This chapter is divided into three main sections. The first proposes the Ten Teacher Questions framework. This set of questions is designed to provide you with a generic framework for critical enquiry into all your pedagogical choices, and to connect your pedagogical knowledge to what you have learned in previous chapters. The second section provides the curriculum context structures ‒ that is, the ACARA Cross-curriculum Priorities and General Capabilities, which inform our work. The third section presents Teaching Ideas in Mathematics, The Arts and English. Our key message is not that you must implement every Teaching Idea! Instead, we hope the examples will consolidate a practical approach to harnessing the linguistic diversity of your students. We hope that you will grasp the principles which you can see at work in the Teaching Ideas, and the way that they respond to one or more of the Ten Teacher Questions.

This contests Norbert Eliass view of the civilizing process. It argues that in the first decades of the eighteenth century, the promotion of gentler manners worked in the service of military aggression. Martial virtue was promoted against the threat of effeminacy and corruption, while poets celebrated the humanity of brutal victors in contemporary wars. The Fast and Thanksgiving services of the Church sancitifed the violence of the war zone while discouraging brutality in daily life. Fears about the corrupting influence of war news were countered by ideal models of martial virtue. A new theory of the sublime was developed, which claimed that an imaginative engagement with representations of violence could have a humanizing effect.

Having addressed how the Technologies learning area can support the learning of primary science in Chapter 7, this chapter presents a range of additional examples from English, Mathematics, Humanities and Social Sciences, the Arts, and Health and Physical Education. As discussed in the Introduction to this book, curriculum integration (CI), which is also referred to as interdisciplinary or cross-curricular teaching, should only be used where there is a complementary, and preferably a synergistic fit between targeted science concepts and concepts in other learning areas, so student understanding is enhanced, not diluted or confused. This specification is at the core of the examples presented in this chapter, where the relationship between science and other learning area concepts has been meticulously considered. Another key consideration is the contexts in which the various concepts are presented to students so that real-world connections can be linked to local examples within their life experiences.

Serge Gregory surveys Chekhov’s artistic education, his time working the Moscow art beat as a cultural critic, reviewing operas and exhibits, and enjoying the inside scoop on these worlds thanks in part to his older brother Nikolai, an accomplished painter. Gregory demonstrates how Chekhov’s literary impressionism was formed by parallel movements in the arts, especially by his friendship with Isaac Levitan, whose painterly approach to mood was decisive for Chekhov’s own fictional landscapes.

This chapter explores the prominence of the arts and their cognate vocations in near-future fiction, and how they act as a way of scaling up the domestic near future to appease the spatial demands of planetary ecological emergency. In Arcadia by Lauren Groff (2013), art acts like myth and climate events in Chapters 1–2, shrinking climate change to the scale of the body. However, in The History of Bees by Maja Lunde (2015) and 10:04 by Ben Lerner (2015), the artwork models the social totality, though this entails both an authoritarian overwriting of individual identity and the desertion of narrative and history. Such a totality suggests Romantic theorisations of the symbol, situating the domestic near future in a literary history in which the symbol has been a compensatory device for a revolutionary history that has painfully faltered. Blade Runner 2049 (dir. Denis Villeneuve, 2017) both provides a glimpse of this revolutionary dynamic and an exemplary desertion of it, as it moves away from an opening centred on latent class solidarity and revolution to become a quest adventure to locate the domestic near future, vested in an artist and their parent–child relationship.