Pedagogy | Y

Yagelski, Robert P. (1999).  The Ambivalence of Reflection: Critical Pedagogies, Identity, and the Writing Teacher.  College Composition and Communication, 51, 1. 

Considers how self-critique is difficult and is often accompanied by an acute form of self-doubt that leads writers/educators to believe that many of their kind may be more ambivalent about their pedagogies than they let on. Concludes that reflective practices are valid goals for teachers, and they should not ignore the problems and doubts accompanying the practices.

Yager, Kristi (1995).  The Shaming Game: Composition Pedagogy and Emotion.  Writing on the Edge, 7, 1. 

Explores how shaming rituals and shame responses define the pedagogical scene portrayed in William Coles, Jr.'s novelistic account of a semester-long freshman English writing course, "The Plural I--and After." Argues that this novel does not fully embrace the vexing trope of the hero quest present in most other ethnographic research on composition teaching.

Yancey, Kathleen Blake, Ed. (1992).  Portfolios in the Writing Classroom: An Introduction. 

This collection of 10 essays argues that portfolios in the writing classroom are worth exploring and that such exploration opens up new opportunities: new ways to learn to write, to think about teaching writing, to understand students, teachers, and curricula, and to describe and report on what is found. The collection makes this argument by sharing the stories of teachers in various situations: teachers alone, teachers as team members, and teachers concerned with administration as well as learning. Three key points are made: that portfolios should be designed locally by teachers and students; that they require periodic review; and that through such reviews more can be learned about writing and its teaching. The articles and authors are as follows: (1) Introduction: Writing Portfolios--Changes and Challenges (Catharine Lucas); (2) Teacher's Stories: Notes toward a Portfolio Pedagogy (Kathleen Blake Yancey); (3) Increasing Student Autonomy through Portfolios (Sue Ellen Gold); (4) Portfolio Practice in the Middle School: One Teacher's Story (James E. Newkirk); (5) Portfolios: Process for Students and Teachers (Catherine D'Aoust); (6) Looking into Portfolios (Sandra Murphy and Mary Ann Smith); (7) Portfolio Reflections in Middle and Secondary School Classrooms (Roberta Camp); (8) Writing Portfolios in Secondary Schools (David Kneeshaw); (9) Portfolio Practice and Assessment for Collegiate Basic Writers (Irwin Weiser); and (10) Portfolios in the Writing Classroom: A Final Reflection (Kathleen Blake Yancey). A 39-item annotated bibliography of resources on portfolios for teaching and assessment concludes the volume.

Yancey, Kathleen Blake, Ed. (1994).  Voices on Voice: Perspectives, Definitions, Inquiry. 

This collection of essays approaches "voice" as a means of expression that lives in the interactions of writers, readers, and language, and examines the conceptualizations of voice within the oral rhetorical and expressionist traditions, and the notion of voice as both a singular and plural phenomenon. An explanatory introduction by the editor is followed by 19 essays: (1) "What Do We Mean When We Talk about Voice in Texts?" (Peter Elbow); (2) "Claiming My Voice" (Toby Fulwiler); (3) "Coming to Voice" (Gail Summerskill Cummins); (4) "Affect and Effect in Voice" (Doug Minnerly); (5) "Technical Texts/Personal Voice: Intersections and Crossed Purposes" (Nancy Allen and Deborah S. Bosley); (6) "Voices in the News" (Meg Morgan); (7) "The Chameleon 'I': On Voice and Personality in the Personal Essay" (Carl H. Klaus); (8) "The Difference It Makes to Speak: The Voice of Authority in Joan Didion" (Laura Julier); (9) "Teaching Voice" (Margaret K. Woodworth); (10) "Classroom Voices" (Paula Gillespie); (11) "Voice as Muse, Message, and Medium: The Views of Deaf College Students" (John A. Albertini and others); (12) "Varieties of the 'Other': Voice and Native American Culture" (Tom Carr); (13) "East Asian Voices and the Expression of Cultural Ethos" (John H. Powers and Gwendolyn Gong); (14) "Voice and the Naming of Woman" (Susan Brown Carlton); (15) "Voicing the Self: Toward a Pedagogy of Resistance in a Postmodern Age" (Randall R. Freisinger); (16) "The Virtual Voice of Network Culture" (Mark Zamierowski); (17) "Concluding the Text: Notes toward a Theory and the Practice of Voice" (Kathleen Blake Yancey and Michael Spooner); and (18) "An Annotated and Collective Bibliography of Voice: Soundings from the Voices Within" (Peter Elbow and Kathleen Blake Yancey). | [FULL TEXT]

Yanoshak, Nancy; Delplato, Joan (1993).  De-disciplining the Disciplines: The Suspect Politics of Interdisciplinary Pedagogy.  Gender and Education, 5, 3. 

Explores some of the theoretical and practical issues related to interdisciplinary pedagogy and its presumptions of pleasure and decentered power in the classroom and in the curriculum. The paper discusses some of the values and goals of interdisciplinary pedagogy and exposes some of the unspoken assumptions about what intellectual and political ends it serves.

Yepes-Baraya, Mario (1991).  Developing Multicultural Curricula for Teacher Education: A Case Study from SUNY College at Fredonia. 

"Multicultural Education: Teaching and Learning with Culturally Diverse Students" is a new course that is part of the teacher education program at the State of New York College at Fredonia. The course is designed to fulfill New York State teacher certification requirements in multicultural education. Objectives are designed around the following key curriculum issues: (1) maintain balance between the issues and concerns of American mainstream culture and those of minority groups; (2) introduce the principles of multicultural education and develop an understanding of the pedagogy used with minority group students; and (3) integrate theory and practice. Instructional concerns focused on the integration of diverse components to attain the course objectives, and the development of classroom activities, assignments, and projects that reflected real-world conditions. In spite of positive student evaluations and excellent student performance, evaluation indicated that too much material had been included to be satisfactorally covered in one semester. A second semester should be added to give students the opportunity to develop skills through immersion in culturally diverse settings. The following materials are appended: (1) a four-item bibliography; (2) a description of the teacher education program; (3) a course syllabus, including a 33-item bibliography and calendar; (4) an advance organizer for the first unit on the need to study multicultural education; (5) two examinations; and (6) guidelines for a school visit.

Yescavage, Karen; Alexander, Jonathan (1997).  The Pedagogy of Marking: Addressing Sexual Orientation in the Classroom.  Feminist Teacher, 11, 2. 

Discusses the benefits of marking sexual identities (as heterosexual, homosexual, or bisexual) in the classroom, exposing students' hetero-normativity, and alerting them to ways in which seemingly "personal" lives are shaped by the political. Relates the authors' classroom experiences in trying to illustrate the socially-constructed aspects of sexuality to their students.

Yin, Hum Sue (1992).  Collaboration: Proceed with Caution.  Writing Instructor, 12, 1. 

Questions the effectiveness of incorporating collaboration into classrooms and expecting instant results. Discusses the highly individualistic pedagogy that students have already been steeped in. Calls for practical measures and instruction in collaborative skills which will foster collaborative learning.

Yokley, Shirley Hayes (1995).  Interpreting Works of Art Using a Critical Pedagogy of Representation. 

This paper explores the question of introducing a critical pedagogy of representation into the art classroom, what it means and how it works. A critical pedagogy of representation holds socially transformatoryugoals that work toward a critical democracy. The approach affords opportunity for oppositional readings of texts and images by opening up new ways to speak of those representations, by questioning assumptions, and by problematizing the work within political, social, and cultural aspects of production and reception. Such critique of popular culture becomes an overt politicization of works of art and popular culture, giving rise to a politicized art education, and forcing transformation in society. The paper describes the origins of radical and critical pedagogy and comments on how the approach can be used in introductory university art education classes. | [FULL TEXT]

Yokley, Shirley Hayes (1999).  Embracing a Critical Pedagogy in Art Education.  Art Education, 52, 5. 

Describes a "critical pedagogy" that encourages reflective self-examination of attitudes, values, and beliefs within historical and cultural critique. Highlights an art lesson for preservice teachers that illustrates the use of a critical pedagogy of representation, focusing on self-portraits by Frida Kahlo and Leonora Carrington. Discusses the implications of critical pedagogy in art education.

Yopp, Hallie Kay; And Others (1994).  Collaboration at the Grass Roots: Implementing the Professional Development School Concept.  Action in Teacher Education, 15, 4. 

A successful professional development school (PDS) project, established by four elementary schools and a university, has four components: student teacher cohorts, close link between coursework and field experiences, close collaboration between university instructional team and PDS site personnel, and entire staff commitment to student teacher professional development.

Young, Bernard, Ed. (1990).  Art, Culture, and Ethnicity. 

The 20 articles in this volume provide varying perspectives on the concepts of multiculturalism, multiethnicity, and global literacy and how to correct art curricula to include the diversity. The development and application of viable multiethnic curricula is a function of the interrelationship of pedagogy and social-cultural realities. The articles focus on various cultural, ethnic, pedagogical, and historical issues in art. Some of the articles include: (1) "Teaching Art to Disadvantaged Black Students: Strategies for a Learning Style" (Leo F. Twiggs); (2) "The Minority Family as a Mediator for Their Children's Art and Academic Education" (Bernard Young); (3) "Afro-American Culture and the White Ghetto" (Eugene Grigsby, Jr.); (4) "Art and Culture in a Technological Society" (Vesta A. H. Daniel); (5) "Teaching Art in a Multicultural/Multiethnic Society" (Carmen Armstrong); (6) "Multiculturalism in Visual Arts Education: Are America's Educational Institutions Ready for Multiculturalism?" (Murry Norman DePillars); (7) "Children's Drawings: A Comparison of Two Cultures" (W. Lambert Brittain); (8) "Multiculturalism and Art Education" (Judith Mariahazy); (9) "A Portrait of a Black Art Teacher of Preadolescents in the Inner City: A Qualitative Description" (Mary Stokrocki); (10) "Shattered Fantasy: Minority Access to Careers in Art Education" (Esther Page Hill); and (11) "Concepts and Values of Black and White Art Instructors Affecting the Transmission of the Black Visual Aesthetic in Historically Black Colleges and Universities" (Oscar L. Logan) and "A Chronological Minority Bibliography" (Elizabeth Ann Shumaker). A list of the 21 contributors follows the articles.

Young, Dennis (1994).  The Rhetoric of Extremity: Teaching Adrienne Rich to Undergraduates. 

To ask students to write and respond to each other's papers is one means of confronting the difficulties posed by radical texts such as Adrienne Rich's "When We Dead Awaken: Writing as Revision," an essay from her collection "On Lies, Secrets, and Silence." When an instructor assigns such a work, he or she places him- or herself in what Gerald Graff calls a pedagogy of conflict because it challenges values and ideas that students cherish. Though Rich is fully aware of her privileged middle-class background, she speaks from the margins of normal literary and philosophical discourse; she is reactive, peripheral, subversive, and satirical--intentionally confrontational and extreme, denying the master vocabulary which imprisons. Can such an extreme criticism which excludes so many and demands so much engage students of the 1990s, many of whom believe that the issues raised with such passion in the 1960s are obsolete or not worth the trouble of debate? The answer is a qualified yes. If there is to be meaningful dialogue, students must move beyond their stereotypical and defensive comments, which essentially announce their refusal to subject their own views to examination. To keep his own bias out of the way, a professor at George Mason University asked his students to engage in a meaningful dialogue with one another. Each student wrote a piece on Rich and then responded to that of another student. In the process, those who spouted stereotypical comments earlier found themselves taking their fellow students to task for similar comments. | [FULL TEXT]

Young, Lauren S. Jones (1998).  Care, Community, and Context in a Teacher Education Classroom.  Theory into Practice, 37, 2. 

Highlights growth that occurs when attention is paid to what teacher candidates should learn and how they should learn it, describing a class that combined attention to knowing students in a learning community, to constructivist pedagogy, and to core questions about educational equity, which led students to ask very different questions about themselves, their students, and being critical, transformative teachers.

Yule, Valerie (1996).  Take-Home Video for Adult Literacy  [Online Submission] 

In the past, it has not been possible to "teach oneself to read" at home, because learners could not read the books to teach them. Videos and interactive compact discs have changed that situation and challenge current assumptions of the pedagogy of literacy. This article describes an experimental adult literacy project using video technology. The language used is English, but the basic concepts apply to any alphabetic or syllabic writing system. A half-hour cartoon video can help adults and adolescents with learning difficulties. Computer-animated cartoon graphics are attractive to look at, and simplify complex material in a clear, lively way. This video technique is also proving useful for distance learners, children, and learners of English as a second language. Methods and principles are to be extended using interactive compact discs.  | [FULL TEXT]

Yunick, Stanley (1997).  Genres, Registers, and Sociolinguistics.  World Englishes, 16, 3. 

Critically overviews unities and distinctions between genre analysis and register analysis as practices and between genre and register as constructs. Outlines issues for application of analytical practice to pedagogy and provides an evaluative survey of the state of the art of theoretical and applied resources in genre and register analysis. (86 references)

Yure, Jennifer; And Others (1995).  A Closer Look at Pasadena's K-6 Science Program. Science for Early Educational Development (SEED). 

This document is a description of an inquiry oriented, hands-on, kit-based science program initiated by the Pasadena Unified School District (PUSD) in collaboration with the California Institute of Technology in its culturally diverse urban school district. Descriptions include the PUSD science program setting, the major components of the program, teacher training or inservice, the role of the science professional and the science resource teacher, kit-based curriculum, ongoing professional development-assessment and pedagogy, and innovation value and impact. The curriculum section deals with PUSD science standards for K-12, kits for K-6 science, and the PUSD K-6 science curriculum. This document also includes copies of the Project SEED (Science for Early Educational Development) newsletter, expansions of the program, teacher professional development opportunities, and some of the details of the Pasadena Center plan. | [FULL TEXT]