New Ways of Thinking about Assessment and Curriculum.

Beth K. Berghoff
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Abstract

Almost every first grade has at least one Peter, one youngster with thick glasses halfway down his nose who comes to school wearing shoes without socks. He is a likeable guy, but he's always a little lost. His pencil is broken and chewed so that it barely writes, and he can't find his book even though it is in the pile of papers and books he is rummaging through. Peter is the child who delivers the important note from his mother at the end of the day instead of in the morning and who misses his bus because he detoured through the gym. The most troubling thing about Peter is that he is not making much progress toward learning to read and write. He has all the characteristics that mark him as being one of those children who will struggle throughout his school career. The story that follows is Peter's story, but it is also a story about new visions of assessment embedded in collaborative teaching and multiple ways of knowing curriculum. This new view of assessment is predicated on an aesthetic view of literacy, a view that embraces the notion that literacy develops as individuals make sense of their lived experience using the full range of human meaning-making systems. From this perspective, print literacy is. not a separate strand of knowing but rather a communicative skill that develops simultaneously with other knowledge and skills. Reading is thought of as a larger process than just making meaning of print. It is a process that also goes on when an individual interprets a piece of art, watches a drama, or views a film (Berghoff, 1998). But I am getting ahead of the story. Let me back up and start again by saying that Peter's story comes from the most powerful experience I have had as an elementary teacher. Like many special educators, I was invited to collaborate with a general education classroom teacher, Susan Hamilton. Susan and I had met in a college class that challenged us to read and synthesize current research and to rethink some of our basic assumptions about literacy and curriculum. A few months after that experience, we decided to spend a year working together in Susan's urban first-grade classroom to develop curriculum that reflected the new ideas developing in the language education field and to experiment with new ways of thinking about assessment. It is that year that I am writing about.
评价与课程的新思路。
几乎每个一年级都至少有一个彼得,一个戴着厚厚眼镜的孩子,穿着没有袜子的鞋子来学校。他是个讨人喜欢的人,但他总是有点迷失方向。他的铅笔坏了,被咬得几乎写不出来,即使在他翻找的一堆纸和书里,他也找不到他的书。彼得是一个在一天结束时而不是早上从母亲那里传递重要信息的孩子,他因为绕道健身房而错过了公交车。彼得最令人不安的是,他在学习读写方面没有取得多大进展。他拥有所有的特征,这些特征标志着他是那些将在整个学校生涯中挣扎的孩子之一。接下来的故事是彼得的故事,但它也是一个关于合作教学中嵌入的新的评估愿景和了解课程的多种方式的故事。这种新的评估观是以审美的识字观为基础的,这种观点包含了这样一种观念,即识字是随着个人使用全方位的人类意义制造系统来理解他们的生活经历而发展起来的。从这个角度来看,印刷素养不是一种单独的知识,而是一种与其他知识和技能同时发展的沟通技能。阅读被认为是一个更大的过程,而不仅仅是创造印刷品的意义。当一个人解读一件艺术品、观看一部戏剧或观看一部电影时,这也是一个持续的过程(Berghoff,1998)。但我正在走在故事的前面。让我回过头来,重新开始,说彼得的故事来自我作为一名小学教师的最有力的经历。像许多特殊教育工作者一样,我受邀与普通教育课堂教师苏珊·汉密尔顿合作。苏珊和我是在一个大学课堂上认识的,这个课堂要求我们阅读和综合当前的研究,并重新思考我们对识字和课程的一些基本假设。在那次经历几个月后,我们决定花一年的时间在苏珊的城市一年级课堂上合作,制定反映语言教育领域新思想的课程,并尝试新的评估思维方式。我写的就是那一年。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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