Problem Solving: The Third Dimension in Mathematics Teaching

1988 ◽  
Vol 81 (1) ◽  
pp. 16-21
Author(s):  
George Gadanidis

A witty Frenchman once said, “All generaliza tions are fa lse, including this one.” What follows is a discussion of a generalized model of mathematics teaching and its relation to problem solving. I find this model useful because it supplies a framework for problem solving in a regular classroom setting

Author(s):  
Kamala Yunis

As for the qualitative definition of the theoretical structure of the concept of algorithm, obtained by building a system of its study on the basis of component analysis in the article, it should be completed by studying the types of algorithmic processes. Three common types of such processes (linear, branching and recursive) play a slightly different role here. The first two types are somewhat simple, as we tried to show in Example 1, it would be natural to use them in the study of the components of the algorithm. Recursive processes can be applied to the play of already separated concepts. There are plenty of examples in various sections of Algebra, such as the "sequences" section, in particular. Finding the approximate value of an expression using the Heron formula can be a good example of recursive processes. The purpose of the research is to develop a methodological system that identifies opportunities to improve the quality of integrated mathematics teaching in V-IX grades and connect it with computer technology as well as identifies ways to apply it in the learning process. Textbooks often show the performance of a particular action on a few specific examples. We come across different situations here. Sometimes the rule is stated after the solution of the work, and sometimes the work is considered after the expression of the rule. The third case is possible, there is no definition of the rule in the textbook, but specific examples of the application of the formed algorithm are considered. This is quite common in school textbooks, especially when considering complex algorithms. In such cases, it is accepted to call the solutions of the studies as examples. The sample solution must meet certain requirements. Let's separate some of them from the point of view of the formed algorithm: the most characteristic cases of the considered type of problem should be considered; numerical data should be selected in such a way that the necessary calculations can be performed orally in order to draw students' attention to the sequence of elementary operations that make up the steps of the formed algorithm. If the problem-solving example meets these requirements, then the type of problem assigned to it can be considered as an algorithm for solving the problem. If, depending on the initial data, there are several fundamentally different cases of problem solving, it is necessary to consider examples of problem solving for each such case.


1991 ◽  
Vol 22 (4) ◽  
pp. 277-277 ◽  
Author(s):  
Sharon L. Wadle

Lack of training is only an excuse for not collaborating outside of the therapy room. With our present training, speech-language clinicians have many skills to share in the regular classroom setting. This training has provided skills in task analysis, a language focus, an appreciation and awareness of individual differences in learning, and motivational techniques.


2008 ◽  
Vol 1 (2) ◽  
pp. 103-115
Author(s):  
Yinzhi Lai ◽  
Lina Wang ◽  
Ke Cheng ◽  
William Kisaalita

2020 ◽  
Vol 71 (1) ◽  
pp. 130-168
Author(s):  
Kirsten Dickhaut

AbstractThe machine theatre in France achieves its peak in the second half of the seventeenth century. It is the construction of machines that permits the adequate representation of the third dimension on stage. This optical illusion is created by flying characters, as heroes, gods, or demons moving horizontally and vertically. The enumeration indicates that only characters possessing either ethically exemplary character traits or incorporating sin are allowed to fly. Therefore, the third dimension indicates bienséance – or its opposite. According to this, the following thesis is deduced: The machine theatre illustrates via aesthetic concerns characterising its third dimension an ethic foundation. Ethic and aesthetics determine each other in the context of both, decorum and in theatre practice. In order to prove this thesis three steps are taken. First of all, the machine theatre’s relationship to imitation and creation is explored. Second, the stage design, representing the aesthetic benefits of the machines in service of the third dimension, are explained. Finally, the concrete example of Pierre Corneille’s Andromède is analysed by pointing out the role of Pegasus and Perseus.


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