Titlebook: International Research, Policy and Practice in Teacher Education; Insider Perspectives Jean Murray,Anja Swennen,Clare Kosnik Book 2019 Spri

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,Teaching About Teaching: Teacher Educators’ and Student Teachers’ Perspectives from Norway,sed teacher educators and their role in promoting integration between theory and practice, which is frequently perceived as a challenge in teacher education (Korthagen F, J Educ Teach 36(4):407–423, 2010; Kvernbekk T, Informal Logic 32(3):288–305, 2012). The chapter draws on a study, in a Norwegian

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,Who Is Teaching Me and What Do They Know? Student Teachers’ Perceptions of Their Teacher Educators ge bases of those teaching them. Whilst there were some minor differences in responses across different groups, the general patterns were as follows: experiential knowledge of school teaching was highly valued capital in the eyes of student teachers, meaning that teacher educators who had recent tea

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We Are All Teacher Educators Now: Understanding School-Based Teacher Educators in Times of Change i?– lifelong learning: policies and programme. Brussels, April 2010, EAC.B.2. D (2010) PSH, 2010; European Commission, Supporting teacher educators for better learning outcomes. European Commission, Brussels, 2013; European Commission, Strengthening teaching in Europe: new evidence from teachers comp

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Afterword,s of the field indicate (see, e.g. Furlong, Cochran-Smith and Brennan 2011; Darling-Hammond and Lieberman 2012; Kosnik, Beck and Goodwin 2016). These effects have been compounded because such policies often involve ‘reform’ efforts centred around instrumental and managerialist practices (Trippestad,

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edroom, viewed in a mirrored ceiling, a beautiful naked woman straddles her lover, reveals a hidden silk scarf, and ties his wrists to the bedrails. In the bedchamber, the king wakes. Discovering the bonds around his wrists and ankles, he turns to the woman hovering at his bedside: ‘What pretty new

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Jean Murray,Anja Swennen,Clare Kosnikat particular historical moments, such as the arrangements made for relatives of the 168 victims of the bombing of the Federal Building in Oklahoma City in April 1995 to witness, via a closed-circuit television relay, the execution by fatal injection of the convicted bomber Timothy McVeigh. The grow

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Simone Whitean Theatre began with a haunting before the character who appeared as a phantom was actually dead. In the production’s prologue, the spectator encountered Orgilus (Iain Glen), gaunt and black-clad, playing on a lute. He sang of the joys of marriage, of ‘Hearts by holy union wedded, / More than their