This document discusses key elements and concepts related to curriculum design and organization. It identifies four main sources that undergird curriculum design: science, society, eternal/divine knowledge, and the learner. It also outlines different approaches to organizing curriculum, including horizontal and vertical organization. Horizontal organization refers to the arrangement of curriculum elements side by side, while vertical organization refers to the sequencing and continuity of elements over time. Integration, articulation, and balance are also important principles for curriculum design.
Unit-IV; Professional Sales Representative (PSR).pptx
Curriculim design
1.
2. Curriculum Design/
Organization
• Arrangement of elements of a curriculum into a substantive
entity.
• Substance and organization of goals and culture content so
arranged to reveal potential progression through levels of
schooling
8. SCIENCE
• Scientific method provides meaning for
the curriculum design.
• Select and arrange in the curriculum
those elements of reality that can be
observed and quantified.
9. Society
• School is an agent of society, thus the school
should draw its ideas for the curriculum from
the analysis of the social situation
• Curriculum design can only be
completely understood if it is
contextualized socially,
economically, and politically
10. Eternal and Divine
• Draw on the past for guidance as to what
is appropriate content. Reflects deeply to the work
or eternal truths advanced by great persons.
• Related to eternal truth revealed
through such sources as the
Bible or other religious
documents
11. Knowledge
Disciplined Knowledge
• has a particular method or methods by
which scholars extend its boundaries
Undisciplined Knowledge
• does not have unique content,
but has content that is
clustered according to the
focus of the investigation
12. Learner
• Curriculum should be derived from
what we know about the learner---how he/she
learns and forms attitudes,
generates interests, and develops values
19. • breath and depth of curriculum content
• The range or extent of "content" (whether information to
be learned, skills to be acquired etc.) that will be included in
a course or program. It must be sufficient to lead learners to
achieve the program or course outcomes. However, there is a
constant tension between breadth and depth when
considering scope. In general, when deep learning is
required, "lean" is best.
20. • It refers to the horizontal relationship among
major curriculum components at any given point
in time (also known as horizontal organization).
• Integration fosters reinforcement of key learning
and interrelating content with learning experiences
to other subjects.
21. • It is the vertical relationship among curricular areas
by ordering learning experiences so that learners build
on previous experiences and move to broader, deeper
or more complex understandings and applications.
• Common ways of sequencing content within courses
include simple to complex, wholes to parts (or part to
wholes), prerequisite abilities, and chronological.
22. • It refers to the vertical manipulation or
repetition of curriculum components such as
ideas or skills which are important in the
learning process.
23. Articulation refers to the interrelatedness of
various aspects of the curriculum.
Balance gives appropriate weight to each aspect
of the design so that distortions do not occur.
24. Hunkins, F. P. & Ornstein, A. C. Curriculum:
Foundations, Principles, and Issues (United States,
1988), pp. 165-188.
Hinweis der Redaktion
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Each member of the Wingfield family is unable to overcome this difficulty, and each, as a result, withdraws into a private world of illusion where he or she finds the comfort and meaning that the real world does not seem to offer.
Escape can mean two things here: escape from reality into an alternate world, or escape from a trap or confinement. This play hints at the moral ramifications of some kinds of escape, asking the question of who is left behind and what happens to them when you leave.
Escape can mean two things here: escape from reality into an alternate world, or escape from a trap or confinement. This play hints at the moral ramifications of some kinds of escape, asking the question of who is left behind and what happens to them when you leave.
Escape can mean two things here: escape from reality into an alternate world, or escape from a trap or confinement. This play hints at the moral ramifications of some kinds of escape, asking the question of who is left behind and what happens to them when you leave.
Escape can mean two things here: escape from reality into an alternate world, or escape from a trap or confinement. This play hints at the moral ramifications of some kinds of escape, asking the question of who is left behind and what happens to them when you leave.