Break down the barriers that keep professional learning from sticking! Real professional learning takes place when there is a permanent change in practice. This book outlines what it means to intentionally interrupt the status quo in order to overcome barriers to learning that impede permanent change. The authors explain the psychological processes involved in learning and which biases get in the way of making professional learning stick. Staff developers will find tools and strategies for: * Moving professional learning beyond activities to deepen conceptual change* Enabling new learning by building three key capacities: a learning focus, collaborative inquiry, and instructional leadership* Embedding and sustaining a true learning culture in schools.

As we make our way deeper into the twenty-first century, wonder tales—and their critical analyses—will continue to interest and enchant general audiences, students, and scholars.

Prophetic Interruptions initially draws numerous, yet previously unknown, connections between Paul Tillich, Theodor Adorno, and Max Horkheimer during their shared years in Frankfurt and New York, focusing particularly on the years 1929-1944. While Critical Theory was being formulated, Tillich, the teacher and colleague of Adorno and Horkheimer, respectively, was working on his own religious social(ist) theory. Moving beyond this historical background, Wagoner shows how these personal connections evolved and were mutually engaging. Instead of pursuing discernible mutual influence among Tillich, Adorno, and Horkheimer, the book instead demonstrates that their ideas were forged in the crucible of friendship and common purpose, toward the common end of emancipation. The collective 'prophetic interruptions' among the three thinkers have a common goal of naming and remediating injustices, and interrupting social forms that inhibit individual and collective agency. To that end, parallels are traced along four lines: critical rationality, theories of human nature (particularly vis-�-vis Nazism), metaphysics, and religion. These striking commonalities (coupled with potentially insurmountable differences, such as ontology) reveal historical connections between progressive religious thought and allegedly secular critical theory. The book suggests room for further conversation between progressive religion and critical theory rooted in Tillich's early 'religious socialism,' read here as a type of critical social theory, anticipating that of Adorno and Horkheimer. The appendix includes the first translation of an important letter from Adorno to Tillich, written in 1944.

A successful career woman looking to settle down is torn between two very different men in this romance by the author of The Other Side. Smart, sexy Victoria Small has come to the end of her year off—from men, that is. She’s enjoyed her hiatus, the peace, quiet—and no unexpected interruptions. But now she’s ready to have someone to come home to. And her timing is perfect, as not one, but two, handsome possibilities enter her life… Ted, a powerful, blue-eyed CEO sends a thrill of excitement through her that shocks Victoria out of her comfort zone. Meanwhile, Parker, a talented surgeon, melts her defenses with his warmth and ebony good looks. The men are as different as can be—inside and out—but they have one thing in common: they both want Victoria. And as she struggles to decide what—and who—she really wants, Victoria will have to face her deepest fears, secrets, and desires—and decide if she’s brave enough for true love, no matter what color it comes in. Her answer just may surprise everyone, including herself… Praise for Unexpected Interruptions “Hickman hits all the high notes in this charming modern romance where love and loyalty trump race.”—Publishers Weekly, starred review

To interrupt, both on stage and off, is to wrest power. From the Ghost's appearance in Hamlet to Celia's frightful speech in Volpone, interruptions are an overlooked linguistic and dramatic form that delineates the balance of power within a scene. This book analyses interruptions as a specific form in dramatic literature, arguing that these everyday occurrences, when transformed into aesthetic phenomena, reveal illuminating connections: between characters, between actor and audience, and between text and reader. Focusing on the works of William Shakespeare, Ben Jonson and John Fletcher, Michael M. Wagoner examines interruptions that occur through the use of punctuation and stage directions, as well as through larger forms, such as conventions and dramaturgy. He demonstrates how studying interruptions may indicate aspects of authorial style – emphasizing a playwright's use and control of a text – and how exploring relative power dynamics pushes readers and audiences to reconsider key plays and characters, providing new considerations of the relationships between Othello and Iago, or Macbeth and the Ghost of Banquo.

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A history of fragmentary—or interrupted—writing in avant-garde poetry and prose by a renowned literary critic. In Interruptions: The Fragmentary Aesthetic in Modern Literature, Gerald L. Bruns explores the effects of parataxis, or fragmentary writing as a device in modern literature. Bruns focuses on texts that refuse to follow the traditional logic of sequential narrative. He explores numerous examples of self-interrupting composition, starting with Friedrich Schlegel's inaugural theory and practice of the fragment as an assertion of the autonomy of words, and their freedom from rule-governed hierarchies. Bruns opens the book with a short history of the fragment as a distinctive feature of literary modernism in works from Gertrude Stein to Paul Celan to present-day authors. The study progresses to the later work of Maurice Blanchot and Samuel Beckett, and argues, controversially, that Blanchot's writings on the fragment during the 1950s and early 1960s helped to inspire Beckett’s turn toward paratactic prose. The study also extends to works of poetry, examining the radically paratactic arrangements of two contemporary British poets, J. H. Prynne and John Wilkinson, focusing chiefly on their most recent, and arguably most abstruse, works. Bruns also offers a close study of the poetry and poetics of Charles Bernstein. Interruptions concludes with two chapters about James Joyce. First, Bruns tackles the language of Finnegans Wake, namely the break-up of words themselves, its reassembly into puns, neologisms, nonsense, and even random strings of letters. Second, Bruns highlights the experience of mirrors in Joyce’s fiction, particularly in Dubliners, Portrait of the Artist as a Young Man, and Ulysses, where mirrored reflections invariably serve as interruptions, discontinuities, or metaphorical displacements and proliferations of self-identity.