Making Sense of Word Problems

In this action research study of my classroom of sixth grade mathematics, I investigated word problems. I discovered that my students did not like to try word problems because they did not understand what was being asked of them. My students also saw no reason for solving word problems or in having the ability to solve them. I used word problems that covered topics that were familiar to the students and that covered the skills necessary at the sixth grade level. I wanted to deepen their understanding of math and its importance. By having my students journal to me about the steps that they had taken along the way to solve the word problem I was able to see where confusion occurred. Consequently I was able to help clarify where my students made mistakes. Also, through writing down the steps taken, students did see more clearly where their errors took place. Each time that my students wrote their explanations to the steps that they used in solving the word problems they did solved them more easily. As I observed my students they took more time in writing their explanations and did not look at it as such a difficult task anymore.

The Impact of Teaching Presence in Intensive Online Courses on Perceived Learning and Sense of Community: A Mixed Methods Study

This mixed methods concurrent triangulation design study was predicated upon two models that advocated a connection between teaching presence and perceived learning: the Community of Inquiry Model of Online Learning developed by Garrison, Anderson, and Archer (2000); and the Online Interaction Learning Model by Benbunan-Fich, Hiltz, and Harasim (2005). The objective was to learn how teaching presence impacted students’ perceptions of learning and sense of community in intensive online distance education courses developed and taught by instructors at a regional comprehensive university. In the quantitative phase online surveys collected relevant data from participating students (N = 397) and selected instructional faculty (N = 32) during the second week of a three-week Winter Term. Student information included: demographics such as age, gender, employment status, and distance from campus; perceptions of teaching presence; sense of community; perceived learning; course length; and course type. The students claimed having positive relationships between teaching presence, perceived learning, and sense of community. The instructors showed similar positive relationships with no significant differences when the student and instructor data were compared. The qualitative phase consisted of interviews with 12 instructors who had completed the online survey and replied to all of the open-response questions. The two phases were integrated using a matrix generation, and the analysis allowed for conclusions regarding teaching presence, perceived learning, and sense of community. The findings were equivocal with regard to satisfaction with course length and the relative importance of the teaching presence components. A model was provided depicting relationships between and among teaching presence components, perceived learning, and sense of community in intensive online courses.

Refuge Update – November/December 2009, Volume 6, Number 6

Table of Contents: Tufted Puffin Released A rehabilitated puffin gingerly tests freedom at Oregon Islands National Wildlife Refuge. FOCUS: Stories of Hope From cemeteries to woodpeckers, to newspaper columns and support at the ballot box, refuges represent stories of hope as they pursue their mission. Bats in the Barn Scientists and volunteers wrap a barn in plastic and count the bats inside. Sense of Wonder Award Jim Burkhart shares the joy and mysteries of the natural world with visitors to Okefenokee National Wildlife Refuge, GA.

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.