Belgium Breads Illustration

Just because it’s so pretty:

From The Baker’s Book: A Practical Hand Book of the Baking Industry in All …
By Emil Braun, 1902

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Raising Children in the Faith

These are notes I put together a few years ago- I don’t remember why. I am moving files and deleting some and thought I’d just put this here.

Raising Children in the Faith
Know more about what we DON’T want to do than what we DO want to do. We parent in reactive vs proactive ways. We think we won’t make the same mistakes as our parents. Either we do, because haven’t put something better in place, or we don’t but we make errors that our parents never thought of making because we have chosen based on what we reject, rather than what we deliberately select.

Spirituality should be pervasive in your home atmosphere- it’s not just a set of rules. It’s a relationship with a REAL PERSON, NOT an institution. What is the difference between you and your daily life and that of a moral atheist?

You want your kids to be different- do not be afraid of them not fitting in- but don’t be holier than thou and self righteous about it, either.

Mommy network- find friends with parents who have similar values.

TIME- this is even more important for teens than it is for toddlers, but if you don’t take the time to build that relationship (and it is not quality over quantity, it’s both) when they are little, they won’t let you do it when they are teens.

Col. 3:14 And over all these virtues put on love, which binds them all together in perfect unity.

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Hats to Colour, 1920

hats-1920-white-bowI like the picture above. I like the project.  But reading the article accompanying it is rather jaw-dropping.

An Easter Bonnet An Idea for Grade IV:

Frances Clausen (1920)

“IN looking over the many things appropriate to Easter, nothing is perhaps more suited to the feminine part of our community than the Easter bonnet and certainly will be hailed with delight by the average primary child. The hats may be drawn freehand or traced according to the ability of the class or the grade constructing them. They may be colored with crayon or paint, and here the teacher should limit the pupil to one or two colors and black, so as to correlate good ideas on dress as well as mere pleasure in making the toy. Never allow a child to color anything, and especially an article of clothing, unless the finished problem would be really wearable. For often the foreign element of our schools is allowed full sway in gorgeous reds and yellows, the teacher resignedly thinking that it is impossible to alter their ideas. No one has more beautiful schemes of coloring than the Italian, but they must be toned down to meet our American climate and ideas of correct dress.

Thus we skillfully conceal a lesson in our apparent pleasure.

The hat should be drawn on white drawing paper and outlined in black.

Use light gray construction paper for the base, which consists of two ovals or egg shapes, the wire support being slipped between them and both pasted together.

The wire is about eight inches long or five inches when finished.

Use thin hat wire. A spool of Dennison’s flower wire was used for the originals, which contains ten yards of light green wire sufficient for a room of forty-five pupils.

The hat in the illustration is colored a light tan with * garnet bow.

The hat with a quill should be colored black, with a black and blue ribbon and a blue quill.

The poke hat is yellow, with black velvet bow.

The hat with the plume is green, with dark blue plume and black ribbon trimming.”

What.  Ever.  Print the picture, use it as a basic template and colour and decorate the hats however you like. If you like the above suggestions, fine. If you prefer to base your colour and design schemes on Toulouse-Lautrec, do that.

red-and-yellow-hatred-and-yellow-hat

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Struggle Sessions and SElf-Criticism

Male Students Told To Confess Their Sins At ‘Masculinity Confession Booth.’

 

“A struggle session (simplified Chinese: 批斗会; traditional Chinese: 批鬥會; pinyin: Pī Dòu Huì) was a form of public humiliation and torture used by the Communist Party of China in the Mao Zedong era, particularly during the Cultural Revolution, to shape public opinion and to humiliate, persecute, or execute political rivals and class enemies.[1]

In general, the victim of a struggle session was forced to admit to various crimes before a crowd of people who would verbally and physically abuse the victim until he or she confessed. Struggle sessions were often held at the workplace of the accused, but were sometimes conducted in sports stadiums where large crowds would gather if the target was famous enough.[1]

…Struggle sessions developed from similar ideas of criticism and self-criticism in the Soviet Union from the 1920s.

…Lately, the term “struggle session” has come to be applied to any scene where victims are publicly badgered to confess imaginary crimes under the pretext of self-criticism and rehabilitation

Infogalactic

 

The New York Times published  an essay by George Yancy inviting whites to indulge in self criticism:  “to tarry, to linger, with the ways in which you perpetuate a racist society, the ways in which you are racist.”

 

Self Criticism, from Infogalactic:

Under some systems of communism, party members who had fallen out of favour with the nomenklatura were sometimes forced to undergo “self-criticism” sessions, producing either written or verbal statements detailing their ideological errors and affirming their renewed belief in the Party line. Self-criticism, however, did not guarantee political rehabilitation, and often offenders were still expelled from the Party, or in some cases even executed.

In the Soviet Union, “criticism and self-criticism” were known as kritika i samokritika (Russian: критика и самокритика).

In the People’s Republic of China, self-criticism—called ziwo pipan (自我批判) or jiǎntǎo (检讨)—is an important part of Maoist practice. Mandatory self-criticism as a part of political rehabilitation or prior to execution—common under Mao, ended by Deng Xiaoping, and partially revived by Xi Jinping—is known as a struggle session, in reference to class struggle.

Such sessions could be elaborate, public and frequent, and included denunciations.

 

 

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Narration Ideas for Older Students

These are just a couple of ideas, suggestions, brainstorming- they are not required, you don’t have to do it this way, and I am sure there are other approaches.  They are for students who have been narrating orally and understand it.

 

You might have a student write a list of the main points of a reading in bullet point form. I sometimes ask for the main point of each paragraph.

With two of my students, for one section of the book Invitation to the Classics, I gave them the following assignment along with an example to give them an idea of the sort of thing they might do:
As you read, write down a single sentence (in your own words) summarizing the main point of each paragraph-
For example, for page 13, I would have written:
1. Why we need to define the term ‘classic,’
2. People approach the classics in different ways, the authors as ‘custodians’ of our western heritage.
3. The title of the book reflects their goal of introducing others to these works.
4. The book is also a response to questions the authors receive about what books should be read.

What would you write?  – the point of adding here a short example of what I would have written is the same as when the parent takes a turn narrating for a beginning narrator.  This is a new step, and if you haven’t assigned this sort of writing before, it’s helpful to give the student an idea of what you mean.

For another book, you might have the student read for 15 or 20 minutes (or assign a set number of pages) and then ask the student to set a timer for five minutes and write down everything they can remember as fast as they can. At the end of the five minutes, they read it aloud to you. This way the legibility of the rapid writing is not an issue for you, and they can see areas they wish to change. Once there are a few of those narrations under their belts, then you might ask them to revise the narration the following day.

If they are reading a textbook such as a biology book, or any book that gives course objectives or vocabulary words at the beginning of the chapter you could ask them to make sure they include a few of those items in their written narration, if not in the first rough draft, in the later revisions.

This is the time you an begin to add typical essay type questions and compositions- compare two characters, how are they alike and different?

Tell me about the personality of one of the characters in the book, and include supporting information. If you say he is vain, tell me how you know that, what is there in the readings that told you he is vain?

Turn an event in the reading into a scene in a play.

Write about something from the reading as though you are a reporter reporting for a newspaper (or create a video project as a newscaster)

If you owned a mail order bookstore, how would you describe your literature book  in the catalog?

Look over the exam questions Miss Mason used for other ideas.

 

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