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UNIT 1: THE MAIN THEMES OF THE BOOK; INTRODUCTION; 1.1. TEACHING-RESEARCH NEW YORK CITY MODEL (TR/NY CITY); INTRODUCTION; HISTORICAL BACKGROUND AND DEVELOPMENT OF TR/NYCITY MODEL; Stenhouse TR Acts; Design Science; Frameworks of Inquiry and the Unity of Educational and Research Acts; TEACHING-RESEARCH CYCLE (TR CYCLE); Just-in-Time Teaching (JiTT) and Just-in-Time Research (JiTR); Anchoring TR in TR cycle; Instructional Adaptability of the TR/NYCity Model via TR Cycle; Generalization in TR/NYCity Model.
Thinking TechnologyTR/NYCITY AND THE DISCOVERY METHOD OF TEACHING; Creativity: From Bathos to Pathos
From Habit to Originality; Summary of the Argument; GAP BETWEEN RESEARCH AND PRACTICE; THE COMPARISON BETWEEN TEACHING-RESEARCH AND DESIGN-BASED RESEARCH; REFERENCES; 1.2. CREATIVITY RESEARCH AND KOESTLER: An Overview; INTRODUCTION; THE NEED FOR RESEARCH IN CREATIVITY IN EDUCATION; ROOTS OF CREATIVITY RESEARCH; THE TRANSITION FROM GENIUS TO CLASSROOM; Definitions of Creativity in Mathematics Education Research; CREATIVITY AND KOESTLER; Bisociation; Incubation and Illumination.
DEMOCRATIZING CREATIVITYKOESTLER: LEARNING ENVIRONMENT FOR CREATIVITY; CREATIVITY AND LEARNING: VON GLASERFELD; Pedagogy: Affect and Creativity; Creative Learning Environment: Social Contract; REFERENCES; 1.3. UNDERSERVED STUDENTS AND CREATIVITY; INTRODUCTION; HOSTOS COMMUNITY COLLEGE AND DEVELOPMENTAL MATHEMATICS; IMMIGRANT-MARGINALIZED STUDENT GLOBAL ISSUE; MARGINALIZED STUDENTS AND POSITIVE SOCIAL INTERACTIONS; Creativity and Marginalized Students; The Importance of Affect on Student Cognition; TEACHER'S ROLE; REFERENCES; UNIT 2: CREATIVE LEARNING ENVIRONMENT; INTRODUCTION; REFERENCES.
2.1. THE DIDACTIC CONTRACT, A HANDSHAKE AND A COMPROMISE: A Teaching-Action-Research ProjectSUMMARY; INTRODUCTION; STATEMENT OF THE PROBLEM; SIGNIFICANCE OF THE PROJECT TO THE ACADEMIC DISCIPLINE; BACKGROUND; THE OBJECTIVE; THE METHOD AND ITS THEORETICAL BASIS; The Handshake; The Compromise; A First Script-Sketch Example of a 2-Min Drama; CONCLUSION; NOTE; REFERENCES; 2.2. FOCUS ON CREATIVITY
LITERACY
NUMERACY; INTRODUCTION; METHODOLOGY; CREATIVITY-LITERACY-NUMERACY SCHEMA; CONCLUSION; NOTES; REFERENCES; APPENDIX A; Development of the Fractions Grid; APPENDIX B; APPENDIX C.
Story of a Number2.3. THE POZNAN THEATRE PROBLEM; SUMMARY; INTRODUCTION; WHY PROBLEM-POSING?; DEFINING PROBLEM
POSING: FROM RESEARCH TO EFFECTIVE PRACTICE; Problem-Posing Illustration 1; Scene 1; Scene 2; Further Comments and Reflections; Problem-Posing Illustration 2; CONCLUSION; REFERENCES; 2.4. THE CREATIVE LEARNING ENVIRONMENT; SUMMARY; INTRODUCTION; OBJECTIVE; THEORETICAL FRAMEWORK; MODE OF ENQUIRY; THE DATA; RESULTS; Classroom Methodology; Design of Triptych
Based Assignments; A NOTE ON HOW TO READ THE LEARNING ENVIRONMENT CONCEPT MAP; NOTES; REFERENCES; APPENDIX; Koestler Triptych.
Thinking TechnologyTR/NYCITY AND THE DISCOVERY METHOD OF TEACHING; Creativity: From Bathos to Pathos
From Habit to Originality; Summary of the Argument; GAP BETWEEN RESEARCH AND PRACTICE; THE COMPARISON BETWEEN TEACHING-RESEARCH AND DESIGN-BASED RESEARCH; REFERENCES; 1.2. CREATIVITY RESEARCH AND KOESTLER: An Overview; INTRODUCTION; THE NEED FOR RESEARCH IN CREATIVITY IN EDUCATION; ROOTS OF CREATIVITY RESEARCH; THE TRANSITION FROM GENIUS TO CLASSROOM; Definitions of Creativity in Mathematics Education Research; CREATIVITY AND KOESTLER; Bisociation; Incubation and Illumination.
DEMOCRATIZING CREATIVITYKOESTLER: LEARNING ENVIRONMENT FOR CREATIVITY; CREATIVITY AND LEARNING: VON GLASERFELD; Pedagogy: Affect and Creativity; Creative Learning Environment: Social Contract; REFERENCES; 1.3. UNDERSERVED STUDENTS AND CREATIVITY; INTRODUCTION; HOSTOS COMMUNITY COLLEGE AND DEVELOPMENTAL MATHEMATICS; IMMIGRANT-MARGINALIZED STUDENT GLOBAL ISSUE; MARGINALIZED STUDENTS AND POSITIVE SOCIAL INTERACTIONS; Creativity and Marginalized Students; The Importance of Affect on Student Cognition; TEACHER'S ROLE; REFERENCES; UNIT 2: CREATIVE LEARNING ENVIRONMENT; INTRODUCTION; REFERENCES.
2.1. THE DIDACTIC CONTRACT, A HANDSHAKE AND A COMPROMISE: A Teaching-Action-Research ProjectSUMMARY; INTRODUCTION; STATEMENT OF THE PROBLEM; SIGNIFICANCE OF THE PROJECT TO THE ACADEMIC DISCIPLINE; BACKGROUND; THE OBJECTIVE; THE METHOD AND ITS THEORETICAL BASIS; The Handshake; The Compromise; A First Script-Sketch Example of a 2-Min Drama; CONCLUSION; NOTE; REFERENCES; 2.2. FOCUS ON CREATIVITY
LITERACY
NUMERACY; INTRODUCTION; METHODOLOGY; CREATIVITY-LITERACY-NUMERACY SCHEMA; CONCLUSION; NOTES; REFERENCES; APPENDIX A; Development of the Fractions Grid; APPENDIX B; APPENDIX C.
Story of a Number2.3. THE POZNAN THEATRE PROBLEM; SUMMARY; INTRODUCTION; WHY PROBLEM-POSING?; DEFINING PROBLEM
POSING: FROM RESEARCH TO EFFECTIVE PRACTICE; Problem-Posing Illustration 1; Scene 1; Scene 2; Further Comments and Reflections; Problem-Posing Illustration 2; CONCLUSION; REFERENCES; 2.4. THE CREATIVE LEARNING ENVIRONMENT; SUMMARY; INTRODUCTION; OBJECTIVE; THEORETICAL FRAMEWORK; MODE OF ENQUIRY; THE DATA; RESULTS; Classroom Methodology; Design of Triptych
Based Assignments; A NOTE ON HOW TO READ THE LEARNING ENVIRONMENT CONCEPT MAP; NOTES; REFERENCES; APPENDIX; Koestler Triptych.