Foreword |
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xi | |
Acknowledgments |
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xv | |
Section One: Critically Oriented Drama Education Shapes Growth |
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1 | (66) |
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Chapter 1 Stepping From Temporary Stages to Temporary Stages II |
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3 | (18) |
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Rethinking Power Relationships in the Theatre Classroom and Rehearsal |
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6 | (1) |
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6 | (2) |
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Promoting Critical Consciousness: The CODE Classroom and Rehearsal |
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8 | (2) |
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National Trends Demonstrate Need for Critical Investigation of Secondary Theatre Education |
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10 | (1) |
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Seven Guiding Concepts of Temporary Stages II |
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11 | (7) |
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11 | (1) |
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12 | (1) |
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13 | (1) |
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Incomplete Understandings |
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14 | (1) |
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14 | (1) |
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15 | (2) |
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17 | (1) |
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The Adventure of Teaching Theatre for Self-Agency and Critical Consciousness |
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18 | (3) |
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Chapter 2 Characterizing CODE Classrooms and Rehearsal Spaces |
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21 | (8) |
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Self-Reflection: The Gateway to Critically Conscious Classrooms and Rehearsals |
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24 | (1) |
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Qualities of a CODE Classroom |
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24 | (2) |
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Positioning the Listening Ear |
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26 | (1) |
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Reflection as Evaluation: What About Grades? |
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27 | (2) |
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Chapter 3 Balancing Passion and Censorship |
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29 | (18) |
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Promoting Critical Consciousness Through Drama/Theatre Education |
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31 | (3) |
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Daily Demands and Tradition Hinder Change |
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34 | (2) |
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Language and Homosexuality Prompt Censorship |
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36 | (3) |
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Plays With Themes of War Prompt Censorship |
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39 | (2) |
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Treading the Divides of Partial Understanding |
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41 | (3) |
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Personal Commitment to the Social Cause Contributes Conditions for Change |
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44 | (3) |
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Chapter 4 Discovering CODE in Musical Theatre |
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47 | (20) |
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Critical Directing Challenges Conventional Hierarchies in Musical Theatre |
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49 | (16) |
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Challenge #1 Asking "Where Are the Stars?" |
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52 | (1) |
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Challenge #2 Involving Students in All Aspects of Artistry and Production to Strengthen the Whole |
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53 | (1) |
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Challenge #3 Securing Confidence in Collaborative Leadership |
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54 | (1) |
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Challenge #4 Steering Away from Stereotypes by Designing Rehearsals that Foster Critical Consciousness |
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55 | (2) |
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Challenge #5 Questioning Assumptions of Privilege: Dramaturgy Unveils Identity |
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57 | (4) |
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Challenge #6 Contemplating Complexities of Cultural Border-Crossing |
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61 | (4) |
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65 | (2) |
Section Two: Critically Oriented Drama Education Alters Traditional Power Dynamics |
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67 | (66) |
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Chapter 5 Examining Power Dynamics in a CODE Theatre Design Classroom |
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69 | (20) |
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Perpetuating Dominance In Spite of Principles |
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71 | (3) |
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72 | (2) |
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Resisting Authority and Authorizing Resistance: Students and Teachers Negotiate Control |
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74 | (1) |
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Whose Vision Is This? On Artistry and Compromise |
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75 | (4) |
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Co-Authored Vision: The Winter's Tale |
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75 | (2) |
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Teacher's Vision: Much Ado About Nothing |
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77 | (2) |
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Artistic Compromise and Compromising Artistry |
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79 | (5) |
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79 | (2) |
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The Winter's Tale of Trees |
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81 | (2) |
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A Midsummer Night's Nightmare |
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83 | (1) |
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Binaries Blend When Students Exercise Power |
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84 | (5) |
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The Teacher/Student Binary |
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84 | (1) |
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85 | (1) |
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The Leader/Follower Binary |
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86 | (3) |
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Chapter 6 Emerging Conflict, Paradox, and Social Change When Students Exercise Power |
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89 | (12) |
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Multiple Perspectives Fuel Power Struggles |
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91 | (2) |
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Paradox: Democratic Teacher and Director Authority |
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93 | (1) |
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Conflict Arises from Paradox: Democratic Teacher or Authoritative Director? |
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94 | (1) |
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Social Change Evolves from Conflict: Democratic Teaching Strengthens the Co-curricular Theatre Program |
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95 | (2) |
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Conventional Mindsets Rear Heads When New Ideas Depart From Tradition |
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97 | (4) |
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Chapter 7 Shaping an Ensemble Approach to Casting Understudies with a Mindset for CODE |
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101 | (14) |
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Critical Partnership versus Conventional Substitution |
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103 | (2) |
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Conditions for Understudy/Principal Critical Partnership |
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105 | (10) |
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Technique #1 Play Selection |
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106 | (1) |
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106 | (2) |
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108 | (2) |
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Technique #4 Ensemble Roles |
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110 | (1) |
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Technique #5 Ensemble Improvisations and Workshops |
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111 | (1) |
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Technique #6 Switching Out |
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112 | (1) |
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113 | (2) |
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Chapter 8 Adjusting to a New Theatre with Critical Awareness |
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115 | (18) |
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Adjusting With Unease to a Place of Privilege |
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118 | (3) |
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Effective Power Dynamics Manage Transition into a Performing Arts Center |
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121 | (1) |
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Scheduling Activities in the New Performing Arts Center: Feminist Leadership Involves All |
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122 | (1) |
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Top-Down Management Seeps In |
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123 | (1) |
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The Politics of Danger: Technology Presents New Cautions |
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124 | (2) |
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Evaluating Co-Governance in a Technological Environment |
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126 | (2) |
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A State-of-the-Art Space: The Creativity/Technology Binary |
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128 | (1) |
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Technology and the Spirit of Theatre |
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129 | (1) |
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Technology: The Science/Theatre Binary |
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130 | (1) |
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Performing Arts Center-Turned-Classroom Engages Science Students in a Fresh Way |
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131 | (2) |
Section Three: Critically Oriented Drama Education Examines Controversy and Oppression |
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133 | (61) |
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Chapter 9 Establishing a Foundation for Examining Tough Issues |
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135 | (10) |
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Evolution of Original Scripts with Controversial Themes |
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138 | (1) |
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Leading Discussions of Controversial Subject Matter |
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139 | (3) |
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Exploring What Works...And What Doesn't: Sometimes Traditional Teaching Methods Are Best |
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142 | (1) |
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Testimonies Contribute Substance to Research |
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143 | (2) |
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Chapter 10 Unfolding Ongoing Reflective Practice Through Five CODE Strategies |
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145 | (20) |
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Students Resist Teacher-Fed Script |
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147 | (1) |
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CODE Conditions in a Classroom Support Student-Written Scenes on Hot Topics |
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148 | (17) |
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Strategy #1 The Spoonful of Sugar-Incorporate Satire to Advance Serious Work |
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149 | (2) |
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Scene 1 "The Best Drunk Driver" |
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150 | (1) |
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150 | (1) |
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Strategy #2 Invite Self-Disclosure |
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151 | (2) |
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Strategy #3 Build Trust to Raise Social Consciousness and Express Emotion Honestly |
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153 | (4) |
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Strategy #4 Integrate Teacher Voice to Model Vulnerability as Strength |
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157 | (2) |
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Strategy #5 Involve Tempered Teacher Authority as Process Evolves into Product |
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159 | (6) |
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Chapter 11 Investigating Student and Teacher Identity |
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165 | (16) |
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Positioning Student Identity in the Classroom |
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167 | (1) |
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Positioning Teacher Identity in Rehearsal |
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168 | (3) |
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The CODE Classroom: A "Safe Space" With Consequences |
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171 | (2) |
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Seeing the Opposite Reveals Identity |
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173 | (1) |
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Strong Critical Classroom Experience is an Ongoing Process |
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174 | (2) |
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Unveiling Whiteness in a "Safe Space With Consequences" |
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176 | (2) |
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Positioning Whiteness in Performance When the Joke is on Who? |
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178 | (3) |
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Chapter 12 Preparing for the Audience |
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181 | (13) |
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Working Through the Audience "Fear Factor" |
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183 | (3) |
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When Emotions Aren't Enough: Integrating Facts for Healthy Digestion of Controversial Material |
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186 | (4) |
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The Responsibilities of Democratic Teaching Include Preparing for the Audience |
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190 | (4) |
Postscript |
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194 | (3) |
Epilogue |
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197 | (6) |
Works Cited |
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203 | (10) |
Index |
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213 | |