Teacher Quotes - Page 156

For sure, and we haven't found it yet. I understand why we have come to a time and place where we cannot touch the children at school for obvious reasons. I'm not that old, but back then some teacher would take our arm and squeeze it, and it was not fun.

What I know is that if I was asked to teach mathematics in French for a week to young kids, I would do my homework and I think I could do a decent job. I don't think a degree in education would make me a better teacher. I sometimes teach in college. I don't teach for long periods of time, but I give workshops and I think I can communicate stuff. So, it's about communicating.

We also have this reflex of using specialists for everything, instead of having the person who is there every day with them, the teacher, talk about death and suicide. In the film, it's portrayed a little bit like a caricature, but it's the psychologist who comes in and Monsieur Lazhar does not think it's a good idea. He thinks he should be the one who should talk about that with the children.

Any place where you have to deal with many social actors like a school - you have the parents, the Ministry of Education, the school board, and the teachers - you need all kinds of sets and rules. You're trying to foresee anything that can happen and everything becomes really rigid. They don't want to talk about death because they don't want to overwhelm the children, but that has already happened, so you're not going to overwhelm them more.

I needed to create some dramatic tension to sustain the interest of the audience. For instance, the boy in the film is not in the play, so this relationship that he had with the former teacher, and his guilt, this is not at all in the play. I thought it would be interesting to look at in the film, and I added stuff like that around the main character. For me, it was not more difficult or less difficult.

At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.

As a result of the prison study, I really became more aware of the central role of power in our lives. I became more aware of the power I have as a teacher. I started consciously doing things to minimize the negative use of power in the classroom. I encouraged students to challenge me.

My real purpose in telling middle-school students stories was to practice telling stories. And I practiced on the greatest model of storytelling we've got, which is "The Iliad" and "The Odyssey." I told those stories many, many times. And the way I would justify it to the head teacher if he came in or to any parents who complained was, look, I'm telling these great stories because they're part of our cultural heritage. I did believe that.

Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.

Art teachers are always the doormats of the previous generation.

I write by hand in my notebooks and number the drafts, so I know how crazy I can get with this. Some writers, like my teacher Marilynne Robinson, she only writes one draft. I've thought about this a lot; I think it's because she writes it 80 times in her head before it comes out.

I became a professional cricket teacher about 20 years ago. I had a son born to me when I was 50, and I thought, he needs someone to bowl to him.

In all sensation we pick and choose, interpret, seek and impose order, and devise and test hypotheses about what we witness. Sense data are taken, not merely given: we learn to perceive.... The teacher has forgotten, and the student himself will soon forget, that what he sees conveys no information until he knows beforehand the kind of thing he is expected to see.

I went whole hog at the actor's lifestyle - really embraced it. I had by then known how much I loved acting already, because I discovered acting from a teacher in the seminary - that's the first place I ever did it, in the seminary.

That is a secondary teacher conception - the writer as an observer.

Often times the public school teachers are ridiculed or they are made to feel inferior but this is really undeserved.

Our single greatest defense against scientific ignorance is education, and early in the life of every scientist, the child's first interest was sparked by a teacher.

I remember someone once saying, "Pete, you know you really should take voice lessons." And I said, "Well, if I could find any voice teacher that could teach me to sing like Lead Belly I'd spend every cent to study under him." But every time you'd go to a voice teacher, he'd teach you to warble, as if you'd want to be an opera singer, and that's not what I'm interested in.

I came from an intellectual family. Most were doctors, preachers, teachers, businessmen. My grandfather was a small businessman. His father was an abolitionist doctor, and his father was an immigrant from Germany.

Difficult people are the greatest teachers.

... there are moments in which the teacher, as the authority talks to the learners, says what must be done, establishes limits without which the very freedom of learners is lost in lawlessness, but these moments, in accordance with the political options of the educator, are alternated with others in which the educator speaks with the learner.

Although the teachers or the students are not the same, the person in charge of education is being formed or re-formed as he/she teaches, and the person who is being taught forms him/herself in the process. ...There is, in fact, no teaching without learning.

Teachers and students (leadership and people), co-intent on reality, are both Subjects, not only in the task of unveiling that reality, and thereby coming to know it critically, but in the task of re-creating that knowledge. As they attain this knowledge of reality through common reflection and action, they discover themselves as its permanent re-creators.

Teacher preparation should go beyond the technical preparation of teachers and be rooted in the ethical formation both of selves and of history.

There are two gods. The god our teachers teach us about, and the God who teaches us. The god about whom people usually talk, and the God who talks to us. The god we learn to fear, and the God who speaks to us of mercy. The god who is somewhere up on high, and the God who is here in our daily lives. The god who demands punishment, and the God who forgives us our trespasses. The god who threatens us with the torments of Hell, and the God who shows us the true path. There are two gods. A god who casts us off because of our sins, and a God who calls to us with His love.