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This article explores what we perceive as a lack of visual poetry studies in creative writing classrooms, largely due to its characteristic incompatibility to familiar literary devices, analytical tools, and ways of reading. While our inquiry initially sought to provide an approachable visual poetry curriculum for creative writing teachers, our doing so prompted us towards theoretical frameworks that take seriously subject matter oft-misunderstood as unfit for traditional educational practices, turning to how decolonial theorising might inform our pedagogy. From there, our priorities stayed rooted in decolonising pedagogy, working to de-center traditional forms of literary knowledge and support lesser-known, borderless, 'in-between' spaces – spaces effectively considered in visual poetry's liminality between visual art and written word. Working to equip ourselves with new poetic conceptions of language and image, we aim to consider visual poetry in a way that renders it more approachable and theoretically considered for the higher education classroom setting. [ABSTRACT FROM AUTHOR]

The perceptions of students about assessment in mathematics classes have been sparsely investigated. In order to fill this gap, this qualitative study aims to identify the social "representations" (understood as the system of values, ideas, and practices about a social object) of high school students regarding "assessment in mathematics." We used semistructured focus group interviews to obtain data (N = 50). The data were examined using theoretical thematic analysis with the assistance of the specialized ATLAS.ti software. Eight themes or social representations emerged (e.g., assessment that measures the students' learning or assessment that measures the advances or what has been acquired). The results are consistent with literature that shows that students' representations about assessment in mathematics are closely linked to their representations of mathematics itself and the learning of it and also to their representation of what is fair and what is not.

This paper reports a qualitative research that identifies Mexican high school students' social representations of mathematics. For this purpose, the social representations of "mathematics", "learning mathematics" and "teaching mathematics" were identified in a group of 50 students. Focus group interviews were carried out in order to obtain the data. The constant comparative style was the strategy used for the data analysis because it allowed the categories to emerge from the data. The students' social representations are: (A) Mathematics is…(1) important for daily life, (2) important for careers and for life, (3) important because it is in everything that surrounds us, (4) a way to solve problems of daily life, (5) calculations and operations with numbers, (6) complex and difficult, (7) exact and (6) a subject that develops thinking skills; (B) To learn mathematics is…(1) to possess knowledge to solve problems, (2) to be able to solve everyday problems, (3) to be able to make calculations and operations, and (4) to think logically to be able to solve problems; and (C) To teach mathematics is…(1) to transmit knowledge, (2) to know to share it, (3) to transmit the reasoning ability, and (4) to show how to solve problems.

Copyright of Revista Ciencia Administrativa is the property of Universidad Veracruzana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Facial lines and wrinkles are strongly influenced by individual differences in anatomy and muscle activity and no single injection protocol will suit all patients. However, there is only limited information in the published literature on how to develop a tailored approach to botulinum toxin treatment. Methods: An expert panel of physicians was convened to establish a consensus on developing an individualized approach to treatment of the forehead with incobotulinumtoxinA. Separate treatment protocols were developed for men and women and subdivided by background level of muscle activity: kinetic, hyperkinetic and hypertonic. Each muscle tone category was then further subdivided to take account of individual characteristics that can influence treatment. Results: Consensus members describe how to perform a dynamic assessment to optimize the dose and injection technique for each patient. A tailored treatment protocol is described for men and women with a wide range of forehead presentations. For each presentation, units of toxin as well as the precise location of injection points were defined by creating a 12-zone map of the forehead. Conclusion: These recommendations depart from traditional consensus documents by providing detailed incobotulinumtoxinA injection protocols for the forehead based on the major parameters that differ between patients, including muscular anatomy, size, and tone. It is expected that the use of this document will lead to more satisfactory, natural and individualized aesthetic outcomes for patients. [ABSTRACT FROM AUTHOR]

Copyright of Revista Ciencia Administrativa is the property of Universidad Veracruzana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ciencia Administrativa is the property of Universidad Veracruzana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The poem "MOM VS THE CHOLAS," by Marisa Tirado is presented. First Line: When I imagine it, I first picture; Last Line: behind her neck, fingers curved above her hair.

The poem "CHARLOTTESVILLE, PARKLAND HIGH, ETC., ETC., ETC.," by Marisa Tirado is presented. First Line: Charlottesville altar call, Last Line: on the news.

The poem "Selena Sonnets" by MARISA TIRADO is presented. First Line: Anna Maria, turquoised and pewtered, Last Line: chicken blood covering those perfect hands.