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Query was: draw

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• Title: Practical Course/Teachers: Contents
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  • SKILL, DRAWING AND PAINTING THE
  • DRAWING UP THE TIME-TABLE
• Title: Practical Course/Teachers: Lecture I: Introduction - Aphoristic remarks on Artistic Activity, Arithmetic, Reading, and Writing
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  • the spirit when we teach the child music, drawing, or anything
  • this for you (see drawing) it looks very like a fish. What you
  • write, with the artistic drawing of the shapes — of the
  • drawing, etc.; we must impart the psychic element in teaching
  • something to do with drawing and painting. Thus we begin with
  • drawing, the drawing-painting in the simplest way. But we
  • whole of our teaching must be drawn from the artistic element.
  • Therefore we first extract from the element of drawing the
  • up reading on drawing. In this way you will soon see that we
  • writing from a setting of drawing, we should need to spend the
  • drawn out isolated instances in this way for a time, we
  • We then proceed to draw on the board what the separate letters
  • something down on paper in drawing or even in painting,
  • drawing, we shall not be bent on saying: You must copy this or
  • that, but we show him original forms in drawing; we show him
  • copied. We shall have to bear this in mind with drawing and
  • One must have, even when drawing a nose, some inner relation
  • drawing or modelling, is a specification of the whole musical
  • in drawing on the artistic element we assimilate into the
  • element of drawing or modelling. That must be done in the right
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• Title: Practical Course/Teachers: Lecture II: On Language - the Oneness of man with the Universe
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  • with them; we should only draw back in response to the shade of
  • horror, but in this very withdrawal sympathy would still be
  • to make drawings of consonants. Then you will not only need to
  • withdrawn from its fulfilment, would be unseated in the
• Title: Practical Course/Teachers: Lecture III: On the Plastically Formative Arts, Music, and Poetry
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  • drawing is something untrue. The truest thing is the experience
  • the least true is drawing. Drawing as such already approaches
  • We ought really only to draw with the consciousness that we are
  • essentially drawing dead substance. With colours we should
  • line? When we simply take a pencil and draw a horizontal line,
  • arises from colour, that therefore the function of drawing is
  • future, for you cannot understand it yet!” This drawing
  • there, but to draw from it the conclusion that the
  • introduce our Eurhythmy demonstrations, I have often drawn
  • is consequently of extreme importance to draw the child's
  • into the country with the children, and we draw their attention
  • the opportunity of drawing their attention to the fact that we
• Title: Practical Course/Teachers: Lecture IV: The First School-lesson - Manual Skill, Drawing and Painting - the Beginnings of Language-teaching
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  • The first thing will be to draw the attention of the children
  • learn to calculate, too.” It is a good thing to draw the
  • me do this.” (You draw a straight line, Fig. 1.)
  • on the board how a straight line is drawn and let the children
  • of repetition by letting the child imitate the drawing and, in
  • have previously pinned on the board with drawing-pins, you
  • all based on a form of opinion to which I have frequently drawn
• Title: Practical Course/Teachers: Lecture V: Writing and Reading - Spelling
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  • that a kind of drawing should be embarked on, and even a kind
  • well-founded teaching that a certain intimacy with drawing
  • writing is derived from drawing. And a further condition is
  • transition from drawing to handwriting, from writing to
  • have succeeded, through the element of drawing, in giving the
  • Then I draw the child's attention to the presence in other
  • drawing. You will be able to do this easily if you simply call
  • drawing became the B. You will find in every word
  • down in picture-writing, was drawn — indeed, was so drawn
  • making the drawings. Anyone who made a mistake, when he was
  • shall try to arrive at the letter from the drawing: just as we
  • drawing to writing. I said that you have no need to study the
  • Then you go on to draw the child's attention to the fact that
  • drawings of external things — but never the vowels. The
  • breath in a vowel. In this way you get drawings which can
  • can always derive the vowels from drawing. If, for instance,
  • will discover, or the other children will be drawn on until one
  • derived from drawing to the form which the modern written
  • educationists who have already drawn attention to the fact that
  • writing should spring from drawing. But they proceed on
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• Title: Practical Course/Teachers: Lecture VI: On the Rhythm of Life and Rhythmical Repetition in Teaching
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  • artistic: music, drawing, plastic art, etc.; but on the other
  • usually hidden from this life just as the will is withdrawn, as
  • There are two conclusions to be drawn from this: firstly, let
  • draw a second conclusion: our age is actually in a sorry plight
  • had to draw your attention to these things. For people will say
• Title: Practical Course/Teachers: Lecture VII: The Teaching in the Ninth Year - Natural History - the Animal Kingdom
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  • to use drawing, and simple elementary painting, as a substitute
  • convey by drawing or by painting, but by a study of the thing
  • form in its external aspect. You will draw his attention to the
  • with the outward form. You will be wise to use the drawing
  • drawing it, its appearance; in a word, you will make the
• Title: Practical Course/Teachers: Lecture VIII: Education After the Twelfth - History - Physics
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  • You are drawing his attention to the way in which rays of light
  • how you should proceed to draw up a curriculum in which the
  • you draw the child's attention to a fact of life, and from it
  • gravitation; if you draw the stopper away in a downward
  • observation on modern civilization, but I must draw your
• Title: Practical Course/Teachers: Lecture IX: On the Teaching of Languages
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  • is a complete sentence and is no more than a sentence. Draw his
  • then draw his attention (you are here, of course, always
• Title: Practical Course/Teachers: Lecture X: Arranging the Lesson up to the Fourteenth Year
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  • painting-drawing with the child as we have discussed. We shall
  • gradually allow writing to arise from painting-drawing. We
  • drawn forms and we shall then go on to reading.
  • to imitate world-forms, as long as we derive it from drawing.
  • drawing forms with the written letters, so that the child still
  • with drawing again, and to teach writing before reading.
  • elements of geometry to drawing. In drawing, of course, we can
  • line. That is, we evolve the actual forms in drawing, by
  • drawing them and then saying: “This is a triangle, this
  • the drawing of maps, and finally we connect geography with
  • painting and drawing with the little children as a morning
  • matters are involved in the drawing up of the time-table and we
  • draw a less sharp distinction between the classes within the
  • different stages than we draw at the transition from one stage
  • impossible to calculate. But we will try to draw a third
  • begin, for instance, by drawing on the board a right-angled
  • Music. Painting with drawing.
• Title: Practical Course/Teachers: Lecture XI: On the Teaching of Geography
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  • through this stretch of land; that is, we actually draw the
  • And we draw on it the physical features of the mountains and
  • mark the different configurations of the district, drawing the
  • of the country is planted with orchards;” and we draw the
  • pine woods and draw the stretches which are covered with conifers.
  • covered with corn and we draw these stretches too.
  • meadows, which again we draw.
  • This drawing represents meadows which can be mown. We say so to
  • the child. We also draw in the meadows which cannot be mown but
  • of these, we draw in, at the corresponding spots, the
  • Alps. You have taught him how to draw maps. You can now extend
  • his drawing of maps by marking for him the line where the
  • Southern Alps touch the Mediterranean Sea. In drawing for him
  • indicate the great rivers and draw their course on the
  • surrounding country. You can go on from this to draw for
  • tributaries. Then you can draw in the separate arms of the
  • then draw another line along the Drau, etc., dividing the Alps
  • by these red lines drawn from west to east, so that you can say
  • have drawn red lines. The Alps lying between the two red lines
  • draw this, and tell of the people living there. And you
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• Title: Practical Course/Teachers: Lecture XII: How to Connect School with Practical Life
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  • will draw up a letter with discretion and foresight.
  • of view; from thirteen to fifteen the point in drawing up the
• Title: Practical Course/Teachers: Lecture XIII: On Drawing up the Time-table
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  • describe this action by a verb. That is, we try to draw the
  • primitive kind of painting-drawing, for this is, of course, our
  • These elements, painting-drawing, drawing with colours, finding
  • study the elements of painting and drawing, of music, and even
  • “painting-drawing” we shall obviously not need to
  • draw no distinction between ugly writing and pretty
  • drawn-out ones prolonged, and all soft ones soft, and to take
  • language. I must draw the child's attention to this. Then I
• Title: Practical Course/Teachers: Lecture XIV: Moral Educative Principles and their Transition to Practice
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  • history and botany — too obvious. We must avoid drawing