The Moral of the Story: Content, Process, and Reflection in Moral Education Through Narratives

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Universal-Publishers, 1999 - Education - 120 pages
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Contents

INTRODUCTION
11
Problem Statement
12
Source Literature and the Three Levels of Moral Thinking
13
Exploring Three Approaches
14
The Reflection Approach
16
The ThreeLevel Approach
17
Preliminary Definitions
18
The Role of Story
19
Stories and Passion
67
Life Stories
69
Autobiographical Stories
71
Stories and Vision
72
Comments and Criticism
73
MORAL THINKING AND NARRATIVE THE BASICS
75
The Intuitive Level
77
Basic Values and Moral Storytelling
79

Organization of the Study
21
CONTENT AND NARRATIVE
22
Moral Literacy
23
Stories and Internalized Moral Virtue
26
Stories and Context
29
Stories and Modeling
30
Comments and Criticism
32
PROCESS AND NARRATIVE PART I
34
Values Clarification and Stories
35
Kohlberg and Stories
39
Storytelling and Justice
41
Storytelling and School Democracy
43
PROCESS AND NARRATIVE PART II
46
Noddings and Stories of Caring
49
Noddings and Dialogue
50
Expanding Dialogue Beyond Caring
51
Four Types of Dialogic Storytelling
52
Storytelling as instruction
53
Storytelling as conversation
54
Storytelling as debate
55
Stories of Caring and Justice
56
Comments and Criticism
57
REFLECTION AND NARRATIVE
60
Traditional Stories Revisited
61
Radical Storytelling
64
Stories and Imagination
65
Compassion
80
Responsibility
81
Friendship
82
Work
83
Courage
84
Honesty
85
Faith
86
Other Elements in Moral Stories
87
MORAL THINKING AND NARRATIVE BEYOND THE BASICS
88
Hares Second Level
89
Discernment
90
Adaptability
91
Reflection and Moral Storytelling
92
Idealism
93
Balance
94
Creativity
95
Playfulness
96
Stories and the Three Levels of Moral Thinking
97
SUMMARY AND REFLECTIONS ON PRACTICE
98
Reflections on Practice
102
Restructuring Schools
103
Teacher Preparation
104
Evaluation
105
Epilogue
106
LIST OF REFERENCES
107
Copyright

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Page 11 - Hence there is no way to give us an understanding of any society, including our own, except through the stock of stories which constitute its initial dramatic resources.

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