DOCSLIB.ORG

By a Dissertation Submitted in Partial Fulfillment of the Requirements For

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By a Dissertation Submitted in Partial Fulfillment of the Requirements For HOLOCAUST KICKBOXER: DESCENT AND TRANSFORMATION OF INTERGENERATIONAL TRAUMA by NICOLE WAGENBERG A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN PSYCHOLOGY MERIDIAN UNIVERSITY 2012 Copyright by NICOLE WAGENBERG 2012 HOLOCAUST KICKBOXER: DESCENT AND TRANSFORMATION OF INTERGENERATIONAL TRAUMA by NICOLE WAGENBERG A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY IN PSYCHOLOGY MERIDIAN UNIVERSITY 2012 This dissertation has been accepted for the faculty of Meridian University by: _________________________________________ Lisa Herman, Ph.D. Dissertation Advisor _________________________________________ Melissa Schwartz, Ph.D. Dissertation Chair _________________________________________ Shoshana Fershtman, Ph.D. Doctoral Project Committee Member This work is dedicated to our capacity to grow, transform, and evolve. Gracias a la vida que me ha dado tanto. Me ha dado la risa y me ha dado el llanto, Así yo distingo dicha de quebranto, Los dos materiales que forman mi canto. Y el canto de ustedes que es el mismo canto, Y el canto de todos que es mi propio canto. Thanks to life that has given me so much. It has given me laughter and has given me tears. That way I can distinguish between joy and pain, Both of which make up my song. And your song is the same song. And everyone’s song is my own song. Violeta Parra “Gracias a la Vida” Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frighten us. We ask ourselves, who am I to be brilliant, gorgeous, talented, fabulous? Actually, who are you not to be? You are a child of God. Your playing small does not serve the world. There is nothing enlightened about shrinking so that other people won’t feel insecure around us. We were born to make manifest the glory of God that is within us. It is not just in some of us; it is in everyone. And as we let our own light shine, we unconsciously give other people permission to do the same. As we liberate from our own fears, our presence automatically liberates others. Marianne Williamson A Return To Love: Reflections on the Principles of A Course in Miracles ABSTRACT HOLOCAUST KICKBOXER: DESCENT AND TRANSFORMATION OF INTERGENERATIONAL TRAUMA by Nicole Wagenberg Focusing on third-generation women descendants of Holocaust survivors, this study asked: What affective experiences and imaginal structures emerge in the process of disidentifying from survivor guilt and cultivating authentic power? The hypothesis was, as affective experiences related to survivor guilt are increasingly recognized and tended to one can access more freedom to cultivate one’s authentic power. The Literature Review covers survivor guilt and intergenerational trauma as well as the experience of the descendants of Holocaust survivors. Other relevant resources reviewed include ritual and expressive arts in relation to metabolizing historical trauma. Although much research has been done with Holocaust survivors and their descendants, literature is lacking on the effect upon third generation survivors, particularly pertaining to guilt and possible transformation through group ritual, culturally relevant practices, and expressive arts. The methodology utilized was Imaginal Inquiry. Eight participants, self-identified as third generation descendants of Holocaust survivors, met with the researcher for a one- day meeting. Through ritual, ecstatic practices, dialogue, and drama therapy, they shared and explored ways in which the Holocaust impacted them; they tapped into previously unexpressed affective states and processed their survivor guilt. vi vii The study’s Cumulative Learning was: When third-generation women descendants of Holocaust survivors gathered to explore and give voice to their experience, they processed the conflicted roles, expectations, and pressures put upon them by the broader community, communitas was created which brought healing about these experiences. This Cumulative Learning is based upon four major Learnings: First when the participants, third-generation women descendants of Holocaust survivors gathered as a group and embraced the opportunity to share their personal and family Holocaust stories for the first time in such a group, a unique safety emerged. Second with the safety that was created, the participants were able to sink into the unknown and face shadow aspects of their experience which included deep rage, grief, despair and guilt. Third through engaging with the Friend voices associated with their ancestors, gatekeeping dynamics were transmuted, allowing psychic movement and transformation for the participants. Fourth when third-generation women descendants of Holocaust survivors explored the impact of the Holocaust, drawing upon Jewish community, ritual, and practices was a balm for their experiences of trauma, loss, and guilt and provided a haven through this temporary small Jewish community of women. The study’s reflections focus on how understanding the process of moving from survivor guilt to authentic power can be deepened through the myths of the descent of Inanna and of Lilith, and the Jewish concept of Tikkun Olam. Inanna’s journey into the unexplored dark places of self and humanity can lead into an empowered and individuated self. ACKNOWLEDGMENTS Thanks to my family for their generous support, for learning and growing with me and for their deep love. Thanks to my ancestors, those who I met in person and those who I continue to meet in spirit. Feeling your support towards this work is validating. I have no words that describe my appreciation for my therapist S.J. Her brilliant insight and constant support feeds my being in radically exciting, and positive ways. She is very much a part of this dissertation. Thanks to Michaelle Goerlitz who joined me in the middle of this journey despite the fact that I warned her that we might not make it. As it turns out, her love, patience, and consistent presence is what helped me make it. I hold deep gratitude for the dissertation support staff at Meridian University for all the ways that they have made this work possible. I thank Melissa Schwartz, Lisa Herman, and Shoshana Fershtman for their encouragement and support and for their insightful feedback that helped me bring focus and clarity. Their academic and professional body of work that is very relevant to the topic of this dissertation has been an inspiration and has contributed greatly towards this work. Thank you to Terri Aspen for graciously helping me hold the group on the day of the study and to Mary-Angela Fatta for filming the meeting and most importantly for sharing a home with me during this process and teaching me how to lovingly care and tend to the other. Thank you to Cohort 12 for a tansformative experience. Especially, thanks to Jessica, Cheryl, Mary, and Summer for our holding circle and loving support. viii ix Thank you to Anne Coelho and Isoke Femi for initiating me into this process. Your mentoring during my school years prepared me to do this work. Thank you for believing in me and for supporting me during times of despair, for meeting and receiving me in the depths of darkness in ways I had not been held before. I would not have been able to do this work without you. Thank you to Aryeh Shell who gave birth to the Herstories Project, and while working together, gifted me with an introduction to Mary Oliver’s poem, “The Journey,” which has been key in my work with survivor guilt. Deep appreciation to Armand Volkas who opened the gates for me to process and transform post-Holocaust trauma, and fathered me into my practice as a psychologist. Thank you to Ellen Becker, Rabbi Dev Noily and Irwin Keller for sharing their brilliance around the topic of this dissertation. Their insights are reflected throughout this work. You have contributed greatly to my own healing. Thank you to Melissa Nelson and The Cultural Conservancy. The cultural healing work that you do with the Native American community has deeply inspired this work. I am honored to be able to be a part of your process and learn with you. Thank you to Joani, Eugenia, Andrea, Coco, and David for their loving friendship and support. Thank you to my kitties: Love Boy and Love Girl, for coming into my life at the perfect time when I much needed their abundant love, companionship and wisdom. And last but most importantly, I have deep respect and much gratitude to the women that participated in this study. Their journey and courage to face the depths of pain and hold the joy of light are a great contribution. Your sharing has transformed me and will, I believe, also help others in their journey. CONTENTS ABSTRACT . vi ACKNOWLEDGMENTS . viii CONTENTS . x Chapter 1. INTRODUCTION . 1 Research Topic Relationship to the Topic Theory-In-Practice Research Problem and Hypothesis Methodology and Research Design Learnings Significance and Relevance of the Study 2. LITERATURE REVIEW . 26 Introduction and Overview Understanding Survivor Guilt Intergenerational Transmission of Trauma The Experience of Descendants of Holocaust Survivors From Survivor Guilt to Authentic Power Conclusion x xi Chapter Page 3. METHODOLOGY . 104 Introduction and Overview Co-Researchers Limitations and Delimitations Participants Four Phases of Imaginal Inquiry 4. LEARNINGS . 125 Introduction and Overview Learning One: Stripping Naked Learning Two: Facing Ereshkigal Learning Three: The Helpers: Emergence of the Friend, in the Form of the Ancestors Learning Four: Re-emergence through Re-joining Community: We Laughed and Cried at the Same Time Conclusion 5. REFLECTIONS . 193 Significance of the Learning Mythic and Archetypal Reflections Implications of the Study Recommendations for Further Study Appendix 1. ETHICS APPLICATION . 223 2. CONCEPTUAL OUTLINE . 227 xii Appendix Page 3. CHRONOLOGICAL OUTLINE . 229 4. INFORMED CONSENT FORM . 233 5. FLYER . 235 6. FIRST CONTACT BY PHONE SCRIPT.
Load more

Recommended publications
  • Organisms and Human Bodies As Contagions in the Post-Apocalyptic State
    CHAPTER 1 Organisms and Human Bodies as Contagions in the Post-Apocalyptic State Robert A. Booth n this chapter, I show how discourses of contagion and pollution not only imbue many post-apocalyptic cinema and television narratives but also mirror public discourse about immigration. Further, I examine the often- I 1 racialized immigrant in post-apocalyptic film and television that is, in essence, a discourse on insider–outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television rein- force the primacy of centralized political authority, namely the State, and post- 9/11 post-apocalyptic film in particular reinforces the hegemony of the State. The post-apocalyptic subgenre of science fiction and/or horror has become popular fodder for cinema and television. As Susan Sontag notes, “the science fiction film . is concerned with the aesthetics of destruction, with the pecu- liar beauties to be found in wreaking havoc, making a mess. And it is in the imagery of destruction that the core of a good science fiction film lies.”2 Portrayals of the post-apocalypse often index or echo visual memories of terrible societal traumatic events of the past.3 With the experience of the social, political, economic, and emotional trauma of the 9/11 attacks, one might reasonably assume that Americans would acquire a distaste for graphic destructive violence. Certainly, after the attacks, filmmakers occasionally felt pressured to remove images of the Twin Towers or to change content that might evoke the tragedy, such as planes crashing into skyscrapers. However, post-apocalyptic genres remain ever popular in American television and cinema.
    [Show full text]
  • The Myth of Closure
    PROCESS The Myth of Closure PAULINE BOSS* DONNA CARNES† To read this article in Spanish, please see the article’s Supporting Information on Wiley Online Library (wileyonlinelibrary.com/journal/famp). Therapies for grief and loss have traditionally focused on the work of grieving. The goal was to reach an endpoint, now popularly called closure. There are, however, many people who, through no fault of their own, find a loss so unclear that there can be no end to grief. They have not failed in the work of grieving, but rather have suffered ambiguous loss, a type of loss that is inherently open ended. Instead of closure, the therapeutic goal is to help people find meaning despite the lack of definitive information and finality. Hope lies in increasing a family’s tolerance for ambiguity, but first, professionals must increase their own comfort with unanswered questions. In this article, the authors, one a poet, the other a family therapist and theorist, offer a unique blending of theory, reflection, and poetry to experientially deepen the process of self-reflection about a kind of loss that defies closure. Keywords: Ambiguous Loss; No Closure; Unresolved Loss; Unresolved Grief; Meaning Making; Sadness Versus Depression; Self-Reflection; Complex Grief Fam Proc 51:456–469, 2012 n the world of grief and mourning, there is a type of loss that defies closure even with Ihealthy families. It is called ambiguous loss, a term coined in the 1970s to illustrate a unique kind of loss when a loved one disappears in body or mind.1 A family member van- ishes physically with no verification of whereabouts or fate as dead or alive or fades away psychologically from dementia and other cognitive or emotional impairments.
    [Show full text]
  • The Barbara Johnson Reader a John Hope Franklin Center Book the Barbara Johnson Reader the Surprise of Otherness
    The Barbara Johnson Reader A John Hope Franklin Center Book The Barbara Johnson Reader The Surprise of Otherness Barbara Johnson edited by melissa feuerstein bill johnson gonzález lili porten keja valens With an Introduction by judith butler and an Afterword by shoshana felman Duke University Press Durham and London 2014 © 2014 Duke University Press Afterword © 2014 Shoshana Felman All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by April Leidig Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging-in-Publication Data The Barbara Johnson reader : the surprise of otherness / edited by Melissa Feuerstein, Bill Johnson Gonzalez, Lili Porten, and Keja Valens, with an introduction by Judith Butler and an afterword by Shoshana Felman. pages cm “A John Hope Franklin Center Book.” Includes bibliographical references and index. isbn 978-0-8223-5419-2 (pbk : alk. paper) isbn 978-0-8223-5403-1 (cloth : alk. paper) 1. Johnson, Barbara, 1947–2009. 2. Feminist literary criticism. I. Feuerstein, Melissa. II. Johnson Gonzalez, Bill, 1970– iii. Porten, Lili. IV. Valens, Keja, 1972– pn98.w64b37 2014 801.'95092—dc23 2013045003 Contents Ac know ledg ments vii Editors’ Preface xi Personhood and Other Objects: The Figural Dispute with Philosophy by Judith Butler xvii Barbara Johnson by Barbara Johnson xxvii part i | Reading Theory as Literature, Literature as Theory 1 The Critical Diff erence: BartheS/BalZac 3 2 Translator’s Introduction to Dissemination (abridged) 14 3 Poetry and Syntax:
    [Show full text]
  • Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS
    Dance, Music, Art, and Religion Edited by Tore Ahlback SCRIPTA INSTITUTI DONNERIANI ABOENSIS XVI DANCE, MUSIC, ART, AND RELIGION Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th of August 1994 Edited by Tore Ahlbäck, Distributed by ALMQUIST & WIKSELL INTERNATIONAL STOCKHOLM, SWEDEN Dance, Music, Art, and Religion Dance, Music, Art, and Religion Based on Papers Read at the Symposium on Dance, Music, and Art in Religions Held at Åbo, Finland, on the 16th-18th August 1994 Edited by Tore Ahlbäck Published by The Donner Institute for Research in Religious and Cultural History Åbo Finland Distributed by Almqvist & Wiksell International Stockholm, Sweden ISSN 0582-3226 ISBN 951-650-834-0 Printed in Finland by Åbo Akademi University Printing Press Turku 1996 Contents Editorial Note 7 DESMOND AYIM-ABOAGYE Art, Music and Religious Experience in Libation Pouring of Akan Religion 9 UMAR HABILA DADEM DANFULANI Rituals as Dance and Dance as Rituals. The Drama of Kok Nji and Other Festivals in the Religious Experience of the Ngas, Mupun and Mwaghavul in Nigeria 27 VALERIE DEMARINIS With Dance and Drum. A Psychocultural Investigation of the Ritual Meaning-Making System of an Afro-Brazilian, Macumba Community in Salvador, Brazil 59 MONICA ENGELHART The Dancing Picture — The Ritual Dance of Native Australians 75 RAGNHILD BJERRE FINNESTAD Images as Messengers of Coptic Identity. An Example from Con- temporary Egypt 91 MARIANNE GÖRMAN The Necklace as a Divine Symbol and as a Sign of Dignity
    [Show full text]
  • Comic Book Crime Truth, Justice, and the American Way
    Comic Book Crime Truth, Justice, and the American Way INSTRUCTOR’S GUIDE Superman, Batman, Daredevil, and Wonder Woman are iconic cultural figures that em- body values of order, fairness, justice, and retribution. Comic Book Crime digs deep into these and other celebrated characters, provid- ing a comprehensive understanding of crime and justice in contemporary American comic books. This is a world where justice is deliv- ered, where heroes save ordinary citizens from certain doom, where evil is easily identified and thwarted by powers far greater than mere mortals could possess. Nickie Phillips and Sta- ci Strobl explore these representations and show that comic books, as a historically im- portant American cultural medium, participate in both reflecting and shaping an American ideological identity that is often focused on ideas of the apocalypse, utopia, retribution, and nationalism. Through an analysis of approximately 200 comic books sold from 2002 to 2010, as well as several years of immersion in comic book fan culture, Phillips and Strobl reveal the kinds of themes and plots popular comics feature in a post-9/11 context. They discuss heroes’ cal- culations of “deathworthiness,” or who should be killed in meting out justice, and how these judgments have as much to do with the hero’s character as they do with the actions of the villains. This fascinating volume also analyzes how class, race, ethnicity, gender, and sexual orientation are used to construct difference for both the heroes and the villains in ways that are both conservative and progressive. Engag- ing, sharp, and insightful, Comic Book Crime is a fresh take on the very meaning of truth, justice, and the American way.
    [Show full text]
  • Travel Writing 1700–1830 an Anthology
    OXFORD WORLD’ S CLASSICS TRAVEL WRITING, 1700–1830 DURING the eighteenth century British travellers fanned out to every corner of the world, driven by diverse motives: scientific curi- osity, exploration, colonization, trade, diplomacy, and tourism, which began to flourish during this period. Those at home read voraciously in travel literature, which informed curious Britons about their nation’s activities overseas. The Empire, already estab- lished in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific. Readers also enjoyed reports of travel closer to home: tours of the Continent and the British Isles themselves, whose beauty spots fuelled the rising fashion for picturesque and sublime scenery. Travel writing fed readers’ desire for adventure and exoticism and reinforced their pride in their nation’s achievements. It addressed scientific questions and gave philosophers food for thought. Political controversies were fought out in travel books, including the slavery question and the French Revolution debate. Above all, travellers’ descriptions of the wider world reveal their perception of themselves. Selected authors include Daniel Defoe, Joseph Addison, Mary Wortley Montagu, Samuel Johnson, James Boswell, James Cook, William Bartram, Mary Wollstonecraft, Dorothy Wordsworth, Walter Scott, Olaudah Equiano, Mungo Park, Ann Radcliffe, Matthew ‘Monk’ Lewis, and Frances Trollope. ELIZABETH A. BOHLS is Associate Professor of English at the University of Oregon. She is the author of Women Travel Writers and the Language of Aesthetics, 1716–1818, recently translated into Japanese, and of articles on travel writing and the novel. She is currently finishing a book on identity and place in writings from the colonial British Caribbean.
    [Show full text]
  • Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan James Madison University, [email protected]
    James Madison University JMU Scholarly Commons English College of Arts and Letters 2016 "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan James Madison University, [email protected] Follow this and additional works at: http://commons.lib.jmu.edu/eng Part of the American Literature Commons, Chicana/o Studies Commons, and the Latina/o Studies Commons Recommended Citation Fagan, Allison. "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival." College Literature 43.2 (2016). 310-341. This Article is brought to you for free and open access by the College of Arts and Letters at JMU Scholarly Commons. It has been accepted for inclusion in English by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. James Madison University JMU Scholarly Commons English College of Arts and Letters 2016 "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan Follow this and additional works at: http://commons.lib.jmu.edu/eng Part of the American Literature Commons, Chicana/o Studies Commons, and the Latina/o Studies Commons This Article is brought to you for free and open access by the College of Arts and Letters at JMU Scholarly Commons. It has been accepted for inclusion in English by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. “LA VIDA ES EL HONOR Y EL RECUERDO”: OSCAR ZETA ACOSTA’S PARATEXTUAL STRUGGLE FOR SURVIVAL ALLISON FAGAN Dead or alive or even both, eh? That’s one thing they can’t take away from you.
    [Show full text]
  • Newsletter Sidney, OH 45365 July 2013 (937) 498-1812
    P.O. Box 72 102 E. Poplar St. Newsletter Sidney, OH 45365 July 2013 (937) 498-1812 www.shelbycountyrtl.org Volume 40 Issue 7 Building a Culture of Life in Shelby County, Ohio, since 1974 They Saved a Baby From Abortion Their First Time Praying at a Clinic Editor’s Note: The following article is by Bryan Kemper, who lives in Troy, Ohio. We only have space to print the testi- mony of two of the missionaries, but you can find the entire article at LifeNews.com. This week I took our Stand True Pro-life missionaries to the Kettering abortion mill, operated by infamous late term baby killer, Martin Haskell. For four of our missionaries this was their first time ever going to an abortion mill, and I asked them to write down their thoughts on the experience. These missionaries will be all over the United States this summer, but this one moment in Kettering, OH will be a defining moment as they fight to bring an end to abor- tion. David There are moments when life reality hits, and if you open your heart, you can’t help but to view the World dif- ferently. Reality hit me today, as I stood outside of the abortion mill for the first time. I did not feel helpless be- cause I knew that God works if we are faithful, though we cannot always see. I knew that God would work and that he knew every heart there, but I did not know that I would be blessed to see the changing heart of a Continued on page 2 Mark your calendar Taking the Pro-Life Message to the Streets Deadline for submissions to “If we protect what’s precious, we the August newsletter: July 25.
    [Show full text]
  • 1 6. Basis of Claim This Claim Concerns an Unprecedented Policy Issued at the Highest Levels of the Federal Government to Separa
    6. Basis of Claim This claim concerns an unprecedented policy issued at the highest levels of the federal government to separate parents from their children. The extraordinary trauma inflicted on parents and children alike was no incidental byproduct of the policy—it was the very point. The federal government sought to inflict so much distress on parents and children seeking asylum that other families would be deterred from trying to seek refuge in this country. Indeed, while serving as Secretary of the Department of Homeland Security (“DHS”), John Kelly stated that he “would do almost anything to deter people from Central America” from migrating to the United States, including separating children from their parents. 1 After the forced separations began, former Attorney General Jeff Sessions confirmed that the goal was deterrence. 2 In May 2018, Kelly, who had since become President Trump’s Chief of Staff, callously dismissed any concern about the government’s forced separation of children from their parents, remarking: “[t]he children will be taken care of—put into foster care or whatever .” 3 Despite widespread condemnation and legal challenges, President Trump continued to defend the policy as a deterrent to migration from Central America when he tweeted, “[I]f you don’t separate, FAR more people will come.” 4 In total, the U.S. government has admitted to separating more than 2,700 children from their parents or guardians after they crossed the Southwestern U.S. border. 5 And recent reports indicate that the number of families separated may have been much higher. 6 The victims of this cruel and unconstitutional policy include M.Z.
    [Show full text]
  • Dallas Museum of Art Horchow Auditorium
    Artist Talk: Luc Tuymans June 3, 2010 Dallas Museum of Art Horchow Auditorium Jeffrey Grove: Good evening. Welcome to the Dallas Museum of Art. I'm Jeffrey Grove. I'm the Hoffman Family Senior Curator of Contemporary Art, and I am proud and privileged to introduce to you Luc Tuymans. [Applause] I hope you all had a chance to preview the exhibition before you came in for the talk. We are going to be very casual this evening. I'm not going tell you everything about Luc’s life story because you probably already know it or you wouldn’t be here, or you’ve seen it in the paintings down the hall. What we’re going to do is we’re sort of breaking our evening into three segments. Luc and I are going to talk first about the installation that you will see here at the DMA, about the exhibition overall, some of the pictures covering the arc, the trajectory of his career up to now. And then we’re going to take a break and Luc’s going to move over to the podium and do a presentation on pictures and some of his work and some aspects of his career that are not necessarily encapsulated in the exhibition we have on view at the DMA. And he’ll spend about 15 minutes on that then we’ll return over here. He and I will have a short dialog, and then we’re going to open up the floor to you for conversation and questions because I think that you’ll find what he has to say provocative, thought provoking and really will challenge some of your assumptions about what you may think you’ve seen in the work.
    [Show full text]
  • Sci Fi Genre Ideas
    YEARs9-11 (All books, apart from those highlighted, are stocked in the school library for you to borrow.) The Hitchhikers Guide to the Galaxy. It's an ordinary Thursday lunchtime for Arthur Dent until his house gets demolished. The Earth follows shortly afterwards to make way for a new hyperspace express route, and his best friend has just announced that he's an alien. At this moment, they're hurtling through space with nothing but their towels and an innocuous-looking book inscribed, in large friendly letters, with the words: DON'T PANIC. The weekend has only just begun . 1st in the 8 book Hitchhikers Guide to the Galaxy series. Ender’s Game by Orson Scott Card. THE HUMAN RACE FACES ANNIHILATION An alien threat is on the horizon, ready to strike. And if humanity is to be defended, the government must create the greatest military commander in history. The brilliant young Ender Wiggin is their last hope. But first he must survive the rigours of a brutal military training program - to prove that he can be the leader of all leaders. A saviour for mankind must be produced, through whatever means possible. But are they creating a hero or a monster? 1st in the 5 book Ender’s Game Series Eve and Adam by Michael Grant and Katherine Applegate. In the beginning, there was an apple— And then there was a car crash, a horrible injury, and a hospital. But before Evening Spiker’s head clears a strange boy named Solo is rushing her to her mother’s research facility.
    [Show full text]
  • “How Do We Fit?”
    “How Do We Fit?” For further information contact Alice Lewis Mulberry Middle School 500 S.E. 9th Ave., Mulberry, FL 33860 (863) 701-1066 • [email protected] 2005-2006 IDEA CATALOG OF EXCELLENCE PROGRAM OVERVIEW OVERALL VALUE – applying technology to maximize student learning. Teachers: How Do We Fit was developed to ISTE/NETS OBJECTIVES a facilitate technology-enhanced help students understand the TEACHER: experiences that address content importance of relationships. By I. ISTE Standard II - standards and student technology beginning with functions of basic standards. organelles and ending with a habitat, PLANNING AND DESIGNING students were able to see the LEARNING ENVIRONMENTS AND b use technology to support learner- connections from beginning to end. EXPERIENCES. centered strategies that address the diverse needs of students. After studying basic cell structure Teachers plan and design effective and function, students created 3- learning environments and experiences c apply technology to develop dimentional models, PowerPoint, or supported by technology. Teachers: students’ higher order skills and written and oral reports. Mr. Bones, the A design developmentally appropriate creativity. class skeleton, was then equipped with learning opportunities that apply d manage student learning activities organs made from tissue and wax paper. technology-enhanced instructional in a technology-enhanced environ- strategies to support the diverse The unit culminated with recognition ment. needs of learners. of communities within our school habitat III. ISTE Standard IV - and the affect that our “human B apply current research on teaching ASSESSMENT & EVALUATION. population” had on other populations and learning with technology when within our school community. planning learning environments and Teachers apply technology to facilitate experiences.
    [Show full text]