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Margaret Moore-Taylor

Explore the Constitution - National Constitution Center - 40 views

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    The Constitution Center offers a free interactive U.S. Constitution with lesson plans, activities, games, videos, and historical documents. Students can explore the Constitution by article, amendment, or specific issue
Michele Brown

Constitution of the United States - Official - 2 views

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     A complete transcript of the Constitution that you can read online. In addition to the transcript, you can view high-resolution images of the original document and learn more about its creation and ratification.
Michael Sheehan

21 YouTube videos that help make learning the Constitution fun - 91 views

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    Fun and interesting videos that make learning about the Constitution fun.
ronhustvedt

Charters of Freedom - The Declaration of Independence, The Constitution, The Bill of Ri... - 44 views

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    A mandatory website for 8th graders but a good one for any topic related to Constitutional debate/diplomacy as well as any connection to the foundation of our nation.
Kathy Malatesta

National Constitution Center: Interactive Constitution - 69 views

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    Thanks! Passed it on to our US History folks and they loved it!
Kelly Boushell

Interactive Constitution - 9 views

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    An interactive approach to the Constitution of The United States of America. Includes images, authentic language, common language, and links to other resources.
pepe1976

SLAVERY | The Handbook of Texas Online| Texas State Historical Association (TSHA) - 26 views

  • SLAVERY. Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves.
  • SLAVERY . Texas was the last frontier of slavery in the United States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony. The original empresario commission given Moses Austin by Spanish authorities in 1821 did not mention slaves, but when Stephen Austin was recognized as heir to his father's contract later that year, it was agreed that settlers could receive eighty acres of land for each bondsman brought to Texas. Enough of Austin's original 300 families brought slaves with them that a census of his colony in 1825 showed 443 in a total population of 1,800. The independence of Mexico cast doubt on the future of the institution in Texas. From 1821 until 1836 both the national government in Mexico City and the state government of Coahuila and Texas threatened to restrict or destroy black servitude. Neither government adopted any consistent or effective policy to prevent slavery in Texas; nevertheless, their threats worried slaveholders and possibly retarded the immigration of planters from the Old South. In 1836 Texas had an estimated population of 38,470, only 5,000 of whom were slaves
  • States. In fewer than fifty years, from 1821 to 1865, the "Peculiar Institution," as Southerners called it, spread over the eastern two-fifths of the state. The rate of growth accelerated rapidly during the 1840s and 1850s. The rich soil of Texas held much of the future of slavery, and Texans knew it. James S. Mayfield undoubtedly spoke for many when he told the Constitutional Convention of 1845 that "the true policy and prosperity of this country depend upon the maintenance" of slavery. Slavery as an institution of significance in Texas began in Stephen F. Austin 's colony
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    The issue of Slavery in Texas before, during and post Texas Revolution and the establishment of a new government.
anonymous

Supplementing Textbooks with Student Constructed Knowledge Bases | 1 to 1 Schools - 4 views

  • While the eTextBooks initiative is a wonderful stride forward from our old paper textbooks it’s still essentially a re-constituted content delivery system that wasn’t designed or intended to change the one-way process of educational exchanges.
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    While the eTextBooks initiative is a wonderful stride forward from our old paper textbooks it's still essentially a re-constituted content delivery system that wasn't designed or intended to change the one-way process of educational exchanges.
Nathan Dybvig

Constitutional Rights Origins and Travels - 43 views

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    GREAT visual for how the world compares to our Constitution
Jon Orech

Clive Thompson on the New Literacy - 3 views

  • The fact that students today almost always write for an audience (something virtually no one in my generation did) gives them a different sense of what constitutes good writing. In interviews, they defined good prose as something that had an effect on the world. For them, writing is about persuading and organizing and debating, even if it's over something as quotidian as what movie to go see. The Stanford students were almost always less enthusiastic about their in-class writing because it had no audience but the professor: It didn't serve any purpose other than to get them a grade.
    • Ed Webb
       
      Quite so. This is one reason I have students blog where practicable.
  • The brevity of texting and status updating teaches young people to deploy haiku-like concision.
    • Ed Webb
       
      Twitter to haiku, Not such a leap, after all: Hone your brevity
  • When Lunsford examined the work of first-year students, she didn't find a single example of texting speak in an academic paper.
    • tom campbell
       
      Stanford 1st year students - check the applicant profile - http://www.stanford.edu/dept/uga/basics/selection/profile.html These are among the top tiered students in the country.
  • ...9 more annotations...
  • know is that knowing who you're writing for and why you're writing might be the most crucial factor of all.
  • young people today write far more than any generation before them
  • (something virtually no one in my generation did) gives them a different sense of what constitutes good
  • kids today can't write—and technology is to blame.
  • "I think we're in the midst of a literacy revolution the likes of which we haven't seen since Greek civilization," she says. For Lunsford, technology isn't killing our ability to write. It's reviving it—and pushing our literacy in bold new directions
  • Before the Internet came along, most Americans never wrote anything, ever, that wasn't a school assignment
  • Lunsford's team found that the students were remarkably adept at what rhetoricians call kairos—assessing their audience and adapting their tone and technique to best get their point across.
  • students today almost always write for an audience
  • (something virtually no one in my generation did) gives them a different sense of what constitutes good
Nancy Schmidt

"What's Good" is Better than "What's New?" | Practical Theory - 1 views

    • Nancy Schmidt
       
      Don't always add because the media touts something as the best new trend in education. We must marry the best ideas of the past to our current world...must identify what students need to be success then identify what is the best technology that will help them achieve that knowledge.
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    Let's not lose sight of what constitutes good teaching by following the hot trends.
anonymous

Well Endowed By Our Creator: Did George Washington Really Invent Viagra? | text2cloud - 6 views

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    Can we use the current primary season to turn attention back to primary sources from U.S. History--the Constitution, the Declaration of Independence, the writings of the nation's first president? I'm trying to find a way to write about these matter that has a chance high school and college students. Thus, satire, parody are in the mix.
Jac Londe

17 U.S. Code § 106A - Rights of certain authors to attribution and integrity ... - 1 views

  • (a) Rights of Attribution and Integrity.— Subject to section 107 and independent of the exclusive rights provided in section 106, the author of a work of visual art— (1) shall have the right—
  • (A) to claim authorship of that work, and
  • (B) to prevent the use of his or her name as the author of any work of visual art which he or she did not create;
  • ...10 more annotations...
  • (2) shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other modification of the work which would be prejudicial to his or her honor or reputation; and
  • (3) subject to the limitations set forth in section 113 (d), shall have the right— (A) to prevent any intentional distortion, mutilation, or other modification of that work which would be prejudicial to his or her honor or reputation, and any intentional distortion, mutilation, or modification of that work is a violation of that right, and (B) to prevent any destruction of a work of recognized stature, and any intentional or grossly negligent destruction of that work is a violation of that right.
  • (b) Scope and Exercise of Rights.— Only the author of a work of visual art has the rights conferred by subsection (a) in that work, whether or not the author is the copyright owner. The authors of a joint work of visual art are coowners of the rights conferred by subsection (a) in that work.
  • (4) All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.
  • (d) Duration of Rights.— (1) With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection (a) shall endure for a term consisting of the life of the author.
  • (2) With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such effective date, been transferred from the author, the rights conferred by subsection (a) shall be coextensive with, and shall expire at the same time as, the rights conferred by section 106.
  • (3) In the case of a joint work prepared by two or more authors, the rights conferred by subsection (a) shall endure for a term consisting of the life of the last surviving author.
  • (c) Exceptions.— (1) The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion, mutilation, or other modification described in subsection (a)(3)(A). (2) The modification of a work of visual art which is the result of conservation, or of the public presentation, including lighting and placement, of the work is not a destruction, distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by gross negligence. (3) The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection with any item described in subparagraph (A) or (B) of the definition of “work of visual art” in section 101, and any such reproduction, depiction, portrayal, or other use of a work is not a destruction, distortion, mutilation, or other modification described in paragraph (3) of subsection (a).
  • (e) Transfer and Waiver.— (1) The rights conferred by subsection (a) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver in a written instrument signed by the author. Such instrument shall specifically identify the work, and uses of that work, to which the waiver applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver of rights under this paragraph made by one such author waives such rights for all such authors.
  • (2) Ownership of the rights conferred by subsection (a) with respect to a work of visual art is distinct from ownership of any copy of that work, or of a copyright or any exclusive right under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a) with respect to a work of visual art shall not constitute a transfer of ownership of any copy of that work, or of ownership of a copyright or of any exclusive right under a copyright in that work.
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