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6 Developing Emotional Capacity

Laura Weaver Solution Tree Press ePub

We know emotion is very important to the educative process because it drives attention, which drives learning and memory.

—Robert Sylwester

Self-Reflection

Which emotions—in others or yourself—tend to be challenging or uncomfortable for you? Why?

Each day, we and our students and colleagues experience and express a wide range of emotions—joy, anger, sadness, frustration, exuberance, apathy, anxiety. Developing our own emotional capacity gives us the ability to work intentionally and conscientiously with emotions—ours and others’—that inevitably show up and impact the learning environment. Developing emotional capacity includes expanding our emotional range, cultivating our emotional intelligence, developing emotional boundaries, creating emotional safety, and developing positive connections between emotions and learning. When we work with this dimension, we cultivate our resourcefulness, resilience, and effectiveness.

Developing our emotional capacity as teachers means that we understand more about what we feel, develop greater comfort with the full range of our emotions, and learn how to develop healthy emotional boundaries so that we are not constantly overwhelmed or stressed.

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Fort Lancaster

B. W. Aston and Donathan Taylor University of North Texas Press PDF
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5. Foucault’s Problematization of Modernity: The Reciprocal Incompatibility of Discipline and Liberation

Colin Koopman Indiana University Press ePub

5

Foucault’s Problematization of Modernity

The Reciprocal Incompatibility of Discipline and Liberation

Foucault’s Histories of Modernity

Michel Foucault’s works were transmitted from France to America through the filter of that American invention of “theory” that came to dominate much of the American intellectual scene in the 1970s and 1980s. I briefly discussed these terms of Foucault’s American reception in the Introduction, where I noted one particularly significant effect of this historical accident of intellectual transmission, namely the way in which Foucault’s reception through the powerful combination of literary criticism and cultural studies (i.e., the newly emerging constellation of “theory” and especially “French theory”) worked to obfuscate potential linkages between genealogy and the thought of philosophers and social scientists working in the traditions of American pragmatism and Frankfurt School critical theory. The theory movement’s interpretation of Foucault gradually grew to dominance in American intellectual discourse despite the better efforts of some of Foucault’s best commentators, whose work, though clearly influential in bringing Foucault across the Atlantic, would later be engulfed in the fury of theory that then swept across the academy with still-lasting effects. And so it is today widely assumed, indeed often without even reflecting upon it, that American pragmatism and German critical theory are opposed on the most crucial points to the central themes of French Theory. What is contestable, even if not often contested, is the extent to which Foucault is properly articulated to that subversive postmodernism imported by those designing the new “theory” complex.

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PRINCIPLE EIGHT: Be Choiceful

Yerkes, Leslie Berrett-Koehler Publishers ePub

To be choiceful means to give yourself permission — permission to perform, permission to choose how you will behave, permission to be your full fun self. The only thing in life we have power over is our self; it’s the only thing we can change. Being choiceful means we decide who we will be and how we will act, it means we have the permission to become. To be choiceful means to take the world in your own hands; it is the ultimate empowerment.

Being choiceful does not require extra money, time, or energy. It is simply a matter of deciding. It is a conscious decision.

True fun is the result of making good choices; it is not something you choose to do, it is something you choose to become. When you choose fun, you choose to bring the best of yourself to work each day.

If you find yourself lost and work is no longer fun, be choiceful. To be choiceful is to be proactive — create the world in which you choose to live. To feel inspired, be choiceful.

“Happiness is not a matter of good fortune
or worldly possessions. It is a mental
attitude. It comes from appreciating
what we have , instead of being miserable
about what we don’t have. It is so simple,
yet so hard for the human mind to comprehend.”

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19. Proto-Continuo

Edited by Jeffery KitePowell Indiana University Press ePub

JACK ASHWORTH AND PAUL O’DETTE

In most history books the basso continuo is said to be one of the musical innovations which distinguishes the Baroque era from the Renaissance. But was the basso continuo such a new thing in 1600, and was it practiced in a significantly different manner from the accompaniment styles of the sixteenth century? In fact the basso continuo was nothing more than a new method of notating a practice that had been in existence since at least the late fifteenth century, the practice of providing a simple harmonic accompaniment to a solo singer or ensemble. What was new about the basso continuo was that instead of writing out the accompaniment in lute tablature or organ score (partitura), only a bass line was provided, often with figures added to indicate the chords to be realized above the bass. This saved the player the trouble of intabulating all the parts, a lengthy and not altogether artistically satisfying process. As Agostino Agazzari observed, “if [an organist] were to put into tablature or score all the works which are sung in the course of a year in a single church in Rome . . . he would need to have a larger library than a Doctor of Laws.”1 Indeed, one suspects that the better musicians of the sixteenth century were able to accompany from a bass line long before Viadana’s coining of the term basso continuo, by applying their knowledge of counterpoint and the standard harmonic progressions, much as was done with the unfigured bass parts of the seventeenth century.

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