6 resultados para Maureen Elgersman Leee

em Brock University, Canada


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Back Row: Pat Woodburn (Coach), Rhonda Walcarius, Melanie Brown, Patty Stamps, Lyn Storm, Diane Hilko, Jackie Kuntze, Janice Jockel Front Row: Maureen Kelly, Lena Olszewski, Trudy Montel, Carolyn Foreman, Dawn Dixon, Peggy Stamps

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Pictured here from left to right: Back Row - Mike Rohatynski (Coach?), Ivi Ernesaks, Maureen Halpenny, Helen, Henderson, Pat Hueston (Coach). Front Row - Enid Salisbury, Jane Hemphell, Beth Gayman. Missing - Pat Johnson, Debbie MacMillan, and Jean Milburn.

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Research and practice regarding LO students usually has focussed upon defining and supplementing deficiencies rather than seeking unique talents and capability patterns for learning and expression. This study examined nine dimensions that may constitute artistic or creative talent and compared LDs with "regular-class" students, pair-wise and as groups, for levels and distributions of the dimensions. For 14 LO and 9 "regular-class" elementary-school subjects, both genders, data were taken by direct observation, from a standardized test and assessments by two practicing artists. Assessments by artists were in concord. LOs improved more in "Composition". No other significant class, age or gender-related differences were found.

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David Skene-Melvin, literary historian and bibliographer, donated his extensive collection of books on Crime, Mystery and Detective fiction to the Popular Culture Program at Brock University in July 2001. The donation forms a significant part of the Skene-Melvin Collection of Crime, Mystery and Detective Fiction, James A. Gibson Library, Brock University.

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Through the reflective lens of an adult educator with invisible and episodic disabilities, this paper has been written as an organizational autoethnography. Through a process of autoethnographical sensemaking, it is intended to illuminate important gaps in organizational theory. Feminist/relational care ethics, critical reflection, and transformative learning serve as the educational theories that comprise its framework. In telling my story, embodied writing and performance narrative are used to convey the felt existence of a body exposed through words—where my “abled” and “disabled” professional teaching and learning identities may be studied against the backdrop of organizational policies and procedures. Words used to describe unfamiliar experiences and situations shape meaning for which new meaning may emerge. At the conclusion of this paper, an alternative frame of reference—a view from the margins—may be offered to articulate authenticity in the expectancy of workplace equity for adult educators with disabilities. Taken collectively on a larger level, it is hoped that this research may provide a source of inspiration for systemic organizational change in adult learning environments.