By Robert Jordan
«Il se redressa en se tenant l'épaule, glissant le lengthy de los angeles colonne qui avait stoppé son vol plané. Peut-être avait-il quelques côtes cassées. Autour de l. a. Grande Salle du Soleil, quelques nobles s'efforcèrent de regarder ailleurs. Seul Dobraine, secouant sa tête grise, observa Rand arpentant l. a. salle du trône à grandes enjambées.
- Je traiterai les Aes Sedai comme je veux ! hurla Rand. Tu entends, Perrin ? Comme je veux !
- Tu viens de les livrer aux Sagettes, gronda-t-il en réponse. Tu ne sais même pas si elles dorment dans los angeles soie ou si on leur a tranché los angeles gorge ! Tu n'es pas le Créateur !
Rand rejeta l. a. tête en arrière en rugissant de rage.
- Je suis le Dragon Réincarné ! cria-t-il. Peu m'importe touch upon les traite ! Elles méritent le cachot !»
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Extra resources for Les Lances de Feu (La Roue du Temps, Tome 14)
We looked earlier at the difference between declarative and procedural knowledge. Creative thinking operates tangentially to these. Creative moments are likely to occur once pupils have assimilated enough information to allow them to think in such a way as to make new connections, or develop new insights. As Runco (2003, p320) notes: In Piagetian terms, assimilation is the key to creative thinking. It is there that the individual takes liberties with information. Assimilation involves a level of mastery of the domain, and so knowledge, once assimilated, has the potential to be used in novel ways.
Group constitution Having given some thought as to theoretical positions on group creativity, we now turn to more practical matters and consider how you can establish groups in your lessons and what the make-up of such groups might be. Useful guidance for this is given in the Literacy across the curriculum strand of the KS3/ Secondary Strategy (DfES, 2001). Here groupings are classified according to size and type. Size groupings are as listed below: . . . individual; pair; small group 3–4; large group 6–7; whole class.
Of particular interest was her account of how you can learn to fly without actually being airborne: I used to walk around, rehearsing the checks, the switch positions, the radio calls – running circuits in my bedroom, plotting air defence tactics across a field, circling dogfights on bikes, even flying formation in my sleep. Rehearsal builds muscles in the brain and the brain remembers this much more effectively when flying and operating an aircraft. It is the beginning of an automated sequence where pilots react without thinking – essential for rapid decision-making at life-threatening moments.