Knuckling Under? School Superintendents and Accountability-Based Educational Reform

The goal of this article is to explore the various ways that superintendents have responded to accountability-based educational reform efforts such as No Child Left Behind, the factors that have influenced their responses, and the implications of these responses for current and future educational leaders. With respect to the first issue, empirical data from a number of nationai studies (T. E. Glass & Franceschini, 2007; Johnson, Arumi, & Ott, 2006; Johnstone, Dilkkers, & Luedeke, 2009; Stecher et al., 2008) make clear that while there have been a variety of responses from superintendents to accountability-based reform efforts, superintendents have mostly played a supportive role. Examining the situation more fully suggests that the driving factors behind superintendent support for accountability-based educational reform are complex and are often deeply embedded within the "DNA" of the role of superintendent. This article examines the structure of this DNA by looking at the factors that influence superintendents' views of accountability-based educational reform from historical, political, and institutional perspectives. This muitifaceted approach provides new insights into the complex relationship that exists between the structure of the role of superintendent and the agency of the individuals who inhabit that role.

The Visual, the Epic, and Pasternak’s ‘Devjat’son pjatyj god’

In this study I consider the role of poetic description in Pasternak’s ‘Deviat’sot piatyi god’ (‘1905’) in the context of the genre of the poema. Descriptive passages in poetic narratives, as a rule, provide a static setting for a protagonist’s actions. In the absence of any single hero in Pasternak’s poema, topography itself begins to move. I examine the categories of stasis and motion, central to ‘1905’, at the intersection of the visual and the verbal. The idea of reanimating the events of the first Russian revolution twenty years after the fact borders on the ekphrastic in places, where the poet transposes techniques and genres from the visual arts into a verse epic. Finally, I suggest that aesthetic perception itself is the dominant principle in the poema, as opposed to documentary faithfulness, which is traditionally emphasized in the scholarship on this work.