Diverging from the dominant discourse- some implications of conflicting subject understandings in the education of teachers

This paper addresses beginning teachers thinking about the nature and purposes of their subject and the impact of this on their practice. Individual qualitative interviews were undertaken with 11 history teachers at the beginning of their teaching careers. Data was analysed using writing as the method of analysis and revealed that teachers whose thinking was at odds with dominant discourses, for example in the form of a national curriculum, encountered difficulties embracing pedagogies and aspects of the curriculum that do not accord with their own deep-seated beliefs, demonstrating a need for the initial training and professional development of teachers to forefront consideration of subject understandings.

Diverging from the dominant discourse – some implications of conflicting subject understandings in the education of teachers

This paper addresses beginning teachers thinking about the nature and purposes of their subject and the impact of this on their practice. Individual qualitative interviews were undertaken with 11 history teachers at the beginning of their teaching careers. Data was analysed using writing as the method of analysis and revealed that teachers whose thinking was at odds with dominant discourses, for example in the form of a national curriculum, encountered difficulties embracing pedagogies and aspects of the curriculum that do not accord with their own deep-seated beliefs, demonstrating a need for the initial training and professional development of teachers to forefront consideration of subject understandings.

An anthology of voices: an analysis of trainee drama teacher's monologues

This paper reports on research undertaken into the processes through which student teachers begin to formulate an identity as a professional teacher. Using Fuller’s investigations into the attitudes of trainee teachers towards their courses (1969) as a baseline, a discussion is established on the place of the student voice in contemporary initial teacher training programmes. In order to further investigate the potential importance of affording student teachers the opportunity to reflect on and express their thinking and feeling as they embark on their chosen career path, the concerns of a group of student drama teachers were recorded and interpreted. The vehicle for this exercise involved writing and subsequently performing reflective monologues. These were analysed by using The Listening Guide as composed by Gilligan et al. (2003). This paper illustrates how the methodology revealed distinct yet generally harmonious voices at work in the group in the first few weeks of their training year. Subsequent analysis suggests a model for the initial formation of a teaching identity built on aspects of self, role and character. Recognising the relative values and relationships between these factors for student teachers may, it is argued, provide greater security for them while affording their tutors insights which could help them to re-shape initial teacher training programmes. Keywords: student teachers, teacher training, professional identity, student voice, reflective monologues

Where do drama teacher’s come from? Initial investigations into the formation of professional identity

The article reports on research into what may have influenced trainees on four post-graduate teacher training courses in England to become specialist drama teachers rather than pursue careers in the world of professional entertainment. It goes on to explore how the trainees regarded an understanding of performance, and an ability to both use and demonstrate performance techniques, as integral to their professional role. The subsequent discussion examines how a drama teacher’s professional identity may be seen as being made up of the three inter-connected elements, self, role and character. While all teaching may be regarded as a performing art, this paper suggests that, for the drama specialist, an understanding of what constitutes ‘performance’ has a particular importance. A conclusion drawn from the research is that recognising the place of performance in their practice may result in experienced teachers of drama regarding themselves as artists whose art is teaching drama.

An Examination of the factors that shape the subjectivities of female art students in Initial Teacher Training

The school subject of Art and the profession of the primary school teacher are gendered female and both are considered low status within the field of Education and other professional areas of society. A number of sociological studies have examined the impact of gendered socialisation and habitus on females’ career choices and various educational initiatives have been put in place over the years to encourage females to select subjects and/or pursue career paths normally associated with males. Yet Art and primary school teaching continue to be a popular choice with middle class girls. Based on a critical ethnographic study of female BAED Art students, who are training to be primary school teachers, this study is an examination of the many factors, historically and contemporaneously that have shaped and continue to shape the subjectivities of females and frame their aspirations and ambitions. Within this discourse significant aspects of the history of Art and Art Education that have contributed to and influenced the construction of the female artist, and their consequent impact on artistically talented females’ personal identity as artists, are also examined.

Training drama teachers: a perspective from England

In England, drama is embedded into the National Curriculum as a part of the programmes of study for the subject of English. This means that all children aged between 5 - 16 in state funded schools have an entitlement to be taught some aspects of the subject. While the manifestation of drama in primary schools is diverse, in a great many schools for students aged between 11 – 19, drama and theatre art is taught as a discrete subject in the same way that the visual arts and music are. Students may opt for public examination courses in the subject at ages 16 and 18. In order to satisfy the specifications laid down for such examinations many schools recognise the need for specialist teachers and indeed specialist teaching rooms and equipment. This chapter outlines how drama is taught in secondary schools in England (there being subtle variations in the education systems in the other countries that make up the United Kingdom) and the theories that underpin drama’s place in the curriculum as a subject in its own right and as a vehicle for delivering other aspects of the prescribed curriculum are discussed. The paper goes on to review the way in which drama is taught articulates with the requirements and current initiatives laid down by the government. Given this context, the chapter moves on to explore what specialist subject and pedagogical knowledge secondary school drama teachers need. Furthermore, consideration is made of the tensions that may be seen to exist between the way drama teachers perceive their own identity as subject specialists and the restrictions and demands placed upon them by the education system within which they work. An insight into the backgrounds of those who become drama teachers in England is provided and the reasons for choosing such a career and the expectations and concerns that underpin their training are identified and analysed.

Teachers' views on the nature of models

A semi-structured interview was used in Brazil to enquire into the 'notion of model' held by a total sample of 39 science teachers who were: employed in 'fundamental' (6-14 years) and 'medium' (15-17 years) schools; student science teachers currently doing their practicum; and university science teachers. Seven 'aspects' of their notions of a model were identified: the nature of a model, the use to which it can be put, the entities of which it consists, its relative uniqueness, the time span over which it is used, its status in the making of predictions, and the basis for the accreditation of its existence and use. Categories of meaning were identified for each of these aspects. The profiles of teachers' notions of 'model' in terms of the aspects and categories were complex, providing no support for the notion of 'Levels' in understanding. Teachers with degrees in chemistry or physics had different views about the notion of 'model' to those with degrees in biology or with teacher training certificates.

Formative assessment in teacher education: the development of a diagnostic language test for trainee teachers of German

This article describes the development and validation of a diagnostic test of German and its integration in a programme of formative assessment during a one-year initial teacher-training course. The test focuses on linguistic aspects that cause difficulty for trainee teachers of German as a foreign language and assesses implicit and explicit grammatical knowledge as well as students' confidence in this knowledge. Administration of the test to 57 German speakers in four groups (first-year undergraduates, fourth-year undergraduates, postgraduate trainees, and native speakers) provided evidence of its reliability and validity.

What do effective teachers of literacy do? Subject knowledge and pedagogical choices for literacy

This article explores the fine detail of practice by three teachers, recognised as effective teachers of literacy. All three were observed during nine literacy lessons, working with Year 2 (6/7 year olds) classes of successful inner-city primary schools in the South of England. Data collection took place in 2003, just as their schools were moving away from the early prescription of the National Literacy Strategy (NLS), and follow up visits were made in 2005. My initial interest had been in what these three teachers did with the NLS in order to motivate pupils and ensure high pupil attainment. Following observations, interviews and coding of teacher-pupil interaction, it became clear that The NLS Framework for Teaching (DfES, 2001) was not the driver of their success but a valuable vehicle for subtle and intuitive teacher behaviours that grew from a detailed understanding of how children develop as readers and writers. Implications for training student teachers to marry theoretical understanding with the expectations of a prescribed curriculum for literacy are discussed.

Space physics for graduate students: an activities-based approach

The geospace environment is controlled largely by events on the Sun, such as solar flares and coronal mass ejections, which generate significant geomagnetic and upper atmospheric disturbances. The study of this Sun-Earth system, which has become known as space weather, has both intrinsic scientific interest and practical applications. Adverse conditions in space can damage satellites and disrupt communications, navigation, and electric power grids, as well as endanger astronauts. The Center for Integrated Space Weather Modeling (CISM), a Science and Technology Center (STC) funded by the U.S. National Science Foundation (see http://www.bu.edu/cism/), is developing a suite of integrated physics-based computer models that describe the space environment from the Sun to the Earth for use in both research and operations [Hughes and Hudson, 2004, p. 1241]. To further this mission, advanced education and training programs sponsored by CISM encourage students to view space weather as a system that encompasses the Sun, the solar wind, the magnetosphere, and the ionosphere/thermosphere. This holds especially true for participants in the CISM space weather summer school [Simpson, 2004].