Drawn from transcripts of talks given to Indian students, the book covers a wide range of universal topics. In short, accessible chapters, Krishnamurti explores the danger of competition, the value of solitude, the need to understand both the conscious and the unconscious mind, and the critical difference between concentration and attention, and between knowledge and learning. Krishnamurti exposes the roots of fear and eradicates deeply entrenched habits of tradition, limitation, and prejudice. The life he holds forth requires a complete change of thought, even a revolution, one that begins “not with theory and ideation,” he writes, “but with a radical transformation in the mind itself.” He explains how such transformation occurs only through an education that concentrates on the total development of the human being, an education carefully described in this simple yet powerful book.

    Dr. Frye offers, in addition, challenging and stimulating ideas for the teaching of literature at lower school levels, designed both to promote an early interest and to lead the student to the knowledge and kaleidoscopic experience found in the study of literature.Dr. Frye's proposals for the teaching of literature include an early emphasis on poetry, the "central and original literary form," intensive study of the Bible, as literature, and the Greek and Latin classics, as these embody all the great enduring themes of western man, and study of the great literary forms: tragedy and comedy, romance and irony.

    Mother told me my great-grandmother way back in the Dark Ages wrote hundreds and hundreds of novels. She was called Elinor Glyn and Lord Curzon was madly in love with her and I thought if she can, so can I."No Burbles. This could be no less than the truth for Caroline Glyn, who is in fact Elinor Glyn's great-granddaughter but whose prose is much better. It can be said confidently that Caroline's 256-page tale of English school life is the best novel by a 15-year-old ever written; more important, it is one of the best school stories to emerge from any age group.Most readers approaching such a work will have a suspicious eye out for innocent fakery or artless burble, but will find neither. All the grandeurs and miseries of life between nine and 15 are experienced by Caroline's heroine—Antonia Rutherford ("Buddersmud" to her coevals). All the savagery of child civilization boils about the muddy asphalt and precipitous stone stairs of the London primary school. Derision and clownish aggression is the prechivalric code between the nonsexes. There are friendships of Byronic intensity and power alliances of Renaissance intricacy. The tormented teaching staff is examined through a child's merciless eye for dandruff, horse teeth, injustice and facial tics. One of them (the one with the horse teeth) has the pedagogic foible—enchanting to the young—of hanging them by the heels to demonstrate vulgar fractions.No Worry. It is all great fun. As there should be, there is a lot about Mummy, who is a worrying sort, and Daddy, who is not. Daddy is a painter, and if the reader finds him not so delightful as his daughter does, that, too, is as it should be. No one could. And surely all hearts will echo to the anti-school manifesto Antonia puts in her private book (known to this precocious moppet as her "escapism book"): "IT'S NOT FAIR IT'S NOT FAIR IT'S ALL A BIG NIDDLE."

    were state supported or state controlled. They were local, parent-teacher enterprises, supported without taxes, and taking care of all children. They were remarkably high in standard and were Christian. From Mann to the present, the state has used education to socialize the child. The school's basic purpose, according to its own philosophers, is not education in the traditional sense of the 3 R's. Instead, it is to promote 'democracy' and 'equality,' not in their legal or civic sense, but in terms of the engineering of a socialized citizenry. Public education became the means of creating a social order of the educator's design. Such men saw themselves and the school in messianic terms. This book was instrumental in launching the Christian school and homeschool movements.

    Its author, Sylvia Ashton-Warner, who lived in New Zealand and spent many years teaching Maori children, found that Maoris taught according to British methods were not learning to read. They were passionate, moody children, bred in an ancient legend-haunted tradition; how could she build them a bridge to European culture that would enable them to take hold of the great joy of reading? Ashton-Warner devised a method whereby written words became prized possessions for her students. Today, her findings are strikingly relevant to the teaching of socially disadvantaged and non-English-speaking students. TEACHER is part diary, part inspired description of Ashton-Warner's teaching method in action. Her fiercely loved children come alive individually, as do the unique setting and the character of this extraordinary woman.

    When little Humpy the Moose comes into the world, he is amazed with all there is to learn. Each day brings a new lesson, and before long he must learn how to make it on his own. Children will delight in the story of how Humpy the Moose transforms from a scared little animal to the master of all he can see! Harry J. Baerg authored 16 books and illustrated more than 100, most of them about nature.

    Covering what is essential, it provides an efficient way for learners who have limited time to learn Japanese and begin to communicate naturally with Japanese speakers. It is intended for self–study or classroom use. It offers a practical course in colloquial Japanese but leaves aside forms that are unnecessary or little used as well as those that are more important for written Japanese. In short chapters, it helps the user understand the logic of Japanese grammar, while its straightforward explanations and clear examples make learning as easy as possible. The grammar section includes a glossary of grammatical terms and an index, as well as appendixes on Japanese pronunciation and verb conjugation. All Japanese words and phrases are written in Kanji and Kana (Hiragana and Katakana) as well as Romanized Japanese (Romanji) and English. Explanations are given in English.

    The Ways -and Whys- of ReadingII. The Imagination of ManIII. Man and SocietyIV. Science and MathematicsV. PhilosophyVI. The Endless JourneySYNTOPICAL GUIDEAPPENDICESI. A Plan of Graded ReadingII. Recommended NovelsIII. Recommended Anthologies of Poetry