thinking.… |
Sequence 131get ourselves on the path of fun and excitement, to share ourselves honestly, and to feel competent in the things that we do.… |
Sequence 132builds our ability to negotiate rules and to overcome obstacles. Free play allows children to evaluate, pretend, analyze,… |
Sequence 133children than most Montessorians care to support but never fails to emphasize the fact that hands-on exploration, time in the… |
Sequence 134Summarizing the key findings of Stuart Brown's research forces us to take a close look at the following realities: 1.… |
Sequence 135require batteries to operate as designed, we can offer parents so much more guidance and good information. Helping parents to… |
Sequence 136There are several keys that I have gathered over the years. First and foremost, in order to really play we must allow ample… |
Sequence 137In every regard, play is good for the brain and intensely plea- surable. So take an extra helping of play as it barrels toward… |
Sequence 138• When they can reveal themselves, their joys, suf- ferings, and concerns, without fear of ridicule, and when mystery and… |
Sequence 1392007. Dec. 2010 <http:/ /www.aap.org/pressroom/ playfinal.pdf>. Jenkinson, Sally. Tlte Genius of Piny:… |
Sequence 140Robin Renshaw 136 The NAMTA Journal • Vol. 36, No. 3 • Summer 2011 |
Sequence 141CREATING AN OUTDOOR EXTENSION TO THE PRIMARY CLASSROOM AND A NATURAL PLAYSCAPE BEYOND THE GATE by Robin Renshaw Robin… |
Sequence 142During the last few years of this technological revolution it has been my observation that children in the primary class are… |
Sequence 143als that remain outside. A waterproof cabinet with drawers holds rhythm instruments, clipboards for documenting observations… |
Sequence 144and browns and grays and colors of the flowers and herbs. They can turn over the stones and observe insects and worms. They… |
Sequence 145Renshaw• Creating an Outdoor Extension to the Prima,y Classroom 141 |
Sequence 146Children can touch and feel and compare the hard/soft, rough/ smooth, warm/cool aspects of the natural world. As children… |
Sequence 147in the courtyard, and with the edible herbs always available, the children have an opportunity to enjoy a gustatory… |
Sequence 148books is set on the deck shelves when weather permits. Comparing sizes, measuring distances, counting objects, and documenting… |
Sequence 149and dancing to the music of the instruments. A wooden marimba- like xylophone and mallet hangs on the fence, and a child can… |
Sequence 150metal,plastic,or wood-like play structure dominating our big outside area we have created areas of mostly natural materials… |
Sequence 151red wooden boat. The "pond" is surrounded by large smooth rocks and short redwood logs that are perfect for… |
Sequence 152fall, and sunflowers grow around the whole area. Gophers are a big challenge as we are located near a field and so we plant… |
Sequence 153Renshaw • Creating an Outdoor Extension to the Primal)' Classroom 149 |
Sequence 154with natural materials but mostly the children are engaged in large motor activities like pulling each other in the wagon or… |
Sequence 155document as being one of the first advocates for a child's need to connect with the natural world. The introduction to… |
Sequence 156themselves and the world around them. Providing opportunities for the growth and development of the whole child, opportunities… |
Sequence 157solving skills and the development of interest and appreciation in the world around us. These goals acknowledge that learning… |
Sequence 158SECTION II THE MONTESSORI SYLLABUS: DEFINING THE ADOLESCENT'S ROLE by David Kahn The Montessori ed uca tiona l… |
Sequence 159summary of the syllabus derived precisely from Montessori's book, From Childhood to Adolescence. Perhaps you think that… |
Sequence 160REFERENCE Montessori, Maria. From Childhood to Adolescence. 1948. Trans. The Montessori Educational Resource Center. New… |
Sequence 161Mihaly Csikszentmihalyi 158 The NAMTA Journal • Vol. 36. No. 3 • S11111111er 201 l |
Sequence 162BECOMING AN ADULT: p ATHWAYS TO MATURITY by Mihaly Csikszentmihalyi Dr. Csiksze11t111i1Iayli begins with Mo11tessori's… |
Sequence 163mammals tend to rely on genetic instructions for how to behave or what to do. But for humans, we have to learn how to become… |
Sequence 164even in a socialist country without being able to learn at least the rudiments of civility through loving and supportive… |
Sequence 165how to get along with others, how to respect people who knew more than what they did, was the normal way for all humans to… |
Sequence 166did this with grammar school students, workers, adults, and with old people. We give them a pager, or now a programmable watch… |
Sequence 167In a typical study we would have two hundred children doing this questionnaire eight times a day for a week, four or five… |
Sequence 168One important thing to notice is that teachers help the students about twenty percent of the time. Actually, most of the… |
Sequence 169there. These black bars simply show the limits of what is possible by chance. The fact that the bar of responses in school for… |