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Searching Rudolf Steiner Lectures by GA number (GA0294)

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  • 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    • withdrawn from its fulfilment, would be unseated in the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
    • Maximum number of matches per file exceeded.
  • 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

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