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What is mathematics, and what aspects of it should be taught in schools? How and to whom should it be taught, and how should its understanding be assessed? These questions continue to drive curriculum development, school organization, teaching methods, and research agendas. No one today doubts that mathematics should be taught in our schools, but this was not always so. Mathematics Education Across Time and Place aims to help mathematics teachers, teacher educators, and anyone else interested in mathematics education appreciate the path this discipline has taken through the ages. To understand the historical and social context for schools and the place of mathematics within them, we meet a variety of mathematics educators from different times and places. Though fictional, their lives and social circumstances are based on historical documents and professional sources. They range from ancient Greece to modern Zimbabwe; from Persia to British Columbia; from Islamic Baghdad to revolutionary Paris; from Elizabethan England to twentieth-century New York; and from the rural one-room schools of North America to the modern comprehensive secondary school. By sharing the teachers' lives, we come to understand how they developed their love for teaching mathematics, and how their work fit into the larger social context of their time.
There are many examples of technology and beliefs appearing decades—even centuries before they supposedly originated. The Apollo Program was outlined a century before it happened. A painting from the Middle Ages shows a flying toy helicopter. We’ve found ancient Greek computers and heard stories of Roman death rays. The Pacific Front of World War II was described 16 years before the war started. The existence and documentation of these and many other events and anomalies impossibly ahead of their time are beyond dispute. Out of Place in Time and Space delves deeply into these impossibilities, showcasing: Objects, beliefs, and practices from the present that show up in the past, long before they were supposedly invented. Personal careers that appear to have been founded on knowlege of the future. Roman-era machines that were hundreds of years ahead of their time UFOs, never officially documented in any time period, yet still showing up in medieval paintings.
Knowledge in Motion brings together archaeologists, historians, and cultural anthropologists to examine communities from around the globe as they engage in a range of practices constituting situated learned and knowledge transmission. The contributors lay the groundwork to forge productive theories and methodologies for exploring situated learning and its broad-ranging outcomes.
Now in its third edition, History 5-11 aims to make teaching about the past exciting and stimulating for both teachers and children. Focusing on the English National Curriculum for History (2013), and with an emphasis on the importance of learning about the past through the processes of historical enquiry, History 5-11 contains case studies, lesson planning guidance and methods to develop pupils‘ historical understanding. It offers creative and innovative ways to teach the subject of history, refreshing teachers‘ confidence in teaching the 2013 curriculum, and is illustrated by new case studies and research. This fully updated third edition includes: References to the 2013 National Curriculum, its aims and purposes, and its content and processes for Key Stages 1 & 2 Guidance on making local, national and global connections between societies over time Planning for assessment and progression New research and illustrative case studies New sections on local history and links to oracy Updates to all existing chapters Reflection on practice and research: undergraduate, Masters level and PhD. This textbook is an invaluable resource to all trainee and practising primary teachers interested in teaching history in an accessible, dynamic and above all, enjoyable way.
Why we learn the wrong things from narrative history, and how our love for stories is hard-wired. To understand something, you need to know its history. Right? Wrong, says Alex Rosenberg in How History Gets Things Wrong. Feeling especially well-informed after reading a book of popular history on the best-seller list? Don't. Narrative history is always, always wrong. It's not just incomplete or inaccurate but deeply wrong, as wrong as Ptolemaic astronomy. We no longer believe that the earth is the center of the universe. Why do we still believe in historical narrative? Our attachment to history as a vehicle for understanding has a long Darwinian pedigree and a genetic basis. Our love of stories is hard-wired. Neuroscience reveals that human evolution shaped a tool useful for survival into a defective theory of human nature. Stories historians tell, Rosenberg continues, are not only wrong but harmful. Israel and Palestine, for example, have dueling narratives of dispossession that prevent one side from compromising with the other. Henry Kissinger applied lessons drawn from the Congress of Vienna to American foreign policy with disastrous results. Human evolution improved primate mind reading—the ability to anticipate the behavior of others, whether predators, prey, or cooperators—to get us to the top of the African food chain. Now, however, this hard-wired capacity makes us think we can understand history—what the Kaiser was thinking in 1914, why Hitler declared war on the United States—by uncovering the narratives of what happened and why. In fact, Rosenberg argues, we will only understand history if we don't make it into a story.
Neil Gaiman has emerged as one of the most influential literary figures of the 21st century. To borrow a phrase from his viral 2012 University of the Arts commencement speech, Gaiman "makes good art," from his graphic novels to his social media collaborations, award-winning fantasy fiction and beloved children's books. This collection of new essays examines a range of Gaiman's prolific output, with readings of the novels American Gods, Anansi Boys, The Graveyard Book and The Ocean at the End of the Lane. Children's books The Wolves in the Walls and Blueberry Girl and the online short story collection A Calendar of Tales are discussed. Gaiman's return to the serial comic book form with Sandman: Overture is covered, and artist JH Williams III contributes an exclusive interview about his collaboration with Gaiman on Overture. Cartoonist Judd Winick offers a personal essay on his connection to Gaiman's work.