Intro; Acknowledgements; Table of Contents; Part I: The Art of Foreign Language Teaching -- Introduction; 1. Concepts of Teaching; 1.1 Introduction; 1.2 The Models of Science and Business; 1.3 The Model of Teaching as an Art; 1.3.1 The Origins of Teaching as an Art: The Sophists; 1.3.2 Socrates; 1.3.3 Plato; 1.3.4 European Humanism and the Art of Teaching; 1.3.5 Schiller: Aesthetic Education; 1.3.6 Developments in the 19th Century; 1.3.7 The Teacher as Artist/Die Kunsterziehungsbewegung; 1.3.8. The Teacher as Artist /Waldorf Education; 1.3.9 Reform Movements/Overview
1.3.10 The Teacher as Artist/Later Developments in Germany1.4 Anglo-American Traditions/William James; 1.4.1 Art and Education/John Dewey; 1.4.2 The Teacher as Researcher/Lawrence Stenhouse; 1.4.3 The Scientific Basis of the Art of Teaching/ N.L. Gage; 1.4.4 The Concept of Teaching as a Performing Art; 1.4.5 Teaching as a Performing Art/Dillon and Travers; 1.4.6 Summary; 1.4.7 L. Rubin/Artistry in Teaching; 1.4.8 Relevance for Teacher Training; 1.4.9 Rubinâ#x80;#x99;s â#x80;#x9C;Experimentâ#x80;#x9D;; 1.4.10 Summary; 1.4.11 Seymour Sarason/Teaching as a Performing Art; 1.4.12 Summary
1.4.13 The Teacher as Artist/Developments in the 21st Century1.4.14 Teaching as Improvisational Performance/R. K. Sawyer; 1.4.15 Summary; 1.5 Conclusions; 2. In-Service Language Teacher Development:Goals and Concepts; 2.1 In-Service Language Teacher Development; 2.2 Summary; 2.3 In-service Courses for Language Teachers/Rationaleand Forms; 2.4 Expectations and Realities; 2.5 Goal/s of Language Teacher Development; 2.6 Affecting Teacher Change in In-service Courses; 2.7 In-service Development and Burnout; 2.8 Summary; 2.9 Conclusions
3. Steiner Schoolsâ#x80;#x99; In-Service Training forEnglish Teachers: The English Week3.1 The English Week; 3.2 The Concept of the English Week; 3.3 Forms and Principles of the Drama Workshops; 3.3.1 Description of the Courses; 3.3.2 Parallels between the Courses; 3.4 Literature in Performance: A Drama Workshop at theEnglish Week; 4. An Empirical Study of Clowning Courseswith Vivian Gladwell/ Research Design; 4.1 The Choice of the Clowning Courses; 4.2 Research Goals; 4.3 Qualitative Research Methods; 4.4 Description of the Courses: Observation/Participation
4.4.1 Existing Descriptions of the Courses4.5 Interviews; 4.6 Research Inquiry/Data Triangulation; 4.7 Research Inquiry/ â#x80;#x98;Thick Descriptionâ#x80;#x99;; 4.8 Internal Validity; 4.8.1 Internal Validity: The Conceptual Framework of the Study; 4.9 External Validity: The Representative Nature of theData; 4.9.1 Waldorf and Non-Waldorf Teachers; 4.9.2 The General Framework and the Courses; 4.10 Summary; 4.11 The Initial Hypothesis; 5. Discovering the Clown Within: Backgroundto Clowning Courses with Vivian Gladwell; 5.1 Background: Vivian Gladwell and Bataclown; 5.2 Bataclown and Carl Rogers
