| Foreword |
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vii | |
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| Acknowledgments |
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xi | |
| Introduction |
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1 | (8) |
| Part I Introducing a Teacher and His Students |
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Things of Use and Things of Beauty: The Swain County High School Arts Program |
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9 | (24) |
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An Introduction to the Program |
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11 | (1) |
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12 | (2) |
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Community Context: Natural Richness, Economic Poverty |
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14 | (2) |
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The Craft Heritage: Aesthetics and Functionality |
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16 | (1) |
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The Official Vocational Orientation |
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17 | (2) |
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Nonvocational Outcomes of the Arts Program |
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19 | (9) |
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An Appalachian Artist Designs an Arts Program |
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28 | (5) |
| Part II What Do Former Students Believe They Learned? |
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Traces of a Teacher in the Life Stories of His Former Students |
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33 | (70) |
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36 | (14) |
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The Restaurant Manager, the Patrolman, and the College Student |
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50 | (5) |
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55 | (15) |
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The Magician and the Parole Officer |
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70 | (21) |
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The ``Real Artist in the Family'' |
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91 | (10) |
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101 | (2) |
| Part III What Do Students Teach? |
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Traces of Students in the Life Story of a Teacher |
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103 | (20) |
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105 | (1) |
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106 | (4) |
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Turning Outward as a Teacher |
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110 | (2) |
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Learning from His Students |
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112 | (10) |
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122 | (1) |
| Part IV Ways of Touching Eternity |
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Analyzing Some Enduring Consequences of Teaching |
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123 | (26) |
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Aesthetics and Utility Revisited |
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125 | (2) |
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Social Adaptionists and Inherited Scripts |
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127 | (3) |
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Donald Forrister as Strong Poet |
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130 | (2) |
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The Good Pedagogue and Self-Identity |
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132 | (3) |
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135 | (2) |
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The Critical Spirit: Degrees of Transfer |
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137 | (5) |
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Critical Dispositions Versus Cultural Imperatives |
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142 | (5) |
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147 | (2) |
| Part V Researching, Writing, and Reading Narrative Studies |
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Issues of Epistemology and Method |
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149 | (32) |
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151 | (4) |
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155 | (2) |
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157 | (6) |
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Participants as Characters |
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163 | (9) |
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172 | (6) |
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The Conspiratorial Conversation |
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178 | (3) |
| References |
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181 | (8) |
| Index |
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189 | (6) |
| About the Author |
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195 | |