This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 edition. Excerpt: ... class was quick to take up. We must now consider the more formal use which teachers make of imitation. They call upon their boys to imitate whenever they are concerned with the acquisition of skill in some form or other. As we have already said, it is the importance of this aspect of our subject that ...
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 edition. Excerpt: ... class was quick to take up. We must now consider the more formal use which teachers make of imitation. They call upon their boys to imitate whenever they are concerned with the acquisition of skill in some form or other. As we have already said, it is the importance of this aspect of our subject that leads us to overlook other aspects which are not less important, because they are less under our control. Thus it is resorted to as an aid in gaining technical skill in writing, drawing, modelling, in physical exercises, indeed, in work of any kind where complex movement is involved. Similarly, for clear speaking, whether in our own or in a foreign language, imitation is imperative. The very mould in which our thought is cast may be deliberately taken from a favourite author, and in the senior school we may ask our pupils to write an essay in the style of Bacon, or Addison, or Macau lay, and so on. 1 Figs. 8 and g (pp. 126 and 127). It sometimes happens that pupils imitate when originality would be preferable. This is particularly likely to occur if the teacher himself is not quite clear where imitation as an educational instrument should stop, and where the children should be allowed complete freedom to do the best they can--a problem which can only be answered in general terms. The teacher should have regard to the end in view rather than to any stereotyped method of producing a particular result. The ultimate end is freedom and power. Thus, in drawing, for example, we shall not teach conventions and tricks in order to make an imposing show. We cannot, of course, be indifferent to results, but we must remember that the work is the work of a child, and should not, therefore, be judged from an adult standpoint. It is, in most cases, not the...
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