By Peter L Duren; Richard Askey; Uta C Merzbach; Harold M Edwards
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Additional resources for A Century of Mathematics in America [3 vols]
In reality, the official portrait is a homogenized blend of data (also very political) that oversimplifies portraiture. Other data, using multiple perspectives and a variety of literatures, yield different portraits that are more thickly descriptive (Geertz, 1973) and unique. g. children’s writing rather than criterion referenced test scores) contrast so deeply with the official portrait, and not being drawn to the idea of only using ‘unofficial’ because of the less-thanlegitimate connotation that the term carries, I use the term counterportraits.
Their tentativeness was resonant with my own because we were all exploring new writing ground. Patia’s influence on the pieces is pronounced as, for example, in the case of Vianca who first weighs through her teacher’s ideas before reaching her own truths. I’m sad because the Americans call us, the Mexicans, all kinds of names and I’m sad too because my family fights a lot and I’m sad too because I always hear my friends talking about their dad and I don’t have a dad. Mercedes’ family is very religious and believes that school is a privilege that every student should take seriously.
And maintain inequitable hierarchies” (p. 123). Norton’s words, although deeply troubling because of their accuracy about yelling as a violent act, haunt me because I was witness to such acts and, although I was honest with Patia about how troubling the yelling was, I was not instrumental in helping it stop. Patia was committed to yelling as a way of managing her classroom. Norton explains that young children’s responses are often dismissed as belligerence, inappropriate behavior, and failure to comply with the rules that teachers have set up in their classrooms.
A Century of Mathematics in America [3 vols] by Peter L Duren; Richard Askey; Uta C Merzbach; Harold M Edwards