Geography is not only the study of the surface of the planet and the exploration of spatial and human - environment relationships, but also a way of thinking about the world. Guided by the Australian Curriculum and the Professional Standards for Teaching School Geography (GEOGstandards), Teaching Secondary Geography provides a comprehensive introduction to both the theory and practice of teaching Geography. This text covers fundamental geographical knowledge and skills, such as working with data, graphicacy, fieldwork and spatial technology, and provides practical guidance on teaching them in the classroom. Each chapter features short-answer and 'Pause and Think' questions to enhance understanding of key concepts, and 'Bringing It Together' review questions to consolidate learning. Classroom scenarios and a range of information boxes are provided throughout to connect students to additional material. Written by an author team with extensive teaching experience, Teaching Secondary Geography is an exemplary resource for pre-service teachers.

"I mean, what is a woman? I assure you, I do not know. I do not believe that you know. I do not believe that anybody can know until she has expressed herself in all the arts and professions open to human skill."--Virginia Woolf, Professions for WomenWriting The Woman Artist is a collection of essays that explores the ways in which women writers portray women painters, sculptors, writers, and performers. Surveying the works of a variety of women writers--from the nineteenth and twentieth centuries, from different ethnic, national, racial, and economic backgrounds--this book treats their revisions of the Kunstlerroman and their perceptions of the relationships between muse, artist, and audience in other genres. Suzanne W. ]ones and her collaborators seek to understand how representations of women artists and their poetics and politics are mediated by social and historical factors, including literary movements and theories of language. In doing so, they make an important contribution to the field of feminist scholarship, and generate new ways of understanding how the dynamics of creativity intersect with the dynamics of gender.Contributors to the volume are Ann Ardis, Alison Booth, Kathleen Brogan, Lynda Bundtzen, Pamela Caughie, Mary DeShazer, Linda Dittmar, Josephine Donovan, Susan Stanford Friedman, Gayle Greene, Linda Hunt, Katherine Kearns, Holly Laird, Estella Lauter, Z. Nelly Martinez, Jane Atteridge Rose, Margaret Diane Stetz, Renate Voris, and Mara Witzling.Writing The Woman Artist is a valuable new resource for scholars and students working in the fields of European and American literature and women's studies.

Stories that evoke the pain and promise of black-and-white relationships The complex truth about the color line--its destructive effects, painful legacy, clandestine crossings, possible erasure--is revealed more often in private than in public and has sometimes been visited more easily by novelists than historians. In this tradition, Crossing the Color Line, a powerful collection of nineteen contemporary stories, speaks the unspoken, explores the hidden, and voices both fear and hope about relationships between blacks and whites. The volume opens with stories by Alice Adams, Toni Cade Bambara, Ellen Douglas, Reynolds Price, Ekwueme Michael Thelwell, and John Williams that focus on misunderstandings created by racial stereotypes and by mislabeling cultural differences. In a second group of stories, Anthony Grooms, Randall Kenan, James Alan McPherson, Toni Morrison, Frances Sherwood, Alice Walker, and Joan Williams examine situations that promote understanding, even when relationships between blacks and whites are complicated by charged issues of politics, religion, class, gender, and sexual orientation. The final section features recent stories that turn on personal similarities as often as racial differences, but even here the legacy of racism lingers. It tests the emerging friendship of Alyce Miller's women, the professional relationship of David Means's men, the alliances between Clifford Thompson's college students, the romance of Reginald McKnight's interracial couple, and the business venture between Elizabeth Spencer's white woman and black man. Much of the power and poignancy of these stories, however, comes from their portrayal of how equal and amiable relationships can cross the color line.

Something about the South has inspired the imaginations of an extraordinary number of America's best storytellers--and greatest writers. That quality may be a rich, unequivocal sense of place, a living connection with the past, or the contradictions and passions that endow this region with awesome beauty and equally awesome tragedy. The stories in this superb collection of modern Southern writing are about childhood, adolescence, and young adulthood--in other words, about growing up in the South. Flannery O'Connor's "Everything That Rises Must Converge," set in a South that remains segregated even after segregation is declared illegal, is the story of a white college student who chastises his mother for her prejudice against blacks. But black, white, aristocrat, or sharecropper, each of these 23 authors is unmistakably Southern--and their writing is indisputably wonderful.