Reducing the Risks: Reflections on Bridging Home and School Communication

Recent scholarship on literacy development has focused on studying young at-risk learners (Allen and Mason, 1989; Clay, 1982; Taylor and Dorsey-Gaines, 1988; Swap, 1990; Teale and Sulzby, 1986). As kindergarten and first grade teachers we worried about many of our students whose families were not in the cultural mainstream and whose literacy backgrounds appeared different from those of our more successful children. As we thought about how we might better teach our children we began to consider how we could improve our communication with the children\u27s parents to begin to build a partner ship between home and school literacy experiences. We wanted to be supportive and invitational with the parents. We hoped to provide the parents with information which they could use in helping their children interact with print, and, importantly, we wanted to learn from the parents. We valued their input and welcomed information that they could provide which would allow us to build our program to sup port the home. We wished to begin to build a two way bridge that would connect home and school literacy practice

Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London

The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism