By Simon Price, Peter Thonemann
To a rare volume we proceed to stay within the shadow of the classical international. At each point from languages to calendars to political platforms, we're the descendants of a 'classical Europe', utilizing frames of reference created via old Mediterranean cultures. As this always clean and dazzling new ebook makes transparent, notwithstanding, this was once no much less actual for the population of these classical civilizations themselves, whose myths, background, and constructions have been an problematic engagement with an already previous and respected earlier choked with nice leaders and writers, emigrations and battles. certainly, a lot of the explanation we all know rather a lot concerning the classical previous is the obsessive significance it held for therefore many generations of Greeks and Romans, who interpreted and reinterpreted their altering casts of heroes and villains. Figures corresponding to Alexander the good and Augustus Caesar loom huge in our imaginations at the present time, yet they have been themselves eager about what had preceded them. "The beginning of Classical Europe" is hence either an authoritative historical past, and likewise a desirable try to convey how our personal altering values and pursuits have formed our emotions approximately an period that is by way of a few measures very distant yet by means of others startlingly shut.
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Extra info for The Birth of Classical Europe: A History from Troy to Augustine
Arguing that research on writers' problem finding can contribute to the development of a generalizable theory of creativity, Flower and Hayes assert that "if we can describe how a person represents his own problem in the act of writing, we will be describing a part of what makes a writer 'creative'" ("Cognition of Discovery" 30). In particular, Flower and Hayes seek to demonstrate that problem finding is a creative cognitive activity common to both alphabetic writing and fine art: A recent long-range study of development of creative skill in fine art [Getzels and Csikszentmihalyi] showed some striking parallels between successful artists and our expert writers .
Perl; Sommers)? I recognize that I may seem a bit outdated in attempting to revive the 1970s and 1980s research of a group of scholars variously associated with the "process movement" in composition studies. 2 After all, many of the core practices of writing teachers (multiple drafts, peer response, invention activities, contextual grammar instruction, formative feedback) continue to reveal the enduring influence of the process theories developed in the 1970s and early 1980s. Thus, as we begin to redefine the landscape of composition to incorporate digital multimodal production, it makes sense to return to these key theories to see how they might inform this shift.
In Berthoff's view, teachers should build upon the knowledge of composing that students already bring with them to the classroom. If a student, for example, has already come to appreciate the fact that she could generate ideas through the process of sculpting, then that student might be encouraged to transfer her understanding of sculpting as a process of discovery to considering writing as a process of discovery. By focusing the teaching of composition on harnessing the "active mind" of the student rather on evaluating the formal correctness of alphabetic products, Berthoff ultimately seeks to develop a composition pedagogy that could enable students to draw connections among—and develop a vocabulary for—all the varied ways they make meaning in their lives.