Is systematic synthetic phonics enough? Examining the benefit of intensive teaching of high frequency words (HFW) in a year one class

A comparative analysis of systematic synthetic phonics (SSP) and the intensive teaching of high frequency words (HFW) revealed the latter had greater impact on pupils’ reading attainment and fluency. Data were collected using multiple methods, including miscue analysis, Salford Reading Test, a phoneme skills test and HFW audits.     

Moths,candles and fires: examining dance as creative practice research in a Master's degree

This article reflects on the purposes and functions of examination criteria for Masters' research degrees with creative practice components. With a particular focus on dance projects that incorporate both a performed and a written expression of the research, we consider how a rubric for creative practice research degrees might address formative and summative assessment purposes and clarify goals for learners, supervisors, examiners and academic institutions. Our discussion is situated within a South Pacific postgraduate learning context and is informed by post-colonial and post-Cartesian concerns over how dance knowledge is recognized in global academia. Much current literature has argued how particular research methods and diverse approaches to the presentation of research outputs can destabilize dominant, logocentric methods of valuing knowledge. Our queries extend this argument into the actual quantifiable measuring and evaluation of such knowledge, which Masters' grading necessitates in order to maintain its value as an institutional currency. This leads to the reflections on the rubric for Masters' degrees with Creative Practice components that is currently used within the Dance Studies programme of the University of Auckland, and how this rubric might be seen as contributing to an evolving ‘cultivated’ community of practice within postgraduate examination. The rubric continues to grow through ongoing consultation with postgraduate students, supervisory staff, internal and external examiners and international experts in creative arts academia. Our reflections extend the argument for how creative practice might be further rationalized within academia.     

An Experiment Comparing HBSE Graduate Social Work Classes: Face‐to‐Face and at a Distance

This article describes a quasi‐experimental comparison of two master's level social work classes delivering content on human behavior in the social environment. One class, delivered face‐to‐face, was largely synchronous. The other class, delivered using distance technologies, was more asynchronous than the first. The authors hypothesized that students would learn equally well in both classes, and did not reject that hypothesis. That was so even after accounting for strong explanation of achievement by grade point average adjusted for grade inflation. Though this study indicates that the distance education studied was apparently successful, the findings may not be highly generalizable, and the authors suggest that future studies need to look at achievement in various settings and curricular areas while carefully measuring and accounting for extraneous variables.     

Who Am I? Compositions of the self: an autoethnographic,rhizotextual analysis of two poetic texts

This article employs an autoethnographic, rhizotextual approach to analyse the compositional processes involved in the construction of two poems by the same author. What the analysis reveals is not only the internal thinking of the author in the process of composition but how the socio‐cultural standpoint of the author is implicated in the texts. It is posited that, in addition to the author's own lived experience informing composition, rhizotextual analysis enables us to extend beyond the self to interrogate the ‘secondary worlds’ of others and to form an empathic relationship to the ‘Other’. The findings of this article have implications for teachers’ knowledge of the socio‐cultural contexts of written composition. An authoethnographic, rhizotextual approach allows personal insights into the self, both as a writer and a person. This approach has implications for classroom practice, particularly for writing around issues of identity located in social class, gender, ‘race’, disability and sexual orientation, as well as the growing body of work on the teacher as a writer.