APPRENTICES FLOUNDER in a sea of misplaced apostrophes. They use them as a sort of reflex action consequent on writing the letter “s”. The following treatment can be a cure for…
Abstract
APPRENTICES FLOUNDER in a sea of misplaced apostrophes. They use them as a sort of reflex action consequent on writing the letter “s”. The following treatment can be a cure for this ill and can provide fifty minutes of recuperative entertainment to boot.
ENTERTAINMENT THROUGH words is relished by all students. They will write, talk — anything that is desired of them, provided they can see that the teacher is at home with their own…
Abstract
ENTERTAINMENT THROUGH words is relished by all students. They will write, talk — anything that is desired of them, provided they can see that the teacher is at home with their own limited knowledge, and provided the teacher will make this his starting‐point. The material is inexhaustible, and, drawn on skilfully, there is a constant fund of student energy to sustain interest.
A great many craft students suffer from under‐educated parents — an unkind way of putting it, but so many of their homes provide no pro‐educational influence at all. The teacher…
Abstract
A great many craft students suffer from under‐educated parents — an unkind way of putting it, but so many of their homes provide no pro‐educational influence at all. The teacher of Craft English faces a real problem here, and needs ingenuity and humility to tackle it
John Lynn and Fru Birgitta Brune
A conversation on the Swedish method of vocational guidance based on the school. A notable feature is that pupils not only visit factories and work‐places, but spend short periods…
Abstract
A conversation on the Swedish method of vocational guidance based on the school. A notable feature is that pupils not only visit factories and work‐places, but spend short periods working in them as well. The Swedish educational system is being changed radically, and the new approach to vocational guidance and placement discussed here forms an important part of it.
IN MY PREVIOUS articles, I have referred to the inestimable value of allowing the student the opportunity and time to think for himself. He is willing and able to do this…
Abstract
IN MY PREVIOUS articles, I have referred to the inestimable value of allowing the student the opportunity and time to think for himself. He is willing and able to do this, provided the atmosphere is sympathetic — a very necessary condition for establishing mutual confidence. It is the lack of this atmosphere that effectively hinders any real communication between teacher and class.
WETHER IT is humdrum or exciting, the day‐to‐day life of a craft student can be a rich source of raw material for written and oral work. The teacher who can exploit it will make…
Abstract
WETHER IT is humdrum or exciting, the day‐to‐day life of a craft student can be a rich source of raw material for written and oral work. The teacher who can exploit it will make his work with craft students enjoyable to himself and to them.
The very mention of poetry, poems or verse immediately suggests to craft students something superior, something beyond their ken, something ‘soppy’. The reasons for this attitude…
Abstract
The very mention of poetry, poems or verse immediately suggests to craft students something superior, something beyond their ken, something ‘soppy’. The reasons for this attitude are not hard to find, for the culture of our society has not been given to them in a natural way. With poetry, for example, there is no tradition of daily readings, followed, when the poems have become part of their mental make up, by any necessary explanations. There is rather this obtrusive, banal method of teaching in the most ham‐handed way a handful of poems, so that when a fifteen— or sixteen‐year‐old lad enters a craft course or a course preliminary to a craft course, any natural enthusiasm has long since waned, and an attitude of opposition or uninterestedness — it may be positive or negative — has taken its place and has to be dealt with.
FEW people would dispute that craft students should do some written work. The trouble is, very often, that the subject matter provided by textbooks is not familiar enough for them…
Abstract
FEW people would dispute that craft students should do some written work. The trouble is, very often, that the subject matter provided by textbooks is not familiar enough for them to be able to write about it naturally. True, the subject matter they are familiar with is likely to be limited in extent, but its very familiarity helps in the surmounting of an initial obstacle, and the job of learning how to write usefully can then be tackled directly.
Pop — notwithstanding Mr Finch's article last month — is the No 1 interest for countless young people. It offers just as good material for teaching the fundamentals as other types…
Abstract
Pop — notwithstanding Mr Finch's article last month — is the No 1 interest for countless young people. It offers just as good material for teaching the fundamentals as other types of music, and it probably stands a better chance of overcoming consumer resistance in the early stages of
GREAT STRESS must be placed on oral work in the English syllabus for any craft course. If the students are not engaged in listening and speaking during at least half the time…
Abstract
GREAT STRESS must be placed on oral work in the English syllabus for any craft course. If the students are not engaged in listening and speaking during at least half the time allocated to English they are not benefiting as fully as they might. But though such an allocation of time to oral work may even be made in the syllabus, in actual practice this proportion is, for various reasons, not often reached.