The purpose of this study was to examine the effects of using an interest approach at the beginning of a lesson on student knowledge, attitudes, and engagement in an agricultural science classroom. A total of four classes were randomly assigned and administered one lesson with an interest approach and one lesson without an interest approach. Following each lesson, the students' knowledge and attitude were assessed. During each lesson, student engagement was measured. The content of the lessons was adapted from the LifeKnowledge curriculum (National FFA Organization, 2004). The conclusions of this study were contradictory. Overall, there was no difference in knowledge from the students who were exposed to interest approaches to those who were not. In addition, as a whole, there was no difference in attitude between the students who received exposure to an interest approach and those who did not. However, having an interest approach at the beginning of a lesson did make a difference in student engagement throughout a lesson, with students receiving an interest approach being more engaged. Recommendations and implications are provided.

No abstract

No abstract

No abstract

For nearly a decade Carl W. Hamilton was in possession of one of the most important private collections of Italian Renaissance painting in America. A self-made millionaire from humble beginnings, the young Hamilton captivated the art dealer Joseph Duveen and Duveen’s foremost experts in Italian Renaissance painting, Bernard and Mary Berenson. By inspiring and instructing Hamilton, Duveen and the Berensons hoped to focus his wealth and ambition to create a great collection and thereby profit by both him and the glory of his achievement. Though Hamilton’s personal collection proved ephemeral, many of his most important works of art nevertheless found their way into American public collections. Furthermore, Hamilton’s formative collecting experience – which developed his prejudices and preferences, sharpened his keen negotiating skills and solidified his zeal for collecting – helped to shape two significant collections of Old Masters in the Carolinas: the Museum & Gallery at Bob Jones University and the North Carolina Museum of Art.