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John Kyle Day 《Journal of School Choice》2016,10(4):420-435
ABSTRACTThe United States Congress’ Southern Congressional Delegation promulgated the Declaration of Constitutional Principles, popularly known as the Southern Manifesto, on March 12, 1956. The Southern Manifesto was the South’s primary means to effectively delay implementation of public school desegregation as ordered by the United States Supreme Court decision, Brown v. Board of Topeka, Kansas (1954; as cited in Day, 2014). This essay places the desegregation of American public school system within the larger context of the time period in which it transpired, and explains how racial disparity in public education was perpetuated after the Jim Crow caste system was dismantled in the 1960s. Ironically, while de jure desegregation of American public schools was effectively accomplished by the early 1970s under the administration of President Richard M. Nixon, government spending during the era after World War II, perpetuated racial and economic disparity in America’s public schools that prevails up to the present day. 相似文献
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Abstract Within the current national context of educational reform, educators are generating a new paradigm about teaching and learning. This shift is occurring as a consequence of rethinking nearly all aspects of schooling. The new paradigm is competing with, an older one. Time will tell whether or not the new one will replace the old one, but clearly they cannot coexist because they are so fundamentally different. The new paradigm is based on the latest research on cognitive developmental and constructivist theory, and the old paradigm is based on reductionist principles and behavioral theory. This article creates a framework for understanding the paradigm shift, describes how the shift applies to instructional practices, synthesizes several principles and indicators that can guide the observation of teaching, and discusses issues yet to be resolved. 相似文献
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Inspired by an experience of teaching the drafts of Elizabeth Bishop’s ‘One Art’, this article rereads the drafts as far more than imperfect precursors to the final poem. The drafts have their own prosodic features and poetic logic, one that values and enacts a vertiginous dilation of thought, expression and memory. The final version of ‘One Art’ records an anxiety about moving away from the openness of drafting to the stability of the finished poem. It is an anxiety that writers and especially writing teachers should consider adopting. 相似文献
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