School effectiveness: new managerialism, quality and the Japanisation of education

School effectiveness is a microtechnology of change. It is a relay device, which transfers macro policy into everyday processes and priorities in schools. It is part of the growing apparatus of performance evaluation. Change is brought about by a focus on the school as a site-based system to be managed. There has been corporate restructuring in response to the changing political economy of education. There are now new work regimes and radical changes in organizational cultures. Education, like other public services, is now characterized by a range of structural realignments, new relationships between purchasers and providers and new coalitions between management and politics. In this article, we will argue that the school effectiveness movement is an example of new managerialism in education. It is part of an ideological and technological process to industrialize educational productivity. That is to say, the emphasis on standards and standardization is evocative of production regimes drawn from industry. There is a belief that education, like other public services can be managed to ensure optimal outputs and zero defects in the educational product.

Reflexive stasis, scale reversal and the myth of modern cinema

This chapter looks at three films whose Portuguese urban settings offer a privileged ground for the re-evaluation of the classical-modern-postmodern categorisation with regard to cinema. They are The State of Things (Wim Wenders, 1982), Foreign Land (Walter Salles and Daniela Thomas, 1995) and Mysteries of Lisbon (Raúl Ruiz, 2010). In them, the city is the place where characters lose their bearings, names, identities, and where vicious circles, mirrors, replicas and mise-en-abyme bring the vertiginous movement that had characterised the modernist city of 1920s cinema to a halt. Curiously, too, it is the place where so-called postmodern aesthetics finally finds an ideal home in self-ironical tales that expose the film medium’s narrative shortcomings. Intermedial devices, whether Polaroid stills or a cardboard cut-out theatre, are then resorted to in order to turn a larger-than-life reality into framed, manageable narrative miniatures. The scaled-down real, however, turns out to be a disappointing simulacrum, a memory ersatz that unveils the illusory character of cosmopolitan teleology. In my approach, I start by examining the intertwined and transnational genesis of these films that resulted in three correlated visions of the end of history and of storytelling, typical of postmodern aesthetics. I move on to consider intermedia miniaturism as an attempt to stop time within movement, an equation that inevitably brings to mind the Deleuzian movement-time binary, which I revisit in an attempt to disentangle it from the classical-modern opposition. I conclude by proposing reflexive stasis and scale reversal as the common denominator across all modern projects, hence, perhaps, a more advantageous model than modernity to signify artistic and political values.

Balancing the role of the dental school in teaching, research and patient care; including care for underserved areas

Inequalities within dentistry are common and are reflected in wide differences in the levels of oral health and the standard of care available both within and between countries and communities. Furthermore there are patients, particularly those with special treatment needs, who do not have the same access to dental services as the general public. The dental school should aim to recruit students from varied backgrounds into all areas covered by the oral healthcare team and to train students to treat the full spectrum of patients including those with special needs. It is essential, however, that the dental student achieves a high standard of clinical competence and this cannot be gained by treating only those patients with low expectations for care. Balancing these aspects of clinical education is difficult. Research is an important stimulus to better teaching and better clinical care. It is recognized that dental school staff should be active in research, teaching, clinical work and frequently administration. Maintaining a balance between the commitments to clinical care, teaching and research while also taking account of underserved areas in each of these categories is a difficult challenge but one that has to be met to a high degree in a successful, modern dental school.

New York Trade School Graduate, Stanley Carraher

Stanley Carraher graduated from the New York Trade School's Welding program in 1952. He is shown in his position as Welder Foreman at the construction of the Throggs Neck Bridge. Original caption reads, "Stanley Carraher - Welding 1952. Modern bridge construction requires the services of many compitent [sic] Welders. In this picture, Stanley Carraher is shown supervising the welding on the new Throggs Neck Bridge in New York City." Black and white photograph with caption adhered to reverse.

Eram realmente pitagórico(a)s os homens e mulheres catalogado(a)s por Jâmblico em sua obra Vida de Pitágoras?

Pythagoras was one of the most important pre-Socratic thinkers, and the movement he founded, Pythagoreanism, influenced a whole thought later in religion and science. Iamblichus, an important Neoplatonic and Neopythagorean philosopher of the third century AD, produced one of the most important biographies of Pythagoras in his work Life of Pythagoras. In it he portrays the life of Pythagoras and provides information on Pythagoreanism, such as the Pythagorean religious community which resembled the cult of mysteries; the Pythagorean involvement in political affairs and in the government in southern Italy, the use of music by the Pythagoreans (means of purification of healing, use of theoretical study), the Pythagorean ethic (Pythagorean friendship and loyalty, temperance, self-control, inner balance); justice; and the attack on the Pythagoreans. Also in this biography, Iamblichus, almost seven hundred years after the termination of the Pythagorean School, established a catalog list with the names of two hundred and eighteen men and sixteen women, supposedly Pythagoreans of different nationalities. Based on this biography, a question was raised: to what extent and in what ways, can the Pythagoreans quoted by Iamblichus really be classified as Pythagoreans? We will take as guiding elements to search for answers to our central problem the following general objectives: to identify, whenever possible, which of the men and women listed in the Iamblichus catalog may be deemed Pythagorean and specific; (a) to describe the mystery religions; (b) to reflect on the similarities between the cult of mysteries and the Pythagorean School; (c) to develop criteria to define what is being a Pythagorean; (d) to define a Pythagorean; (e) to identify, if possible, through names, places of birth, life, thoughts, work, lifestyle, generation, etc.., each of the men and women listed by Iamblichus; (f) to highlight who, in the catalog, could really be considered Pythagorean, or adjusting to one or more criteria established in c, or also to the provisions of item d. To realize these goals, we conducted a literature review based on ancient sources that discuss the Pythagoreanism, especially Iamblichus (1986), Plato (2000), Aristotle (2009), as well as modern scholars of the Pythagorean movement, Cameron (1938), Burnet (1955), Burkert (1972), Barnes (1997), Gorman (n.d.), Guthrie (1988), Khan (1999), Mattéi (2000), Kirk, Raven and Shofield (2005), Fossa and Gorman (n.d.) (2010). The results of our survey show that, despite little or no availability of information on the names of alleged Pythagoreans listed by Iamblichus, if we apply the criteria and the definition set by us of what comes to be a Pythagorean to some names for which we have evidence, it is possible to assume that Iamblichus produced a list which included some Pythagoreans

Corpo, escola e processos de subjetivação: a educação física no programa São Paulo faz escola

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Sport techniques in physical education school: a look at the socio-cultural trends

Teaching sports techniques lessons of Physical Education is a very controversial subject. We must emphasize the fact that called our attention, that dealing with sport in a critical way would be the same as being against the teaching of the art. Several factors contributed in shaping this reality, among them we suspect that the proposal's incomprehension made within the socio-cultural trends. Thus, the aim of this work was to investigate the technical aspects of sports in teaching of Physical Education, as socio-cultural trends part. Throughout the text it is possible to identify new goals considering sportive techniques such as the concern with interests of students who movement, consideration of cultural repertoire of these students, in addition to proposing that the lessons do not restrict implementation of these movements, but also includes the knowledge of social, political, economic and cultural universe of sports events.

A dança como mediadora na formação da criança

This paper analyzes the dance, considered the oldest of the Arts, inserted in Art and Education. When you talk about dance as art, sought to articulate dance, body movement and music, because all these aspects are crucial when it comes to education in dance. Thus, this paper, by analyzing the meaning of dance over time, also made a parallel with the evolution of the concept of body that, throughout history, became the focus of sin, to currently be seen in optical freedom and autonomy, looking up from childhood, the formation of body awareness and embodiment, as a basis for identity and the formation of a positive self-image. In describing the evolution of dance, between different societies, it was shown that the tool is the dancer's own body and that for its use, it is necessary to look at its interior, human vitality, musicality and sensitivity. Proved that dance since the beginning, has been seen as a medium body, as well as desires and deepest sorrows of humanity, linked to religion, ritual or ceremonial, reaching today the freest expression of body, in modern dance. Given these considerations, based on theoretical frameworks, emphasized the importance of dance in middle school, focusing on their educational role and liberating, showing that it must be used as a tool for teaching and learning, and the development of children , given its interdisciplinary character, this Crosscutting Themes in elementary school and early childhood education curriculum benchmark. The paper concludes that, despite legislation and official documents require training for dance in the school curriculum, very little is done in this direction, which shows that there is still a choice of schools, the immobility of the pupils

A relação educação e trabalho na legislação educacional brasileira: política pública, contexto econômico e social

Pós-graduação em Educação - IBRC

A geometria euclidiana na licenciatura em matemática do ponto de vista de professores formadores

Pós-graduação em Educação Matemática - IGCE

Práticas pedagógicas inclusivas na educação infantil: atividades lúdicas envolvendo crianças com Transtorno do Espectro Autista (TEA)

Pós-graduação em Docência para a Educação Básica - FC

Evolutionary tendencies in flowers of Marantaceae with special reference to the style movement mechanism

One of the quickest plant movements ever known is made by the ´explosive´ style in Marantaceae in the service of secondary pollen presentation – herewith showing a striking apomorphy to the sister Cannaceae that might be of high evolutionary consequence. Though known already since the beginning of the 19th century the underlying mechanism of the movement has hitherto not been clarified. The present study reports about the biomechanics of the style-staminode complex and the hydraulic principles of the movement. For the first time it is shown by experiment that in Maranta noctiflora through longitudinal growth of the maturing style in the ´straitjacket´ of the hooded staminode both the hold of the style prior to its release and its tensioning for the movement are brought about. The longer the style grows in relation to the enclosing hooded staminode the more does its capacity for curling up for pollen transfer increase. Hereby I distinguish between the ´basic tension´ that a growing style builds up anyway, even when the hooded staminode is removed beforehand, and the ´induced tension´ which comes about only under the pressure of a ´too short´ hooded staminode and which enables the movement. The results of these investigations are discussed in view of previous interpretations ranging from possible biomechanical to electrophysiological mechanisms. To understand furthermore by which means the style gives way to the strong bending movement without suffering outwardly visible damage I examined its anatomical structure in several genera for its mechanical and hydraulic properties and for the determination of the entire curvature after release. The actual bending part contains tubulate cells whose walls are extraordinarily porous and large longitudinal intercellular spaces. SEM indicates the starting points of cell-wall loosening in primary walls and lysis of middle lamellae - probably through an intense pectinase activity in the maturing style. Fluorescence pictures of macerated and living style-tissue confirm cell-wall perforations that do apparently connect neighbouring cells, which leads to an extremely permeable parenchyma. The ´water-body´ can be shifted from central to dorsal cell layers to support the bending. The geometrical form of the curvature is determined by the vascular bundles. I conclude that the style in Marantaceae contains no ´antagonistic´ motile tissues as in Mimosa or Dionaea. Instead, through self-maceration it develops to a ´hydraulic tissue´ which carries out an irreversible movement through a sudden reshaping. To ascertain the evolutionary consequence of this apomorphic pollination mechanism the diversity and systematic value of hooded staminodes are examined. For this hooded staminodes of 24 genera are sorted according to a minimalistic selection of shape characters and eight morphological types are abstracted from the resulting groups. These types are mapped onto an already available maximally parsimonious tree comprising five major clades. An amazing correspondence is found between the morphological types and the clades; several sister-relationships are confirmed and in cases of uncertain position possible evolutionary pathways, such as convergence, dispersal or re-migration, are discussed, as well as the great evolutionary tendencies for the entire family in which – at least as regards the shape of hooded staminodes – there is obviously a tendency from complicated to strongly simplified forms. It suggests itself that such simplifying derivations may very likely have taken place as adaptations to pollinating animals about which at present too little is known. The value of morphological characters in relation to modern phylogenetic analysis is discussed and conditions for the selection of morphological characters valuable for a systematic grouping are proposed. Altogether, in view of the evolutionary success of Marantaceae compared with Cannaceae the movement mechanism of the style-staminode complex can safely be considered a key innovation within the order Zingiberales.

Das moderne Buch: Harry Graf Kesslers Ästhetik der Lebenskunst im Spiegel der Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker

Die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker wurde seit 1904 bis in die Zwanziger Jahre hinein im Insel Verlag in Leipzig publiziert. Die Buchreihe hat nicht nur für den Verlag und die Druckerei Poeschel in der sie gedruckt wurde eine ganze Reihe von Neuerungen nach sich gezogen, auch für den deutschen Buchmarkt hat die Klassikerausgabe einen Meilenstein bedeutet. Sie hat einige Eigenschaften des Taschenbuches vorweggenommen. Sie orientierte sich an der Qualität bibliophiler Buchpublikationen, aber war dennoch preislich erschwinglich. Zeitgenössische Klassikerausgaben erschienen zumeist mit einem Kommentar. Nicht so die Großherzog Wilhelm Ernst Ausgabe. Der Text wurde zwar von führenden Wissenschaftlern editiert, aber sie war dennoch unkommentiert. Der Text war in einer Jenson-Antiqua gesetzt obwohl die Debatte um individuell gestaltete Künstlerschriften und die Diskussion um die als deutsche Schrift begriffene Fraktur unter den wichtigsten Protagonisten des deutschen Buchgewerbes ihren Höhepunkt noch nicht erreicht hatte. Ziel für die Klassikerausgabe war darüber hinaus, das zur Jahrhundertwende leicht angestaubte Image der Stadt Weimar aufzupolieren. Über das Patronat des Großherzogs hinaus hätte man die Gewinne aus dem Verkauf der Bücher der Permanenten Ausstellung für die Anschaffung von modernen Kunstobjekten zur Verfügung stellen wollen, die unter der Leitung von Harry Graf Kessler stand. Sieht man den Inhalt der Werke der in der Klassikerreihe erschienen Dichter Goethe, Schiller und Körner in einem ästhetischen Kontext mit dem der Philosophen Schopenhauer und Kant, wird im Spiegel der Formalästhetik der Klassikerausgabe Graf Kesslers Bildungs- und Kulturbegriff erkennbar, der sich in den Jahren nach der Jahrhundertwende zu seinem Lebenskunstideal verdichtete. Der zerrütteten Existenz der Zeitgenossen, wie Friedrich Nietzsche sie beschrieben hatte, sollte der Inhalt der Ausgabe in seiner modernen Form eine moderne Wertehaltung entgegensetzen. Die Lektüre der Klassiker sollte den deutschen Philister „entkrampfen“ und ihm ein Stück der verloren geglaubten Lebensfreude wieder zurück bringen, in dem dieser auch die Facetten des Lebensleids als normal hinnehmen und akzeptieren lernte. Die Klassikerausgabe repräsentierte aus diesem Grund auch den kulturellen und politischen Reformwillen und die gesellschaftlichen Vorstellungen die der Graf für ein modernes Deutschland als überfällig erachtete. Die Buchreihe war aus diesem Grund auch ein politisches Statement gegen die Beharrungskräfte im deutschen Kaiserreich. Die Klassikerreihe wurde in der buchhistorischen Forschung zwar als bedeutender Meilenstein charakterisiert und als „wichtiges“ oder gar „revolutionäres“ Werk der Zeit hervorgehoben, die Ergebnisse der Forschung kann man überspitzt aber in der Aussage zusammenfassen, dass es sich bei der Großherzog Wilhelm Ernst Ausgabe um einen „zufälligen Glückstreffer“ deutscher Buchgestaltung zu handeln scheint. Zumindest lassen die Aussagen, die bisher in dieser Hinsicht gemacht wurden, keine eindeutige Einordnung zu, außer vielleicht der, dass die Klassiker von der englischen Lebensreform inspiriert wurden und Henry van de Velde und William Morris einen Einfluss auf ihre äußere Form hatten. Gerade die Gedankenansätze dieser Beiden nutzte Graf Kessler aber für eigene Überlegungen, die ihn schließlich auch zu eigenen Vorstellungen von idealer Buchgestaltung brachten. Da für Kessler auch Gebrauchsgegenstände Kunst sein konnten, wird das Konzept der Klassikerausgabe bis zur Umsetzung in ihrer `bahnbrechenden´ Form in das ideengeschichtliche und ästhetische Denken des Grafen eingeordnet. Die Klassiker werden zwar in buchhistorischen Einzeluntersuchungen bezüglich ihrer Komponenten, dem Dünndruckpapier, ihrem Einband oder der Schrifttype exponiert. In buchwissenschaftlichen Überblicksdarstellungen wird ihr Einfluss hingegen weniger beachtet, denn verschiedene Kritiker bezogen sie seit ihrem ersten Erscheinen nicht als deutsches Kulturgut mit ein, denn sie lehnten sowohl die englischen Mitarbeiter Emery Walker, Edward Johnston, Eric Gill und Douglas Cockerell wie auch ihre Gestaltung als „welsche“ Buchausgabe ab. Richtig ist, die Großherzog Wilhelm Ernst Ausgabe hatte dieselbe Funktion wie die von Graf Kessler in Weimar konzipierten Kunstausstellungen und die dortige Kunstschule unter der Leitung seines Freundes Henry van de Velde. Auch das für Weimar geplante Theater, das unter der Leitung von Hugo von Hofmannsthal hätte stehen sollen und die Großherzog Wilhelm Ernst Schule, hätten dieselben Ideen der Moderne mit anderen Mitteln transportieren sollen, wie die Großherzog Wilhelm Ernst Ausgabe deutscher Klassiker.

Parameters of Reform and Unification in Modern Japanese Buddhist Thought: Murakami Senshō and Critical Buddhism

Reform is a word that, one might easily say, characterizes more than any other the history and development of Buddhism. Yet, it must also be said that reform movements in East Asian Buddhism have often taken on another goal—harmony or unification; that is, a desire not only to reconstruct a more worthy form of Buddhism, but to simultaneously bring together all existing forms under a single banner, in theory if not in practice. This paper explores some of the tensions between the desire for reform and the quest for harmony in modern Japanese Buddhism thought, by comparing two developments: the late 19th century movement towards ‘New Buddhism’ (shin Bukkyō) as exemplified by Murakami Senshō 村上専精 (1851–1929), and the late 20th century movement known as ‘Critical Buddhism’ (hihan Bukkyō), as found in the works of Matsumoto Shirō 松本史朗 and Hakamaya Noriaki 袴谷憲昭. In all that has been written about Critical Buddhism, in both Japanese and English, very little attention has been paid to the place of the movement within the larger traditions of Japanese Buddhist reform. Here I reconsider Critical Buddhism in relation to the concerns of the previous, much larger trends towards Buddhist reform that emerged almost exactly 100 years previous—the so-called shin Bukkyō or New Buddhism of the late-Meiji era. Shin Bukkyō is a catch-all term that includes the various writings and activities of Inoue Enryō, Shaku Sōen, and Kiyozawa Manshi, as well as the so-called Daijō-hibussetsuron, a broad term used (often critically) to describe Buddhist writers who suggested that Mahāyāna Buddhism is not, in fact, the Buddhism taught by the ‘historical’ Buddha Śākyamuni. Of these, I will make a few general remarks about Daijō-hibusseturon, before turning attention more specifically to the work of Murakami Senshō, in order to flesh out some of the similarities and differences between his attempt to construct a ‘unified Buddhism’ and the work of his late-20th century avatars, the Critical Buddhists. Though a number of their aims and ideas overlap, I argue that there remain fundamental differences with respect to the ultimate purposes of Buddhist reform. This issue hinges on the implications of key terms such as ‘unity’ and ‘harmony’ as well as the way doctrinal history is categorized and understood, but it also relates to issues of ideology and the use and abuse of Buddhist doctrines in 20th-century politics.

The Modern Urban Cartography of Present-day Bratislava.

Following an extensive survey of sources on urban development and comparative analyses of Bratislava and other major Central European cities and Slovak regional centres, Divinsky completed a detailed study of Bratislava's spatial structure using the most recent approaches of the so-called Belgian school. He also produced an intraurban regionalisation of Bratislava as a multi-structural interactive model, mapped and characterised by the cardinal parameters, processes, trends and inequalities of population and housing in each spatial element of the model. The field survey entailed a seven-month physical investigation of the territory using a "street by street, block by block, house by house and locality by locality" system to ensure that no areas were missed. A second field survey was carried out two years later to check on transformations. An important feature of the research was the concept of the morphological city, which was defined as "a continuously built-up area of all urban functions (i.e. excluding agricultural lands and forests lying outside the city which serve for half-day recreation) made up of spatial-structural units fulfilling certain criteria". The most important criteria was a minimum population density per unit of no less than 650 persons per square kilometre, except in the case of units totally surrounded by units of higher densities, where it could be lower. The morphological city as defined here includes only 36% of the territory of the administrative city, but 95% of the popula tion, giving a much higher population density which better reflects the urban reality of Bratislava.