Developing understanding and fluency with numbers

This project will provide support for teachers who have solid understanding of math as the goal for the students in their classrooms. Using the district adopted course of study as the foundation, this project will provide a curriculum supplement for the first grade

‘Small trip’ : looking for the natural voice

A thesis submitted to the University of Luton, in partial fulfilment of the requirements for the degree of MA by Research in Creative WritingThis experimental short novel and thesis examines the techniques used by Jack Kerouac and Alan Bissett, to create a 'natural voice' and my efforts to achieve similar effects. In 'Small Trip' I explore the techniques and methods Kerouac used when writing his book, On the Road experimenting with syntactic drive, stream of consciousness and 'spontaneous prose' styling. I wanted to see how the natural voice is supported through the characterisation and setting of the story. In addition I studied experimental typographical techniques from Alan Bissett and B.S. Johnson and used Bissett's typographical and syntactic techniques to add energy and intensity to the narrators 'voice'. I examine the role of the narrator, the use of autobiographical material within this genre, and discuss the way in which the writer's 'self-mining' contributes to the natural voice. I found Kerouac's method of writing continuously without a formal plan was an effective device to generate a consistent 'natural voice' but caused problems with plot development and range within the characters

Patterning the Past: History as Ideology in Modern Southern Fiction.

In this study, I analyze the modes of historical representation in works by Robert Penn Warren, William Faulkner, Eudora Welty and Ellen Douglas. In the chapter on All the King\u27s Men, a novel that exemplifies the masculine historical perspective of traditional Southern literature, I show how Warren defines history as a process moving toward a predetermined end and then structures the narrative so that the women characters are constantly positioned outside that definition. In the second chapter, I begin with Eudora Welty\u27s The Robber Bridegroom, examining the ways she alters the traditional story line of American history by drawing attention to alterity within that history. Then follows a reading of her autobiographical novel, The Optimist\u27s Daughter, in which she foregrounds the fictive, constructed nature of history, this time focusing on personal rather than national history. Ellen Douglas, the next author studied here, uses radical narrative strategies to disrupt the masculine tradition of Southern literature, and her novel A Lifetime Burning exemplifies what I am calling a feminine Southern literature. Corinne, the narrator, struggles between deference to masculine narrative assumptions and her own, different impulses to subvert those assumptions. The text she finally authors articulates the repressed feminine voice so consistently silenced in masculine versions of history. William Faulkner also uses radical narrative strategies in Absalom, Absalom!, the final novel studied here; however, in spite of the novel\u27s apparently nonlinear, polyvocal structure, its feminine voices are ultimately subsumed and silenced by the masculine voice of its author, who, like Warren, encodes a defensive patriarchal ideology in his fiction. Although throughout this study I point out differences between masculine and feminine forms of historicizing, I do not define these as absolutely antithetical categories but as concrete tendencies in the writing of Southern men and women. I do not exclude, for example, the possibility of feminine history in the writing of a man or masculine in the writing of a woman