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Greene, Maxine Teachers College, Columbia UniversityMaxine Greene - 1994 This paper discusses how art and aesthetic education open people to visions of the possible, creating a community of distinctive individuals. Maxine Greene - 1993 This paper addresses the unequal education that certain minority groups receive, while calling for a curriculum that can provoke people to reach past themselves and be recognized. Maxine Greene - 1993 Gender, we now realize, must be understood as a social
construct or a cultural construct, referring to the meanings attached to
the biological division of the sexes. More simply, gender identifies the
implications of what it means in different contexts to be born a girl or
a boy. It has to do with the mannerisms taught or adopted, and the expectations
internalized, the modes of perceiving others and being
perceived. Maxine Greene - 1991 Searching for a language of concern and compassion. Maxine Greene - 1989 Taking plurality, multiplicity, and community into account in establishing standards Maxine Greene - 1989 The image of the teacher—be he or she called "teacher,"
"educator," or simply "we"—in John Dewey's texts emerges from a
convergence of the writer's lived experience and intellectual history.
Behind each rendering lies a memory, perhaps a story of his
Burlington childhood and youth. Hazel Whitman Hertzberg & Maxine Greene - 1988 Maxine Greene & Mary Anne Raywid - 1987 Previous chapters have dealt with changing social institutions and
social conditions, and with their educative and miseducative effects on
people of all ages. The authors of those chapters have not dealt with
the changed institutions of public schooling. While society educates
through many channels, schools remain important agencies of
education, and their changing status in the minds of the public requires
examination. We seek and expect different things from schools than
did parents of earlier times. We value them differently and ascribe
different roles to them in our lives. Maxine Greene - 1987 Maxine Greene - 1985 A reponse to Egan's article, Imagination and Learning. Though in agreement on the lack of an adequate account of educational development, the authors are not in total agreement on the nature of imagination, the meaning of the concrete, or the abstract categories or conceptual tools that (for Egan) account for children’s comprehension of fantasy stories. Maxine Greene - 1984 The movement for excellence from the perspective of teachers. Maxine Greene - 1984 An invitation for teachers to think about how they teach. Maxine Greene - 1983 Maxine Greene - 1982 A consideration of the role of education in promoting peace Maxine Greene - 1981 The argument in this chapter is threefold: that aesthetic experiences should be given a central place in general education; that such experiences require a distinctive mode of literacy; and that classroom teachers and general educators, working in cooperation with art teachers and practicing artists, are potentially capable of enabling students to learn how to learn to be literate in this way. Maxine Greene - 1978 An existential approach to teaching looks for meaning in the social and individual realities of being human. Maxine Greene - 1977 Inclusion of arts and humanities as a central part of any curriculum is defended by their ability to create critical awareness, to develop a sense of moral agency, and to foster conscious engagement with the world. Maxine Greene - 1973 Teachers must learn to act consciously on principle if we are to make justice the central value in the school system and thus provide an equal education for all. Maxine Greene - 1973 Maxine Greene - 1972 The case for free will, with references to Skinner and Sartre. Maxine Greene - 1972 Maxine Greene - 1971 Curriculum, from the learner's standpoint, ordinarily represents little more than an arrangement of subjects, a structure of socially prescribed knowledge, or a complex system of meanings which may or may not fall within his grasp. Rarely does it signify possibility for him as an existing person, mainly concerned with making sense of his own life-world. Maxine Greene - 1971 Charles Reich's work may indeed be a prolegomenon, as Capouya put it, "to the argument it provokes." The argument is what remains significant, and the translation of it into rational terms. Here is where the weariness ends and where the inauguration of "the impulse of consciousness" may begin. Maxine Greene - 1971 Maxine Greene - 1971 Maxine Greene - 1970 Maxine Greene - 1970 Maxine Greene & Frank G. Jennings - 1970 Maxine Greene - 1969 Maxine Greene - 1969 Maxine Greene - 1968 Maxine Greene - 1968 Of course it is necessary to read theory in our several fields. Of course it is helpful to read the new dramatists of the educational scene. But we need at times to remember as well the special values to be discovered in the arts. Truly to attend to our students as persons, we need—as Thomas Mann once said—"to look both ways." Maxine Greene - 1968 Maxine Greene - 1968 Maxine Greene - 1967 Maxine Greene - 1967 Maxine Greene - 1967 Maxine Greene - 1966 Maxine Greene - 1966 Maxine Greene - 1966 Maxine Greene - 1965 Maxine Greene - 1965 The author is concerned with one of our age's strangest paradoxes: a widespread and desperate concern with "meaninglessness" at the same time that exact knowledge exceeds even the dreams of 25 years ago. It is this problem that invests the humanities with significance in a culture whose major motif is science. How the literary experience can help us to cope with man's inevitable "unanswerable questions" is the subject of this article. Maxine Greene - 1964
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A., M.
A.Bailey II, M.D., Joseph
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A.Hanson, Abel
Aagaard, Lola
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Abbott, Daniel H.
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Abbott, Mary Allen
Abbott, Mary Ellen
Abbs, Peter
Abdi, Ali A.
Abdus-Sabur, Qadir
Abedi, Jamal
Abel, David A.
Abel, Emily K.
Abel, Jerian
Abel, Yolanda
Abeles, Harold F.
Abelmann, Nancy
Abelson, Harold H.
Aben, Patricia
Abernathy, Ruth
Abernathy, Scott F.
Abeson, Alan
Abney, David
Abney, Louise
Abo-Zena, Mona
Aboulafia, Mitchell
Abouzaglo, Shanee
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Abrahams, Frank
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Aitken, Jenny
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aka Don Trent Jacobs, Four Arrows
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Akiba, Motoko
Akin, Clayton
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Al Atiyat , Ibtesam
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Amsel, Eric
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An, Sohyun
| Anagnostopoulos , Dorothea
Anastasi, Anne
Ancess, Jacqueline
and Associates,
And His Students,
and others,
and others,
and others,
Anderegg, David
Anderman, Lynley H.
Anders, Patricia
Andersen, C. T.
Andersen, Erik A.
Andersen, Neil
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Andic, Martin
André, Aline B.
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Andress, Paul
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Andrianaivo, Solange
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Antler, Stephen
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Archibald, Sarah
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Arent, Emma
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Arons, Stephen
Aronson, Brittany
Arrastia, Lisa
Arrington, Angelique Renee
Arrington, Ruth E.
Arrowsmith, Mary Noel
Arrowsmith, Mary Noel
Arroyo, Andrew T.
Arsenian, Seth
Arseo, Sean
Arshad, Rosnidar
Arshavsky, Nina
Artelt , Cordula
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Aschbacher, Pamela R.
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Ascher, Carol
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Ashby, Christine
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Ashcraft, Catherine
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Asher, Nina
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Ashmore, Jerome
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Ashworth, Delmer
Asil, Mustafa
Asimeng-Boahene, Lewis
Askari, Emilia
Askeland, O.
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Assow, A. Harry
Assuncao Flores, Maria
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Aster, Samuel
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Ata, Atakan
Atanda, Awo Korantemaa
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Atherley, Marilyn
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Atkinson, Ruth V.
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Auerbach, Susan
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Axtelle, G. E.
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Ayalon, Hanna
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Ayers, Rick
Ayers, William
Ayieko, Rachel
Aylward, Lynn
Azano, Amy
Azevedo, Roger
Azzam, Tarek
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