
The Art of Foreign Language Teaching
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Reviews of the 1st edition
I believe that the book will become a standard reference point for all those who, against the current tide of 'scientific', objectives-based, test-oriented, control-obsessed, sterile approaches to language teaching, continue to believe that language teaching is indeed an art, and a joyful art at that.
Prof. Dr. Alan Maley in English Language Teaching Journal
Peter Lutzker is a major educational thinker and has spent half an earthly span living towards this major book. (...) I have placed Peter's book on my shelves next to those of Rogers, Curran, Dufeu and Stevick.
Mario Rinvolucri in Humanising Language Teaching
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Content
- Intro
- Contents
- Acknowledgements
- Introduction to the 2nd Edition
- i? Relevant Developments in Foreign Language Teacher Education and Language Learning
- ii? ?Performative-Artistic Approaches within Traditional Frameworks
- Introduction to the 1st Edition
- Part I: Teaching as an Art
- 1? ?Concepts of Teaching
- 1.1? ?The Models of Science and Business
- 1.2? ?The Model of Teaching as an Art
- 1.2.1? ?The Origins of Teaching as an Art: The Sophists
- 1.2.2? ?Socrates
- 1.2.3? ?Plato
- 1.2.4? ?European Humanism and the Art of Teaching
- 1.2.5? ?Schiller: Aesthetic Education
- 1.2.6? ?Developments in the 19th and 20th Century
- 1.2.7? ?The Teacher as Artist - Die Kunsterziehungsbewegung
- 1.2.8? ? The Teacher as Artist - Waldorf Education
- 1.2.9? ?Reform Movements - Overview
- 1.2.10? ?The Teacher as Artist: Later Developments in Germany
- 1.3? ?Anglo-American Traditions - William James
- 1.3.1? ?Art and Education - John Dewey
- 1.3.2? ?The Teacher as Researcher - Lawrence Stenhouse
- 1.3.3? ?The Concept of Teaching as a Performing Art
- 1.3.4? ?Teaching as a Performing Art - Dillon and Travers
- 1.3.5? ?L. Rubin - Artistry in Teaching
- 1.3.6? ?Relevance for Teacher Training
- 1.3.7? ?Seymour Sarason - Teaching as a Performing Art
- 1.3.8? ? Teaching as Improvisational Performance - R. K. Sawyer
- 1.4? ?Conclusions
- 2? ?In-Service Language Teacher Development: Goals and Concepts
- 2.1? ?In-Service Courses for Language Teachers - Rationale and Forms
- 2.2? ?Expectations and Realities
- 2.3? ?Goals of Language Teacher Development
- 2.4? ?Affecting Teacher Change in In-Service Courses
- 2.5? ?In-Service Development and Burnout
- 2.6? ?Conclusions
- 3? ?Steiner Schools' In-Service Training for English Teachers: The English Week
- 3.1? ?The Concept of the English Week
- 3.2? ?Forms and Principles of the Drama Workshops
- 3.3? ?Literature in Performance: A Drama Workshop at the English Week
- 4? ?An Empirical Study of Clowning Courses with Vivian Gladwell - Research Design
- 4.1? ?The Choice of the Clowning Courses
- 4.2? ?Research Goals
- 4.3? ?Description of the Courses: Observation and Participation
- 4.4? ?Interviews
- 4.5? ?Research Inquiry and Data Triangulation
- 4.6? ?Research Inquiry - 'Thick Description'
- 4.7? ?Internal Validity
- 4.8? ?External Validity: The Representative Nature of the Data
- 4.9? ?The Initial Hypothesis
- 5? ?Discovering the Clown Within: Background to Clowning Courses with Vivian Gladwell
- 5.1? ?Background: Vivian Gladwell and Bataclown
- 5.2? ?Bataclown and Carl Rogers
- 5.3? ?Clowning in the Social Professions
- 5.4? ?Clowning and Deep Ecology
- 6? ?Clowning Workshops for Language Teachers with Vivian Gladwell
- 6.1? ?The General Structure of the Workshops
- 6.2? ?The Warm-Ups
- 6.2.1? ?The Opening Warm-Ups
- 6.2.2? ?Breath
- 6.2.3? ?Massage
- 6.2.4? ?The Warm-Ups as an Inner and Group Process
- 6.3? ?Games and Play
- 6.3.1? ?Games of Imitation and Mirroring
- 6.3.2? ?Games of Playful Confusion
- 6.3.3? ?Games of Listening and Perceiving
- 6.3.4? ?Word Games: Creating Stories
- 6.3.5? ?The End of the Second Phase
- 6.4? ?The First Improvisations
- 6.4.1? ?An Introductory Exercise: Entering the Stage and Encountering an Object
- 6.4.2? ?The Solo-Improvisation
- 6.4.3? ?Feedback Sessions after the Improvisations
- 6.4.4? ?Partner Improvisations
- 6.4.5? ?Exercises in Groups of Three or More
- 6.5? ?The End of the Workshops
- 7? ?Responses to the Research Inquiry
- 7.1? ?Feedback Responses: Breakdown According to Course
- 7.1.1? ?Breakdown of Responses According to Gender
- 7.1.2? ?Breakdown of Responses According to Country
- 7.1.3? ?Summary
- 7.2? ?The Participants' Responses
- 7.2.1? ?Expectations
- 7.2.2? ?Warm-Ups and Games
- 7.2.3? ?The Element of Play
- 7.2.4? ? The First Improvisations: Fears and Release
- 7.2.5? ? "Nothing can go Wrong"
- 7.2.6? ?The Breakthroughs: "You become more alive."
- 7.3? ?Personal Developments and their Consequences
- 7.3.1? ?Growth and Discovery
- 7.3.2? ?"Living in the Moment"
- 7.3.3? ? Empathy and Perception
- 7.3.4? ? The Embodiment of Language
- 7.3.5? ?Breaking Routines
- 8? ?Discussion of the Participants' Responses
- 8.1? ?Clowning in the Context of In-Service Teacher Development
- 8.2? ?Evaluating the Initial Hypothesis
- 8.3? ?Warm-Ups in Artistic Work and Clowning
- 8.3.1? ?The Intermediary 'Space' of Play
- 8.3.2? ?Motor Attitude and Behavior: Judgements of the Muscles
- 8.3.3? ?Proprioception and Communication
- 8.3.4? ?Consequences for In-Service Development
- 8.3.5? ?Related Developments in In-Service Language Teacher Training
- 8.4? ?The Improvisations /Experiencing the 'Empty Space'
- 8.4.1? ?Genuineness in Clowning and Teaching
- 8.4.2? ?Genuineness and Teacher Change
- 8.4.3? ?The Art of Improvisation and the 'Here and Now'
- 8.4.4? ?Developing Receptivity and Acceptance in Clowning and Teaching
- 8.4.5? ?Sympathy and Caring in Clowning and Teaching
- 8.4.6? ?Developing Awareness in the Classroom: Perspectives in Teacher Education
- 8.5? ?Breaking Routines, Avoiding Burnout and 'Learning to Forget'
- 8.5.1? ?The Practical Knowledge of Teachers (Erfahrungswissen) and Affecting Teacher Change
- 8.5.2? ?Affecting Change and Confronting Insecurities
- 8.6? ?In-Service Development in a Hermeneutic Context
- 8.6.1? ?Parallels to the Clowning Workshops: The Role of Stillness
- 8.6.2? ?'Not Knowing' in Clowning and Hermeneutics
- 8.6.3? ?Contrasts and Distinctions between the Courses
- 8.7? ?Parker Palmer's Courage to Teach Retreats
- 8.7.1? ?Parallels to the Clowning Workshops: Personal Knowledge and 'Objective' Knowledge
- 8.7.2? ?Contrasts and Parallels
- 8.8? ?Maxine Greene and The Lincoln Center Institute
- 8.9? ?Learning the Art of Clowning and the Art of Teaching
- 8.9.1? ?Attaining Artistry in the Performing Arts
- 8.9.2? ?Artistry and Effectiveness in Teaching/Two Views of the World
- 8.10? ?Clowning, Teaching and the Hermeneutic Circle of Learning
- 9? ?Conclusions
- 9.1? ?The Initial Hypothesis
- 9.2? ?The Meaning of the Clowning Courses for the Participants
- 9.2.1? ?The Sensory-Affective Dimension of Clowning
- 9.2.2? ?Play and Regeneration
- 9.2.3? ?Clowning and Acceptance
- 9.2.4? ?Attentiveness and Receptivity
- 9.2.5? ?Personal Growth and Development
- 9.2.6? ?The Parts and the Whole
- Part II: Dramatic Processes and Foreign LanguageLearning
- 10? ?Dramatic Processes and Language Teaching
- 10.1? ?Historical Overview
- ?10.2 Related Developments in the 20th Century: Drama in Education
- 10.3? ?Drama in Modern Foreign Language Teaching
- 10.3.1? ?Dramatic Techniques: Maley and Duff
- 10.3.2? ?Towards a Pedagogy of Being: The Work of Bernard Dufeu
- 10.3.3? ?Im Haus der Sprache wohnen: Ruth Huber's Approach to Theatre in Language Learning
- 10.3.4? ?Drama in EFL School Classrooms
- 10.4? ?Research on Drama-Based Approaches to Foreign Language Learning
- 11? ?Research Methods
- 11.1? ?Case Studies in Educational Research
- 11.1.1? ?Case Studies and the Teacher as Researcher
- 11.1.2? ?Relevant Distinctions between Practitioner Research and this Study
- 11.2? ?Research Design for the Study of the Class Play/The Conceptual Framework
- 11.3? ?The Initial Hypothesis
- 11.3.1? ?Research Questions
- 11.4? ?Relevant Methodological Considerations
- 11.5? ?Collecting "Thick" Research Data - Research Inquiries
- 11.5.1? ?Interviews with Groups of Pupils
- 11.5.2? ?Parent's Perspectives
- 11.5.3? ?Teacher's Perspectives
- 11.5.4? ?Field Notes - Teacher's Log
- 11.5.5? ?Videos of Rehearsals and Performances
- 11.6? ?Data Triangulation and Method Triangulation
- 12? ?The Class Play in the 10th Grade 2004-2005: Framework and Circumstances
- 12.1? ?Class Plays in the Düsseldorf Steiner School
- 12.2? ?The Tenth Grade Play in the Year 2004-2005: My Relation to the Class and the Background of the Class
- 12.3? ?The Planning of the School Year 2004-2005 and the Choice of the Play
- 12.4? ?Choosing the Roles/Casting
- 12.5? ?Setting up the Rehearsal Timetable
- 12.6? ?Added Responsibilities
- 13? ?The Pupils' Perspectives: A Cross-Sectional Examination of the Research Inquiries
- 13.1? ?The Pupils' Expectations
- 13.1.1? ?The Success of the Play
- 13.1.2? ?Enjoying Work and Avoiding Stress
- 13.1.3? ?Working Together and Coming Together
- 13.1.4? ?Pupils' Concerns
- 13.1.5? ?Personal Development and Goals
- 13.2? ?Discussion of the Initial Research Inquiry
- 13.3? ?The First Rehearsal Phase: Second Research Inquiry
- 13.3.1? ?Learning the Text and Exploring the Role
- 13.3.2? ?Pupils' Comments on the Rehearsals
- 13.3.3? ?The Development of Language Capabilities
- 13.3.4? ?Complaints and The Rehearsal Organization and Schedule
- 13.4? ?Discussion of the Second Research Inquiry
- 13.5? ?In the Middle of the Rehearsal Process: Research Inquiry 3
- 13.5.1? ?The Difficulties of "Having to Imagine Everything"
- 13.5.2? ?Advice to the Director
- 13.5.3? ?Entering into their Roles
- 13.5.4? ?Rehearsals with Students as Directors
- 13.5.5? ?The Rehearsal Organization
- 13.5.6? ?Reflections on Their Own Work
- 13.6? ?Discussion of the Third Research Inquiry
- 13.7? ?The Final Phases - Fourth Research Inquiry
- 13.7.1? ?"I particularly enjoyed the last weeks of rehearsals"
- 13.7.2? ?Becoming the Character
- 13.7.3? ?The Ups and Downs
- 13.8? ?Discussion of the Final Phase
- 13.9? ?The Performances: The Final Research Inquiry
- 13.9.1? ?Dealing with Stage Fright
- 13.9.2? ?The Experience of Performance
- 13.10? ?Discussion
- 13.11? ?Final Research Inquiry: The Pupils' Reflections on the Entire Process
- 13.11.1? ?The Effects on Language Abilities
- 13.11.2? ?Overcoming Doubts
- 13.11.3? ?Acting their Roles.
- 13.11.4? ?Assuming Responsibilities
- 13.11.5? ?A New Sense of Community
- 13.11.6? ?Overview of the Final Research Inquiry
- 13.12? ?The Growth of Language Capabilities
- 13.13? ?Becoming the Character
- 13.14? ?The Content of The Diary of Anne Frank
- 13.15? ?The Development of Artistic Discipline
- 13.16? ?Final Remarks
- 14? ?Five In-Depth Studies
- 14.1? ?Jorinde (Mrs. van Daan in Act I)
- Conclusions
- 14.2? ?Lieselotte (Mrs. Frank in Act II)
- Conclusions
- 14.3? ?Fabian (Mr. Krahler in Act I)
- Conclusions
- 14.4? ?Martin B (Mr. Frank in Act I)
- Conclusions
- 14.5? ?Amelie (Anne Frank in Act I)
- Conclusions
- 15? ?Rehearsing and Performing a Play in a Foreign Language: Discussion
- 15.1? ?Adolescence as a 'Critical Period'
- 15.2? ?Parallel Developments in the Critical Period
- 15.3? ?Adolescence as a 'Critical Period': Further Perspectives
- 15.4? ?A Search for Meaning: Artistic Processes in Adolescence
- 15.5? ?The Role and Significance of the Warm-Ups
- ?15.6 Rehearsing: The Sensory and Imaginative Experience of Language
- 15.7? ? Entering into the Role: Finding the 'Target'
- 15.8? ?The Atmosphere of the Rehearsals
- 15.9? ?The Zone of Proximal Development
- 15.10? ?Establishing a Community of Learners
- 15.11? ?Rehearsals as an Intuitive Mode of Learning
- 15.12? ?Multiple Intelligences and Drama in Foreign Language Learning
- 15.13? ?Performance and the Externalization of Learning
- 16? ?Rehearsing and Performing the Class Play: Conclusions
- 16.1? ?Educational Drama and Learning
- 16.2? ?The Education of Emotions
- Individualized Learning: Attentiveness, Commitment and Certainty
- 16.3.1? ?The Development of Attentiveness and Perception
- 16.3.2? ?The Role of Commitment (Verbindlichkeit) in Self-Directed Learning
- 16.3.3? ?The Pre-Decisional Phase
- 16.3.4? ?The Pre-Action Phase
- 16.3.5? ?The Phase of Direct Action
- 16.3.6? ?The Post-Action Phase
- 16.3.7? ?Commitment and Education
- 16.3.8? ?The Experience of Certainty [Evidenzerfahrung]
- 16.3.9? ?Evidenzerfahrung in Learning Processes
- 16.3.10? ?Evidenzerfahrung in Drama
- 16.3.11? ?Evidenzerfahrung and Flow
- 16.3.12? ?Individualized Learning through Performance - Conclusions
- 16.4? ?Drama, Transformation and Personal Knowledge
- 16.4.1? ?Educational Drama and Transformation
- 16.4.2? ?Personal and Tacit Knowledge
- 16.4.3? ?Drama and Tacit Knowledge
- 16.4.4? ?Tacit Knowledge and Motor Attitude
- 16.5? ?Art and Experience in the Critical Period of Adolescence
- 17? The Art of Foreign Language Teaching and Artistic Processes in Language Learning
- 17.1? ?Educational Research and Educational Change
- 17.2? ?Attunement and Receptivity
- 17.3? ? Knowledge in Action
- 17.4? ? Intuitive Processes - Giving and Receiving
- 17.5? ?Testing Competences or Personal Experience and Growth
- 17.6? ?Literature and Foreign Language Learning
- Appendix
- 18? ?Teaching as an Art in a Digital Age
- 18.1? ?Education after the Covid-19 Pandemic
- PISA: The Standardization and Internationalization of Education
- 18.3? ?New Perspectives and Alternative Paradigms
- 18.3.1? ?John Hattie and the Role of the Teacher in Successful Learning
- 18.3.2? ?Hartmut Rosa and Resonance in Education
- 18.3.3? ?Resonance, Attunement and Bodily Experience
- 18.3.4? ?Max van Manen and Pedagogical Tact
- 18.4? ?Digital Learning and the Future of Education
- 18.4.1? ?The Role of a Pedagogical Atmosphere
- 18.4.2? ?The "Pedagogical Moment" and Online Learning
- 18.4.3? ?The Effects of Covid-19 on Children, Adolescents and College Students
- 18.5? ?Seeing and Being Seen
- Bibliography
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