Promoting Inquiry-Based Teaching in Laboratory Courses: Are We Meeting the Grade?

Over the past decade, repeated calls have been made to incorporate more active teaching and learning in undergraduate biology courses. The emphasis on inquiry-based teaching is especially important in laboratory courses, as these are the courses in which students are applying the process of science. To determine the current state of research on inquiry-based teaching in undergraduate biology laboratory courses, we reviewed the recent published literature on inquiry-based exercises. The majority of studies in our data set were in the subdisciplines of biochemistry, cell biology, developmental biology, genetics, and molecular biology. In addition, most exercises were guided inquiry, rather than open ended or research based. Almost 75% of the studies included assessment data, with two-thirds of these studies including multiple types of assessment data. However, few exercises were assessed in multiple courses or at multiple institutions. Furthermore, assessments were rarely based on published instruments. Although the results of the studies in our data set show a positive effect of inquiry-based teaching in biology laboratory courses on student learning gains, research that uses the same instrument across a range of courses and institutions is needed to determine whether these results can be generalized.     

Literacy for All: a Consideration of the Many Opportunities for Language Acquisition

There are lots of opportunities in a classroom day for the development of literacy. Reading aloud to children is one of the most important of these. Carole Silva here reminds us of the potential of this activity and gives several practical suggestions for working with children.     

Distinction through visual art

Visual art is one of the fields where, according to Bourdieu, culture is used to reproduce the class structure. Like other items in the cultural repertoire, paintings, as major examples of visual art, imply social divisions in how they are engaged with by artists, critics and audiences. Within the Bourdieusian framework, cultural engagements with paintings are interpreted as indicators of social position, since appreciation depends on a trained capacity in the family and the educational system, which is often inaccessible to less powerful sections of the population. This would imply that the sorts of paintings favoured by working-class people differ from those preferred by the middle or upper classes. More recent studies have contested the view that a gulf exists between the art tastes of different classes in ways that reproduce the class structure. The argument of the omnivore thesis that distinctions between more popular and legitimate tastes have become blurred has predominantly been based on empirical references in the field of music. This article explores this thesis on the basis of data about visual arts in the Cultural Capital and Social Exclusion project. While some differences continue to be connected to social divisions of income, education and occupational groups, important similarities are found across the board, and certain significant differences appear to relate to factors other than social class, such as ethnicity, age and gender. It is also significant that some people appear disconnected from and disinterested in paintings.     

Anthropometric profiles of elite older triathletes in the Ironman Brazil compared with those of young Portuguese triathletes and older Brazilians

The objective of this study was to describe the anthropometric profiles of elite older triathletes participating in the 2009 Ironman Brazil and to compare their somatotype, anthropometric and body composition characteristics with those of elite young triathletes and older non-athletes. The sample consisted of 64 males, divided into three groups: (1) older triathletes (n = 17), (2) young triathletes (n = 24), and (3) older non-athletes (n = 23). Somatotype was analysed according to the Carter and Heath ( 1990 ) method. Body mass index, sum of four skinfolds, percentage body fat, body fat mass, and fat-free mass were also estimated. Older non-athletes had higher endomorphy, sum of four skinfolds, fat percentage, and body fat mass than the athletes. Older athletes who participated in the Ironman and elite young triathletes had higher fat-free mass than older non-athletes. Older triathletes and older non-athletes were considered mainly endomorphic mesomorphs and young triathletes mainly ectomorphic mesomorphs. The findings that characterize the anthropometric profile of athletes in this sports modality could be used as a reference.     

Creatine kinase activity weakly correlates to volume completed following upper body resistance exercise

In the current study, we examined the relationship between serum creatine kinase (CK) activity following upper body resistance exercise with a 1- or 3-min rest between sets. Twenty men performed two sessions, each consisting of four sets with a 10-repetition maximum load. The results demonstrated significantly greater volume for the 3-min condition (M = 4156 kg, SD = 867, for 3 min; vs. M = 3503 kg SD = 759, for 1 min; p < .001), with no significant differences in delta CK activity between conditions (p = .574). Nevertheless, there was a weak correlation between the delta CK activity and total volume of exercise completed (r = .55 with a 1-min rest, and r = .45 with a 3-min rest). Therefore, the volume following upper body resistance exercise correlates weakly with serum CK levels, irrespective of rest interval length between sets.     

Pigment identification in a Greek icon by optical microscopy and infrared microspectroscopy

Optical microscopy, cross-section and fragment Micro-FTIR spectroscopic techniques along with microchemical tests were used for the identification of pigments in two different samples of an icon. Representing the Last Judgement, and painted by the Greek master Ioannis from the village of Kapesovo in the year 1771, the kneeling desk icon under investigation is a noteworthy contribution to the study of materials in post-Byzantine visual arts. The main components found in the ground layer of both samples were gypsum, beeswax and a proteinaceous material. Cinnabar, Prussian blue and cerussite were identified on the paint layers. The binding medium on the paint layers was weddelite. The materials used in the painting and ground layers were characterized in order to clarify the painting technique. Proteinaceous materials have been identified as binders for the pigments, indicating a tempera painting technique.