The Investigation of the Ways in Which Gender Stereotypes are Perpetuated through Questioning and Assessment Strategies in Inquiry-Based Science Classroom

The purpose of this study was to investigate the questioning strategies of preservice teachers whenteaching science as inquiry. The guiding questions for this research were: In what ways do the questioning strategies of preservice teachers differ for male and female elementary students when teaching science as inquiry and how is Bloom’s Taxonomy evident within the questioning strategies of preservice teachers? Examination of the data indicated that participants asked a total of 4,158 questions to their elementary aged students. Of these questions, 974 (23%) were asked to boys, and 991 (24%) were asked to girls. The remaining questions (53%) were asked to the class as a whole, therefore no gender could be assigned to these questions. In relation to Bloom’s Taxonomy, 74% of the questions were basic knowledge, 15% were secondary comprehension, 2% were application, 4% were analysis, 1% were synthesis, and 3% were evaluation.

Can Developing Women Create Primitive Art? and Other Questions of Value, Meaning and Identity in the Circulation of Janakpur Art

In this article, I examine the values and meanings that adhere to objects made by Maithil women at a development project in Janakpur, Nepal – objects collectors have called ‘Janakpur Art’. I seek to explain how and why changes in pictorial content in Janakpur Art – shifts that took place over a period of five or six years in the 1990s – occurred, and what such a change might indicate about the link between Maithil women’s lives, development, and tourism. As I will demonstrate, part of the appeal for consumers of Janakpur Art has been that it is produced at a ‘women’s development project’ seeking to empower its participants. And yet, the project’s very successes threaten to displace the producers (and what they produce) from their perceived qualities/identities as ‘traditional’ and ‘primitive,’ thereby bringing into question the authenticity of the ‘art’ they produce. The conundrum begs this question: can developing women produce primitive art?