How can trainee teachers begin their careers with a clear understanding of all the curriculum subjects? This book addresses the nature of subject knowledge in all foundation curriculum subjects. It deconstructs the elements of each subject through an exploration of the nature of the subject, a coverage of the 'skills' a study of this subject develops and through detailed analysis of case studies from practice. At a time when concerns about the lack of breadth in the primary curriculum are being voiced, this book supports busy trainee teachers to truly understand and be ready to teach all curriculum areas.

How can trainee teachers begin their careers with a clear understanding of all the curriculum subjects? This book addresses the nature of subject knowledge in all foundation curriculum subjects. It deconstructs the elements of each subject through an exploration of the nature of the subject, a coverage of the 'skills' a study of this subject develops and through detailed analysis of case studies from practice. At a time when concerns about the lack of breadth in the primary curriculum are being voiced, this book supports busy trainee teachers to truly understand and be ready to teach all curriculum areas.

The emergence of large numbers of women writers expressing a deliberately female consciousness has marked one of the significant directions of literature in this century. A central idea embraced by these writers has been the particular isolation, or marginality, felt by women. In A Separate Vision Deborah Pope focuses on four representative poets - Louise Bogan, Maxine Kumin, Denise Levertov, and Adrienne Rich - to explore the ways in which women writers' treatment of isolation extends our perception of women's experience and our understanding of the alienated human sensibility. In the work of these poets, Pope identifies four distinct phases of isolation, split-self, and validation. These phases represent a progression from negation to affirmation, from a sense of powerlessness and severe restriction to one of literal and psychological freedom. She shows how the dynamics of this progression have operated in each poet's development, with each starting from the negative stance of victimization and moving, in varying degrees, toward validation. But Pope also finds that in each woman's work one phase of isolation is predominant. She sees the tension and confessionalism in the poetry of Bogan, the earliest of the four, as most representative of victimization. Kumin's poems on her alienation from familial and social experiences exemplify personalization. The split-self is manifested most clearly in Levertov, whose work shows a woman torn between her social female self and her inner artistic self. Rich, the most committed feminist of this group, si also the strongest exemplar of validation. Her recent poems are charged with personality and power, and the isolation in her writing is the isolation of those in the forefront of exploration and change. This progress toward a positive sense of women's isolation is a significant movement in contemporary poetry. With what Pope describes as their ""vigorous revisioning of our patterns of human experience,"" women poets are today showing us new ways of understanding and realizing human dignity and worth.

The poems in Fanatic Heart, Deboarah Pope's remarkably accomplished first collection of verse, are distinguished by their sensuous language, assured voice, and surpassing intelligence. ""These are poems with a definite edge to them,"" notes the poet Betty Adcock. Memory and identity, family and place, lives that encompass both ""the wingsweep of joy"" and ""the fierce hug of grief"", these are Pope's concerns. Hers are poems of pain and loss, but they are also, and more tellingly, poems of wonder, of love and passion in their various guises, of the ambiguity in every human relation, an ambiguity skillfully evoked in ""Signs"": In these woods we have chosen with scarcely more knowing than we chose each other, prospects will always promise more than they come to. The solidity of this house is surface, the permanence of anything is myth. We take our visions edged, at home in a light that curves. Still, as they gypsies say, good road. The poems are set in a carefully articulated natural world, those sensual beauty Pope captures in such lines as these from ""Peaches"": They will be all over the ground, gold-dusted, giving softly under the balls of our feet, size of apricots, no good for eating, but the smell will be delicious. Deborah Pope's poems give voice to a life deeply felt and fully realised, whose very personal yield universal claims. At the heart of this poetry's fanaticism is the search for the ground of intimacy and the configurations of identity. It is a measure of Pope's skill that each recognition seems powerfully right, not sought but given.