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This article aims to examine the benefits of teachers using their own autobiographical writing in the classroom. It explores the blurring of truth and fiction in autobiographical writing and argues that teachers can help students if they provide students with the cloak of fiction when writing about their own lives. Furthermore, it puts forward the case that when teachers share pertinent autobiographical episodes then pupils are more willing to respond in an engaged and passionate fashion. In developing my argument, I suggest that autobiographical writing can be therapeutic in certain classroom contexts. The data sources for this article are the author's own life and two case studies: an 11‐year‐old boy, George, and a 15‐year‐old girl, Eloise, both of whom were pupils of the author and wrote autobiographically for him. The methodological approach is that of bricolage: chiefly, the article combines ethnographical observation with interviews and discourse analysis. I also examine quantitative studies which look at the therapeutic dimensions of autobiographical writing. Theoretically I draw on Friere's concept of ‘conscientization’ (Friere 1985: 49) in order to critique the ‘banking’ concept of education, which would close down opportunities for pupils to write freely about their own lives.  相似文献   
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为扮演好各种角色,不同级别的教练员都必须掌握和使用越来越复杂的专业化知识。因此,世界上许多国家都提供大型的综合项目,来帮助教练员实现这一目标,教练员教育得到迅猛发展,教练员教育国际委员会应运而生。然而,在教练员看来,与正式的教育相比,他们在训练指导实践中所获得的知识更有利于其职业发展。研究显示,美国高校的教练员用于教练员培训机构的平均时间为每年25h,  相似文献   
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This discussion explores the role that storytelling and stories might have in leading children towards an awareness of uncertainty and ambiguity in relation to Holocaust representation. It focuses on Morris Gleitzman’s Once (2006), its sequel Then (2008), and John Boyne’s The Boy in the Striped Pyjamas (2006) to consider the narrative techniques used to draw young readers into an understanding of the Holocaust. In particular, the discussion examines the role of silence within these narratives to suggest that a meaningful dialogue with silence is a crucial aspect in communicating the fractured nature of Holocaust history. Literature aimed at a young audience engages explicitly with the oft-cited injunction not to forget the Holocaust by setting out to inform a new generation of readers about the horrors of the Nazi genocide. In my analysis of these texts, however, I want to consider whether we should assume that such works do necessarily perform a progressive educative role. The article argues that the blunt didacticism of Boyne’s text might close down possibilities for the child reader’s imaginative engagement with the ungraspable nature of the Holocaust. In contrast, Gleitzman’s novels confront the child reader with a complex set of ideas about the relationship between narrative and subjectivity.  相似文献   
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Gilbert Shama 《Endeavour》2019,43(1-2):11-16
Richard Julius Petri’s status as inventor of the culture dish that bears his name has been subject to a number of challenges over the years. Both those bacteriologists who claimed self-recognition for the invention, and those to whom it was attributed by their various advocates were all contemporaries of Petri. The evidence assembled here indicates that no single individual—including Petri—ought to be accorded credit for the inception of that shallow, circular, covered culture dish which, it transpires, is a simultaneous invention made by half a dozen bacteriologists active in the mid-1880s and ultimately owes its emergence to the prevailing bacteriological zeitgeist.  相似文献   
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