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 Chapter 6 The Teacher as Model

Chapter 6

Multiple Choice

1. Regarding children’s modeling, which of the following statements is FALSE?

A. Children are more likely to imitate people who they perceive as being powerful than those
they perceive as less powerful.
B. Children are more likely to model others whom they see as being rewarded for their behavior.
C. Consciously using modeling as a teaching method is one of the most powerful ways to
influence children’s behavior.
D. Children are more likely to model non-aggressive behavior than aggressive behavior.
Answer: D

2. Who developed social-cognitive theory and conducted classic studies demonstrating the
powerful effect of modeling in children’s aggression?
A. Howard Gardner
B. Albert Bandura
C. Lilian Katz
D. Louise Derman-Sparks
Answer: B

3. Trevor is a violent 16-year-old. Research suggests that Trevor is likely to do which of the
following when faced with a conflict?
A. Instead of seeking information about what’s really happening, Trevor will take an act-first-
ask-later approach.
B. Trevor will overanalyze the consequences of his actions leading to an “analysis paralysis.”
C. Trevor will have a broad vision of how he should respond to the conflict situation which will
cause him to be confused about his choices.
D. Trevor will give the other person the benefit of the doubt.
Answer: A

4. Four-year-olds Jordan and Sonal are playing with some toy horses in the sandbox. Jordan
grabs a horse from Sonal, and then Sonal tries to pull it back from Jordan. Jordan ends up
throwing the horse over the fence, brushing up against Sonal as she does so. Sonal begins
screaming, “Jordan took my horse and hit me!” Which teacher response is aimed at helping
Sonal and Jordan recognize alternatives to solving their conflict?
A. “You both want the horse. I wonder how you can solve this problem?”
B. “Jordan, it looks like you took Sonal’s toy away and hit her.”
C. “Jordan, you threw the horse over the fence, and now you don’t have it.”
D. “Jordan, when you take the horse away from Sonal, you can’t play together because she gets
mad at you.”
Answer: A

5. When preschool teacher Emilio Estefan is helping children learn to recognize alternatives
 Chapter 6 The Teacher as Model

during conflicts, he should do all but which of the following?

A. Suggest a full solution when the children seem unable to come up with any on their own.
B. Allow the children to experience a period of silence in order to give them a chance to make
their own responses.
C. Rehearse problem solving skills during group time to proactively address conflict.
D. Be persistent, and use a firm tone of voice during conflict resolution.
Answer: A

6. Of the components of self-esteem, virtue is best described as

A. the ability to be successful, especially in areas that one cares about.
B. doing what is right, whether by a moral code or by one’s own standard of morality.
C. a feeling that one has the ability to be oneself and get one’s needs met.
D. feeling loved and cared about by those who are important in one’s life.
Answer: B

7. Dominating power is to ______ as personal power is to ______.

A. feedforward / feedbackward
B. feedbackward / feedforward
C. aggressiveness / assertiveness
D. assertiveness / aggressiveness
Answer: C

8. Ten-year-old Faison feels that his parents love and care about him. Which element of Faison’s
self-esteem do his feelings reflect?
A. significance
B. competence
C. virtue
D. power
Answer: A

9. An activist approach to valuing diversity and promoting equity in which the goal is to help
children accept, respect, and celebrate diversity is called
A. the modeling effect.
B. assisted performance.
C. feedforward.
D. antibias focus.
Answer: D

10. A preschool student in teacher Julie Tanner’s class discovers that a screw has come loose in
one of the classroom chairs. He brings Julie the chair and a screwdriver. Julie says, “Oh, I can’t
fix that. I’ll take it home for Mr. David (her husband) to fix.” It looks like Ms. Tanner has failed
to model
A. virtue.
B. equity.
C. significance.
D. consequences.
 Chapter 6 The Teacher as Model

Answer: B

11. What is the first step in developing an emergent curriculum?

A. making a lesson plan
B. identifying the children’s zone of proximal development
C. finding out what children are interested in as individuals and as a group
D. preparing a plan for assessment
Answer: C

12. When six-year-old Clay is in his zone of proximal development for reading, ______ can
provide him with assisted performance.
A. older children, but not younger children,
B. his teacher
C. older children or his teacher
D. other children or his teacher
Answer: D

13. A group of children in a family day care are doing origami. An older child helps a younger
child with some of the more advanced folds. This is an example of
A. linguistic intelligence.
B. feedforward.
C. assisted performance.
D. zone of proximal development.
Answer: C

14. In the Reggio Emilia program of northern Italy, teachers are more likely to be “hands on”
when teaching art. Their “hands on” approach results from all but which of the following?
A. Italians tend to be more of a “hands on” kind of people, and this flows over into their
approach to teaching.
B. Art is so important in the Italian culture that teachers feel an obligation to help students
develop their art skills to their highest potential.
C. The Reggio Emilia approach is heavily influenced by Vygotsky’s approach to development.
D. Italians are more collectivistic than individualistic in their social orientation.
Answer: B

15. Early childhood teacher, Ben, receives a call from Kalyn’s mother that Kalyn’s father has
suffered a fall and has broken his leg. The next day, Ben creates a playroom area equipped with
developmentally appropriate books about the skeletal system and medically-related toys. Ben’s
spontaneous planning is an example of
A. the emergent curriculum
B. scaffolding
C. anti-bias focus
D. assisted performance
Answer: A

16. Which statement accurately describes practices at the Pikler Institute?

 Chapter 6 The Teacher as Model

A. Children eat and nap outdoors all year round.

B. Children eat outdoors in the summer and nap outdoors year round.
C. Children eat and nap outdoors in the summer and remain indoors the rest of the year.
D. Children are not allowed to eat outdoors and they never nap outdoors.
Answer: B

17. Of the following descriptions of the elements of self-esteem, which best describes
significance?
A. understanding and doing what is right
B. feeling that one has the ability to live one’s own life and get one’s needs met
C. feeling loved and cared about
D. ability to be successful
Answer: C

18. The element of competence in self-esteem is a matter of how

A. skilled a person is.
B. talented a person is.
C. a person approaches challenges.
D. loved a person feels.
Answer: C

True/False

19. When the children get too noisy during lunch at Westside Elementary School, the lunchroom
monitors scream, “Quiet down!” According to social-cognitive theory, their actions will lead the
children to be quiet.
A. True
B. False
Answer: B

20. Shaking an infant, even just a little bit, can cause brain damage.
A. True
B. False
Answer: A

21. The three thought patterns characteristic of violent teens are seldom found among young
children.
A. True
B. False
Answer: B

22. Early childhood professionals can help children learn to resolve conflicts by modeling ways
to seek information, recognize alternatives, and consider consequences.
A. True
B. False
Answer: A
 Chapter 6 The Teacher as Model

23. Preschool teacher Evy Woods wants to help her students learn about the consideration of
consequences. To do so, she lets them experience firsthand the results of their actions. Ms.
Woods’ approach is called feedforward.
A. True
B. False
Answer: B

24. According to the text, much of the bias in the early childhood setting is unconscious and
occurs at the institutional level.
A. True
B. False
Answer: A

25. The author of your textbook developed the “Apple Exercise” to help her students learn the
power of modeling in the development of emergent curriculum.
A. True
B. False
Answer: B

26. When it comes to children’s art, the most common early childhood perspective in the United
States today is that adults should give children formal art lessons and teach them specific
techniques rather than leave them alone to explore and use art materials however they want.
A. True
B. False
Answer: B

27. The story of Julie, the home care provider presented in Chapter 6, is an example of the use of
emergent curriculum.
A. True
B. False
Answer: A

28. Reflective practice involves developing good observation skills.

A. True
B. False
Answer: A

29. According to the author of your text, societal changes in gender roles have significantly
changed the landscape of early childhood education. Past problems with the lack of men
working with young children have pretty much been eliminated.
A. True
B. False
Answer: B

30. The media provides very few images of men as nurturing, gentle, or caring.
 Chapter 6 The Teacher as Model

A. True
B. False
Answer: A

Essay

31. Describe the three thought patterns that violent teens demonstrate during conflict situations.
Explain how early childhood professionals can help young children in each of these areas.
Answer: Compared to non-violent teens, violent teens are: 1) less likely to seek out information;
2) less likely to see a variety of alternatives in responding; and, 3) unlikely to consider the
consequences of their actions. Young children can be taught to seek information when they are
in conflicts. Rather than interrogate children when there is a conflict, teachers can put what they
say into words and help keep the conversation going to draw out more information about what
happened. This is an information-seeking, problem solving approach; it is more effective than
making a quick judgment and settling the children’s problem on one’s own. Young children can
also be assisted in recognizing alternatives by encouraging them to explain their different
perspectives. They can then be encouraged to brainstorm to reach solutions. Adults should also
be careful not to model poor alternatives themselves (e.g. by yelling at children when they are
being loud). Finally, children can be encouraged to consider the consequences of their actions.
One approach is to let a child experience the actual consequences of her/his actions (e.g. not
being able to play with a toy after throwing it over the fence). A second approach is
“feedforward,” in which the adult helps a child understand the consequences of actions
beforehand.

32. Describe the four dimensions of self-esteem. Explain how adults can model each of these
elements.
Answer: According to Stanley Coopersmith, the four dimensions of self-esteem are: 1) virtue
(doing what is right); 2) power (feeling that one can get one’s needs met by being oneself); 3)
significance (feeling loved and cared about by those who are important in one’s life); and, 4)
competence (being able to be successful in areas that one cares about). Adults model virtue by
always doing the right thing, even when the right thing is not the most convenient or easiest
response. Power is modeled when adults use assertiveness to have their needs met rather than
using aggression. Modeling significance occurs by showing that one takes pride in one’s work
and by showing respect and care for others in one’s profession. Competence is best modeled
through an attitude of trying to learn and do things, even if one isn’t the most skilled or
successful.

33. Compare and contrast the two opposing views on teaching children art. Be sure to include a
reference to the theoretical views behind each perspective.
Answer: One perspective is that children should be left alone to do their art however they want;
this is the “hands-off” approach. This perspective is based on Piaget’s idea that children should
be given a rich environment and then left alone to explore on their own. In this approach, the
process is more important than the outcome. This is the prevailing approach in early childhood
training in the United States today. The “hands-on” approach suggests the opposite – that
children benefit from help from adults. This is the approach taken in Reggio schools, as well as
in China. Children create products with the help of adults, sometimes based on formal lessons
 Chapter 6 The Teacher as Model

and instruction. This approach is consistent with Vygotsky’s ideas about the zone of proximal
development, scaffolding, and assisted performance.
Another random document with
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 Kuusen lehviltä kevään lämmin
sulaa talven lunta.
Todenkin uudesti kirkkahana
löytävi ihmiskunta.

Niinkuin kummulla uusia lehviä kukkivi aarnikuusi, niin tosi,

vaikka on ainovanha, alati siltä on uusi.

Valhe ja totuus.

Valhe se loistoa, kiiltoa etsii, yllensä verhovi välkkyvät

vaipat, jotta se tenhoisi ihmisten silmät, etteivät huomaisi sen
sisäpuolta kuinka se tyhjä ja ontto on.

Totuus kuortansa kelsiä koittaa, yltänsä riisuvi mutkaisat

muodot, niin että silmämme selvemmin nähdä voisivat
puhtaalta sen sisäpuolta suuret ja kirkkaat helmyet.

Turhia kysymyksiä.

Miksikä alati maailmassa vaihtuvi yö ja päivä? Miksikä

verhona totuudenkin väihkyvi valheen häivä?

Miksikä hyvänkin ympärillä

on niin paljo pahaa?
Miksikä särkynyt sekasorto
sydänten sointua sahaa? —
 Vaiti! Turhaan tuhat kertaa teen nämä kysymykset. Ei pysty
juuriin olemuksen älyni yllätykset.

Oikeus.

Oikeus ylevä, suuri on kuni jykevä tammi, joka voi valossa

vasta, valossa ja lämpimässä suoravarreksi selitä,
iaajalehväksi levitä.

Onnemme asunto.

Ei asu elämän onni taivahissa, tuulosissa, ei vesissä, ei

kukissa eikä muissa muotoloissa.

Tuolla onnemme asuvi sydämessämme syvällä,

tuntehettaren tuvassa, hengettären huonehessa.

Karkaiseva kärsimys.

Ei terästy raisu rauta, teräs kirkastu, teroitu, jos ei ensin se

puristu vetten, liekkien välissä.

Lapsi ei tule uroksi, yrkä mieheks ylene, jos ei taistossa

terästy, kärsimyksissä karaistu.
KANSALLISIA LAULUJA.

Pohjolan huhtikuu.

Sinivalkonen taivas,
lumivalkonen maa
helopäivästä taivon
suloloistehen saa!
Niin läikkyvä leuto on viileä sää,
jää päivässä välkkyen kimmeltää,
ja kaukana äärellä vainion
lumenhohtavat huiput vuoriston
yläilmahan yllättää!

Sinivalkonen taivas,
lumivalkonen maa
helopäivästä taivon
suloloistehen saa!
Koko maa ihan huikean kirkas on,
valo väräjävi lehvillä kuusiston,
valo väräjävi, palajavi leivonen
ja livertävi, lurittavi riemuiten
yläilmahan kiemurtain!

Jos mulla olisi —

 Jos mulla olisi leivosen siivet, en minä olisi täällä: livertäen
lentäisin luokse Herran ylhäällä pilvien päällä.

"Herrani", livertäisin hänelle siellä,

"tunnetko Wäinölän kansan?
Miksikä sille sä heittää annoit
vierahan viekkaan ansan?"

Oi, miten palavasti rukoileisin

sydämestä hartahasta:
"Suo säde kansalle kärsivälle
valostasi kirkkahasta!"

Herrani kuulisi, jos minä pyytää

oikein hellästi voisin.
Herrani armoa henkivän viestin
maahani sitte mä toisin. —

Kansani, katsele taivahalle sinisillä silmilläsi! Nouskosi itse

sä luokse Herran veisaten virsiäsi!

Mihin suuntaan?

Orot niityllä hirnuvat korskuen, palo mielemme viehtävi

sinne. Me lentäen riennämme ratsaillen ja kiidämme kilvaten,
riemuiten — mut minnekä, minnekä, minne?

Oi, vielähän taistelutantereet

Ovat taatoilta tallella meille!
Ja vielähän viettävät mantereet
ja vielähän viehtävät välkeveet
sydänsyitämme uusille teille!

Koko kansan me tahdomme kohottaa

hyvän, oikean kukkuloille!
Sen mieli ja kieli kun vapaaks' saa,
Se suurena kuorona kohahtaa
sopusointujen soitelmoille!

Koko kansan me nostamme oikeuteen,

joka miehen naisen ja lapsen!
Me kutsumme hellään veljeyteen
ja vapauteen tasa-arvoiseen
joka nuoren ja harmaahapsen!

Tätä työtä me tyynenä toimimme,

joka tointamme harkiten tarkoin.
Mut muutakin vaativi sentään se:
sydän-intoa, tarmoa tahdolle,
kiven rouhua vahvoin harkoin.

Työ itse se tarmoa kasvattaa ja kansassa kasvun voimaa.

Mut kerta kun työmme valmiiks saa, ei ole ken väärästä
vaikertaa ja sorrosta veljeä soimaa.

Tulkaa ja katselkaa!

Oi, tulkaa käykää ja katselkaa mun maatani, vanhat ja

nuoret! Kas, rannoilta järvien välkkyväin ylös kaartuvat uljaat
vuoret!

Mäen rinteillä runsaina rehottaa

kotilehdot ja kuusikot taajat
ja taustalla lehtojen, vuorien
kovat korvet ja hongikot laajat.

Salon korvessa koppelo kotkottaa,

jänö, karhu ja hirvikin hyppii.
Joka paikassa juoksevat, siivekkäät
elinvoimia luonnosta nyppii.

Kotikansani vakaa ja järkkymätön,

syvämielinen, miettiväinen,
se tarmolla maatansa viljelee,
maa vaikkapa onkin jäinen.

Kevätkaskissa liekkejä leimuaa,

kotirannoilla laihoja loistaa,
hakalehdoissa karjojen kellot soi,
kodit piirtonsa lahdessa toistaa.

Kohukoskissa jyskyen tehtaat käy,

salot pyssyjen kaikuja paukkaa,
venot, laivatkin aaltoja vellovat,
tuliorhit kangasta laukkaa.

Ja hermoina sähköjohdot käy

maan aivoista jäntereihin,
ja tieteemme taivasta tahdittaa,
luo taiteemme kukkia teihin.
 Mäkihaavikon keinuilla kisaillaan,
viriaalloilla nuoriso laulaa.
Sitä ei voi äänettä kuunnella,
sitä itsekin täytyvi laulaa!

Kotikantelo kaunonen kasvattaa

helokirkasta sointujen viljaa.
Surusointuista on se ja vienoa —
sitä täytyvi kuunnella hiljaa.

Oi, kansani, henkesi siiville

kotikantelo kallis nosta,
tuo pöydälle pirtin se helkkymään,
sen kärsimät kohlut kosta!

Ylös nosta se kaunosti kaikumaan, niin henkesi nostaa se

myötään! Ja silloin mielesi puhtainnaan voi tehdä kauneinta
työtään.

Kansanrakkaus.

Kuin aurinko aamulla taivahalle, niin nouskosi

kansanrakkaus, ja tavalla auringon kaikkialle sä levitä lämpösi
runsaus!

Kuin koitar aamulla kuusikoitten

yli yöhyen häivään sajastaa
ja sitten ruskona lehtoloitten
ja kuusten latvahan kajastaa —
 Ja ruskosta taivahan rantamalta
terä kirkas punasena pilkahtaa,
käy kaartansa, usvia kaikkialta,
joka laaksonkin pohjasta hajottaa —

Ja hallan hyytämät niityt, pellot

taas lietsovi vireänä vihertämään
ja herättävi heimojen siskot, vellot
ylös työhön: kyntöön ja kylväntään.

Ja hellästi hivuttavi kaiken kansan

sulolämpöönsä, loistoonsa sulkeumaan,
siten johtaen silmistä surman ansan
sen riemuhun, onneen ja kunniaan —

Niin, niinkuin aurinko taivahalle, niin nouskosi

kansanrakkaus, ja tavalla auringon kaikkialle sä levitä lämpösi
runsaus.

Kristalli.

Oi kansani kalliin henki kuin kristalli kirkas on! Kuin kristalli!

Mutta se vielä niin kovin on muodoton.

Hyvä luoja jos mestarin loisi, joka särmiön siitä sais,

tuhatvälkkehin ympäri maata se päivyttä heijastais.
 Viljelysoppia.

I.

Kovin paljo se tarhuri harhaa. joka laatii kukkatarhaa kedon

kumpuhun karheaan, jota tunne ei laisinkaan.

Kovin paljo te hairahdatte, kun kansaa valistatte, sydän

vaikka on teillä sen kuin suljettu kirjanen.

II.

Mitä voipi se tarhuri voittaa, joka kasveja kastella koittaa, mut

unhotti perkata maan, johon istutti kasviksiaan.

Mihin joudumme valistustyössä, valo vaikkakin liehuu

yössä, jos rinnasta kansamme ei leimua liekki se.

III.

Älä, tarhuri, vieraasta maasta tuliruusuja tarhaasi raasta! Ei

etelän ruusunen kuki hallassa pohjoisen.

Älä, kansani, vieraasta maasta ihanteita ja aatteita raasta!

Hymy, nauru ei vierasten sovi kyynelen suihkeeseen.

IV.

Miten, tarhuri, kukkasen tehnet, jos ensin et varren ja lehdet

ylös kummusta kasvata — nehän versovat kukkia?
 Miten kukkivi kansani henki, jos vartta ja lehtiä ensin ei
hellästi hoidella, ylös mullasta nosteta?

V.

Puutarhuri, tunne maasi, sitä viljele, kasvikkaasi sen rinnassa

kasvata, kunis versoo se kukkia!

Kotikansani, itsesi tunne, sydänsyistäsi tutki kunne sun

täytyvi suunnata tie, joka matkasi määrään vie!

Herrasluontoa.

Olipa puisto pienokainen vierellä herraskartanon ja polku

jäykkä, kaavamainen välissä penkkilöitten on.

Puut vahtii tietä rivissänsä

kuin haarniskoidut sotilaat,
ja saksittuina yrmillänsä,
on pensasaidat pullokkaat.

Ja nurmen, joka vehmahasti

yrittää nousta kukkimaan,
puutarhuri sen nokkelasti
koneella niittää oraassaan.

Ja hovin herra mahtavasti

kuin laiva kulkee polkua.
On sillä rouva rinnallansa
kuin aika auma pellolla.

Kas, siinä sitä on sivistystä, on varakkuutta, arvoa! He

etsivät nyt virkistystä — nähkääpäs! — luonnon helmasta…

Kansanmielinen.

Henttuni hieno on herraslapsi, vaikkei se siltä näytä, vaikkei

se veitikka itseänsä yhtään ylväästi käytä.

Kyllä se taitaisi ruotsinkieltäkin, vaikka se ei sitä solkkaa;

taitaa se valssitkin, vaikka se hippaa vekkulipietun polkkaa.

Pennin saimme

Pennin saimme me perinnöksi sekä vähä rantaluhtaa. Itse

me korpehen peltoja teimme itse ohjaten juhtaa.

Pennin saimme me perinnöksi vanhoilta taatoiltamme —

sittenkin varkaat vahtailevat meidän rikkauttamme.
 *** END OF THE PROJECT GUTENBERG EBOOK KANSA JA
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