School of Education Professional Dispositions The professional conduct of every educator affects attitudes toward the profession. In accordance with the Commission on Teacher Credentialing (CTC) accreditation standards, the School of Education at Brandman University assumes responsibility for ensuring that individuals who complete any of our programs are not only academically competent but aware of and capable of functioning with the established ethical and professional standards of the profession. The mission of the Brandman University School of Education is to develop strategic, innovative and caring leaders, scholars, and practitioners who are empowered to fulfill the promise and purpose of education in a pluralistic and democratic society by promoting constructive change within local, state, national and global communities. The School of Education is committed to ensuring that all candidates successfully complete their programs with not only the knowledge and skills necessary to work in educational settings, but also with the appropriate dispositions. The National Council for the Accreditation of Teacher Education (NCATE) defines dispositions as “professional attitudes, values and beliefs demonstrated through both verbal and non-verbal behaviors as educators interact with students, families, colleagues and communities. These positive behaviors support student learning and development.” The School of Education at Brandman University has adopted a set of professional dispositions that we feel are essential for prospective educators to possess and demonstrate throughout their program. The dispositions adopted by Brandman University’s School of Education are listed below. The behaviors listed are examples of the kind of conduct expected of students in the School of Education, but are not intended to be inclusive. 1. Professional Demeanor & Responsibility - punctual and prepared for classes and field experiences, dresses appropriately in professional settings, responsible for meeting deadlines and following instructions, accepts responsibility for own actions, capable of dealing with disappointment, flexible, adapts to change, reacts appropriately under stress, exhibits a positive attitude toward schools, teaching, students and parents 2. Commitment to Learning for ALL Students - shows sensitivity to all students, respects individual differences, responds to the needs of students and their families and communities, embraces diversity to improve student learning, demonstrates compassion, patience and fairness 3. Communication - demonstrates responsive listening skills, able to communicate with a variety of audiences, demonstrates a willingness and commitment to continually improve communication skills 4. Collaboration - is skilled in expressing self in groups, works effectively with professional colleagues and other adults, able to accept and respect different points of view 5. Self-R ...

1. School of Education
Professional Dispositions
The professional conduct of every educator affects attitudes
toward the profession. In accordance with the
Commission on Teacher Credentialing (CTC) accreditation
standards, the School of Education at Brandman
University assumes responsibility for ensuring that individuals
who complete any of our programs are not only
academically competent but aware of and capable of functioning
with the established ethical and professional
standards of the profession.
The mission of the Brandman University School of Education is
to develop strategic, innovative and caring leaders,
scholars, and practitioners who are empowered to fulfill the
promise and purpose of education in a pluralistic and
democratic society by promoting constructive change within
local, state, national and global communities. The
School of Education is committed to ensuring that all candidates
successfully complete their programs with not only
the knowledge and skills necessary to work in educational
settings, but also with the appropriate dispositions.
The National Council for the Accreditation of Teacher
Education (NCATE) defines dispositions as “professional
attitudes, values and beliefs demonstrated through both verbal
and non-verbal behaviors as educators interact with
students, families, colleagues and communities. These positive
behaviors support student learning and

2. development.” The School of Education at Brandman University
has adopted a set of professional dispositions that
we feel are essential for prospective educators to possess and
demonstrate throughout their program.
The dispositions adopted by Brandman University’s School of
Education are listed below. The behaviors listed are
examples of the kind of conduct expected of students in the
School of Education, but are not intended to be
inclusive.
1. Professional Demeanor & Responsibility - punctual and
prepared for classes and field experiences,
dresses appropriately in professional settings, responsible for
meeting deadlines and following instructions,
accepts responsibility for own actions, capable of dealing with
disappointment, flexible, adapts to change,
reacts appropriately under stress, exhibits a positive attitude
toward schools, teaching, students and parents
2. Commitment to Learning for ALL Students - shows
sensitivity to all students, respects individual
differences, responds to the needs of students and their families
and communities, embraces diversity to
improve student learning, demonstrates compassion, patience
and fairness
3. Communication - demonstrates responsive listening skills,
able to communicate with a variety of
audiences, demonstrates a willingness and commitment to
continually improve communication skills

3. 4. Collaboration - is skilled in expressing self in groups, works
effectively with professional colleagues and
other adults, able to accept and respect different points of view
5. Self-Reflection - engages in problem solving and self-
evaluation, accepts and acts upon constructive
criticism and is receptive to new ideas, uses feedback to make
improvements, strives for personal and
professional growth
6. Ethics - demonstrates truthfulness and honesty, maintains
ethical and legal behaviors in interactions with
others, maintains confidentiality, respects the intellectual
property of others by giving credit and avoiding
plagiarism/cheating
When there are concerns about a candidate’s dispositions,
action plans for remediation will be enacted and, if
necessary, candidates that do not demonstrate these dispositions
may be dismissed from their program as described
in the Professional Dispositions Procedures.
Professional Dispositions Procedures
Introduction to the Dispositions
Students enrolled in School of Education programs are
introduced to the professional dispositions during their initial
session with their academic advisor. The dispositions are
described in the program handbooks and are posted in My
Brandman. There is also a link to the dispositions in the Dean’s

4. admission letter and in emails sent to candidates
each term. A link to the dispositions can also be found in the
university catalog, course syllabi and Blackboard
course shells.
Assessment of Dispositions
Candidates complete a self-assessment of professional
dispositions at the beginning and end of their program.
Instructors and university supervisors complete the inventory in
specific courses during a candidate’s program
through LiveText.
If candidates receive a “Cause for Concern” on any disposition
the following procedures will be followed:
Warning- Instructors must discuss the concern with the
candidate in advance
1st “Cause for Concern”
The faculty or cohort mentor and instructor (when appropriate)
will meet with the candidate. The behavior will be
discussed and an action plan developed. A copy of the plan will
be placed in the candidate’s file. The remediation
plan will be monitored by the candidate’s faculty mentor. If the
candidate’s behavior is corrected no further action
will be necessary.*
2nd “Cause for Concern”
A Code of Conduct Professional Review Committee will meet
to discuss the situation. During this meeting all
disposition inventories will be reviewed and the committee will
make a recommendation about whether or not the
candidate should remain in the program. The decision will be
forwarded to the Dean of the School of Education who
will make the final decision regarding dismissal. *

5. 3rd “Cause for Concern”
The candidate will be recommended for dismissal to the Dean of
the School of Education who will make the final
decision regarding dismissal.
*Subsequence violations of the same disposition or any
additional disposition will be referred to the dean for
consideration of next steps. Candidates who do not respond to
meeting requests about dispositions will also
be referred to the dean.
Unprofessional Conduct Clause:
In the event a student is alleged to have committed an egregious
violation of professional dispositions while enrolled
in the School of Education at Brandman University the
candidate may be suspended from the course or from a
fieldwork placement immediately by the Dean of the School of
Education. The Dean of the School of Education will
determine whether an investigation leading to a referral to the
Professional Review Committee is warranted, or
whether the candidate shall be immediately dismissed from the
University.
Appeals Process
If a candidate is recommended for dismissal from an education
program he/she has the right to appeal the decision.
The candidate may submit a written request for the appeal to the
Regional Appeals Board. The appeal will be made
before a panel. The decision of the panel is final and cannot be
appealed.

6. Professional Dispositions Inventory
The School of Education at Brandman University has adopted a
set of professional dispositions that are essential for
prospective educators to possess and demonstrate throughout
their program.
Professional dispositions will be assessed at several different
points in a candidate’s program by specific instructors
and university supervisors. Candidates will also complete a self-
assessment of professional dispositions at the
beginning and end of their program. When there are concerns
about a candidate’s dispositions, action plans for
remediation will be enacted and, if necessary, candidates who
do not demonstrate these dispositions may be
dismissed from the credential, master’s or doctoral program as
described in the Professional Dispositions
Procedures.
The dispositions adopted by Brandman University’s School of
Education are listed below. The behaviors listed are
examples of the kind of conduct expected of students in the
School of Education, but are not intended to be
inclusive. Check the appropriate box to describe student
development with regard to each disposition. If you mark
“cause for concern” the concern must have been discussed with
the candidate in advance and you must explain the
concern in the comment box. A meeting will be held with the
faculty or cohort mentor, instructor (when appropriate)
and candidate when a cause for concern is noted so that an
action plan can be developed.
Professional Behaviors or Dispositions Achieving

7. Developing
Cause for
Concern
1. Professional Demeanor & Responsibility- punctual
and prepared for classes and field experiences, dresses
appropriately in professional settings, responsible for
meeting deadlines and following instructions, accepts
responsibility for own actions, capable of dealing with
disappointment, flexible, adapts to change, reacts
appropriately under stress, exhibits a positive attitude
toward schools, teaching, students and parents
2. Commitment to Learning for ALL Students-
shows sensitivity to all students, respects individual
differences, responds to the needs of students and
their families and communities, embraces diversity to
improve student learning, demonstrates compassion,
patience and fairness
3. Communication - demonstrates responsive listening
skills, able to communicate with a variety of
audiences, demonstrates a willingness and
commitment to continually improve communication
skills
4. Collaboration - is skilled in expressing self in
groups, works effectively with professional colleagues
and other adults, able to accept and respect different
points of view

8. 5. Self-Reflection - engages in problem solving and
self-evaluation, accepts and acts upon constructive
criticism and is receptive to new ideas, uses feedback
to make improvements, strives for personal and
professional growth
6. Ethics - demonstrates truthfulness and honesty,
maintains ethical and legal behaviors in interactions
with others, maintains confidentiality, respects the
intellectual property of others by giving credit and
avoiding plagiarism/cheating*
* Violations of academic integrity including, but not limited to,
plagiarism or cheating are addressed through the
process described in the University’s Academic Integrity
Policy
Page 307
Italian Renaissance Art in Florence
How did Italian Renaissance art and architecture develop in
Florence?
By the end of the Middle Ages, the most important Italian
cultural centers were north of Rome at Florence, Milan, Venice,
and the smaller duchies of Mantua, Ferrara, and

9. Urbino (map12–2). Much of the power was in the hands of
wealthy families: the Medici in Florence, the Visconti and
Sforza in Milan, the Gonzaga in Mantua, the Este in Ferrara,
and the Montefeltro in Urbino. Cities grew in wealth and
independence as people moved to them from the countryside in
unprecedented numbers. As in Northern Europe, commerce
became increasingly important. Money conferred status, and a
shrewd business or political leader could become very powerful.
Patronage of the arts was an important public activity with
political overtones. One Florentine merchant, Giovanni
Rucellai, succinctly noted that he supported the arts “because
they serve the glory of God, the honour of the city, and the
commemoration of myself” (Baxandall, p. 2).
Beginning around 1400, Italian painters and sculptors, like their
Flemish counterparts, increasingly focused their attention on
rendering the illusion of physical reality, building on the
achievements of their great Florentine forebear Giotto.
However, rather than seeking to replicate the detailed visual
appearance of nature, as the Flemings did, Italian artists aimed
at achieving lifelike but idealized figures—perfected, generic
types—portrayed as weighty, three-dimensional forms set
within a rationally configured space organized through the use
of linear perspective. At the same time, Italian architects began
to use mathematically derived design principles and the
Classical architectural orders to create buildings conforming to
ideals of symmetry and restraint.
The towering pioneers of early Renaissance art—the architect
Brunelleschi, the sculptor Donatello, and the painter
Masaccio—all came from Florence, the birthplace of the ideas
that blossomed into the Italian Renaissance.
Architecture
Filippo Brunelleschi (1377–1446), a young sculptor-turned-
architect (see “The Competition Reliefs,” p. 308), was one of
the principal pioneers of Florentine Renaissance architecture.
His design for the vast DOME OF FLORENCE CATHEDRAL
(fig.12–12) was a revolutionary feat of engineering. The dome

10. is essentially a Gothic construction based on the pointed arch,
using internal ribs to support the vault. It has an octagonal outer
shell and a lower inner shell connected through a system of
arches and horizontal sandstone rings. Brunelleschi invented an
ingenious structural system—more efficient, less costly, and
safer than earlier systems—by which each portion of the dome
reinforced the next one as it was built up layer by layer. When
completed, this self-buttressed unit required no external
support. To this day, the dome remains the source of immense
local pride.
map 12–2 Fifteenth-Century Italy
Powerful families divided the Italian peninsula into city-states:
the Medici in Florence, the Sforza in Milan, the Montefeltro in
Urbino, and the Gonzaga in Mantua. After 1420, the popes ruled
Rome, while in the south Naples and Sicily were French and
then Spanish territories. Venice maintained its independence as
a republic.
12–12 Filippo Brunelleschi DOME OF FLORENCE
CATHEDRAL
1420–1436; lantern completed 1471.
The cathedral of Florence has a long and complex history.
Arnolfo di Cambio’s original plan was approved in 1294, but
political unrest in the 1330s brought construction to a halt until
1357. Most of the building we see today was constructed
between 1357 and 1378, but Brunelleschi’s great dome—now
the dominant architectural feature—was only begun in 1420.
This dome was a source of immense local pride from the
moment of its completion. Renaissance architect and theorist
Leon Battista Alberti described it as rising “above the skies,
large enough to cover all the peoples of Tuscany with its
shadow” (Goldwater and Treves, p. 33).
Art and Its Contexts
The Competition Reliefs
In 1401, the building supervisors of the baptistery of Florence

11. Cathedral decided to commission a new pair of bronze doors,
funded by the powerful wool merchants’ guild. Instead of
choosing a well-established sculptor, they announced a
competition for the commission. This prestigious project would
be awarded to the artist who demonstrated the greatest talent
and skill in executing a trial piece: a bronze relief representing
Abraham’s sacrifice of Isaac (Genesis 22:1–13) composed
within the same Gothic quatrefoil framework used in Andrea
Pisano’s first set of bronze doors for the baptistery, made in the
1330s. The narrative subject was full of dramatic potential:
Abraham, commanded by God to slay his beloved son Isaac as a
burnt offering, has traveled to the mountains for the sacrifice,
but just as he is about to slaughter Isaac, an angel appears,
commanding him to release his son and substitute a ram tangled
in the bushes behind him.
Two competition panels have survived, those submitted by the
presumed finalists: Filippo Brunelleschi and Lorenzo Ghiberti,
both young artists in their early twenties. Brunelleschi’s
composition (fig.12–13) is rugged and explosive, marked by raw
dramatic intensity. At the right, Abraham lunges forward,
grabbing his son by the neck, while the angel swoops
energetically to stay his hand just as the knife is about to strike.
Isaac’s awkward pose embodies his fear and struggle. Ghiberti’s
version (fig.12–14) is quite different—suave and graceful rather
than powerful and dramatic. Poses are controlled and
choreographed; the harmonious pairing of son and father
contrasts sharply with the wrenching struggle in Brunelleschi’s
rendering. And Ghiberti’s Isaac is not a stretched, scrawny
youth, but a fully idealized Classical figure, exuding calm
composure.
Page 148-149
6–28 Exterior View and Plan of the Pantheon
Rome. 110–128 ce.

12. Although this magnificent monument was designed and
constructed during the reigns of Emperors Trajan and Hadrian,
the long inscription on the architrave states that it was built by
“Marcus Agrippa, son of Lucius, who was consul three times.”
Agrippa, the son-in-law and valued advisor of Augustus,
sponsored a building on this site in 27–25 bce. After a fire in
80 ce, Domitian either restored the Pantheon or built a new
temple, which burned again after being struck by lightning in
110 ce. Although there has been a strong scholarly consensus
that it was Hadrian who reconstructed the building in its current
state in 118–128 ce, a recent study of the brick stamps has
argued convincingly that the Pantheon was begun soon after 110
under Trajan, but only completed during the reign of his
successor, Hadrian.
The scene at the beginning of the spiral, at the bottom of the
column, shows Trajan’s army crossing the Danube River on a
pontoon bridge to launch the campaign (fig. 6–26). Soldiers
construct battlefield headquarters in Dacia from which the men
on the frontiers will receive orders, food, and weapons. In this
spectacular piece of imperial ideology or propaganda, Trajan is
portrayed as a strong, stable, and efficient commander of a
well-run army, and his barbarian enemies are shown as worthy
opponents of Rome.
A handsome market was built into a hillside adjacent to
Trajan’s Forum to replace a commercial district that was razed
to make room for the imperial complex. Comparable in size to a
large modern shopping mall, it had more than 150 individual
shops on several levels and included a large, groin-vaulted main
hall. The collective structures and spaces that make up the
Forum and Markets of Trajan exemplify the finest in imperial
city planning, satisfying both the needs of the citizens and the
desire of the emperor for impressive public works and
memorializing propaganda.
Trajan, and his well-educated and widely traveled successor
Hadrian, were responsible for the most remarkable ancient

13. building surviving in Rome, one of the marvels of world
architecture in any age. This temple to Mars, Venus, and the
divine Julius Caesar, known as the PANTHEON, was built
between 110 and 128 ce (figs. 6–27, 6–28). The entrance porch,
made to resemble the façade of a typical rectangular Roman
temple, was all that original viewers could see since their
approach was controlled by an enclosed courtyard (see fig. 6–
23). The actual circular shape of the building was concealed.
This theatrical presentation allowed the soaring and enclosing
space of the giant rotunda (circular room) surmounted with a
huge, bowl-shaped dome, 143 feet in diameter and 143 feet from
the floor to its summit, to be a surprise encountered by viewers
only after they passed through the rectilinear and restricted
aisles of the portico toward the huge main door. Even without
the controlled courtyard approach, encountering this glorious
space today is still an overwhelming experience—for many of
us, one that is repeated even on successive visits to the rotunda.
Other legends tell of a race of giants, the Cyclops, who moved
huge stones and gave the name cyclopean to the large-stone
masonry seen in Mycenaean citadels and tombs. By about 1600
bce, members of the elite class on the mainland had begun
building large aboveground burial places referred to as tholos
tombs. More than 100 have been found on mainland Greece,
nine of them in the vicinity of Mycenae. Possibly the most
impressive is the so-called “Treasury of Atreus,” built around
1300–1200 bce (fig. 5–9). 5–9 Cutaway Drawing of Tholos
Tomb (the so-called Treasury of Atreus), Mycenae, Greece. c.
1300–1200 bce. An uncovered, walled passageway about 114
feet long and 20 feet wide led to the door of a conical structure,
the beehive tomb. The spacious circular main chamber—47½
feet in diameter and 43 feet high—is formed by a corbeled
vault: a stone ceiling built up in regular courses (layers) of
dressed stone in overlapping and ever-decreasing rings carefully
calculated to meet at the peak in a single capstone (topmost

14. stone that joins the sides and completes a structure) (fig. 5–10).
Like Neolithic passage graves (see fig. 1–12), the stone
structure was covered by earth to form an artificial mound. 5–10
Corbeled Vault Interior of tholos tomb (the so-called Treasury
of Atreus), Mycenae, Greece. Limestone, height of vault
approx. 43′ (13 m), diameter 47′ 6″ (14.48 m). For over a
thousand years after it was constructed, this vast vaulted
chamber remained the largest unobstructed interior space built
in Europe. It was exceeded in size only by the Roman Pantheon
(see fig. 6–27), built 110–128 bce. 5–11 Reconstruction
Drawing of the Citadel at Mycenae Greece. Occupied c. 1600–
1200 bce (walls built c. 1340–1200 bce). Note the citadel’s
hilltop position and fortified ring wall. The Lion Gate (see fig.
5–12) is at the lower left, approached by a path flanked by wall
sections. Grave Circle A is at the lower center.
Page 29
Megalithic Monuments
How was monumental Neolithic architecture constructed and
how was it used?
The massive tombs and ceremonial structures built from huge
stones in the Neolithic period are known as megalithic
architecture, from the Greek words for “large” (megas) and
“stone” (lithos). Archaeologists disagree about the nature of the
societies that created them. Some believe megalithic monuments
reflect complex, stratified societies in which powerful religious
or political leaders dictated their design and commanded the
large workforce necessary to accomplish these ambitious
engineering projects. Other interpreters argue that these massive
undertakings are clear evidence for cooperative collaboration
within and among social groups, coalescing around a common
project that fueled social cohesion without the controlling
power of a ruling elite. Many megalithic structures are

15. associated with death, and recent interpretations stress the
fundamental role of death and burial as public theatrical
performances in which individual and group identity, cohesion,
and disputes were played out.
Elements of Architecture
Post-and-Lintel and Corbel Construction
Of all the methods for spanning space, post-and-
lintel construction is the simplest. At its most basic, two
uprights (posts) support a horizontal element (lintel). There are
countless variations, from the wood structures and underground
burial chambers of prehistory, to Egyptian and Greek stone
construction, to medieval timber-frame buildings, and even to
present-day cast-iron and steel construction. Its limitation as a
space spanner is the degree of tensile strength of the lintel
material: the more flexible, the greater the possible span.
Another early method for creating openings in walls and
covering space is corbeling, in which rows or layers of stone are
laid with the end of each row projecting beyond the row
beneath, progressing until opposing layers almost meet and can
then be capped with a stone (capstone) that rests across the tops
of both layers.
Many megalithic tombs are preserved in Europe, where they
were used for both single and multiple burials. In the simplest
type, the dolmen, a tomb chamber was formed of huge upright
stones supporting one or more table-like rocks, or capstones, in
a post-and-lintel system. The structure was then mounded over
with smaller rocks and dirt to form a cairn or artificial hill.
More elaborate burial sites—called passage graves—have
corridors leading into a large burial chamber. At Newgrange in
Ireland, a huge passage grave—originally 44 feet tall and 280
feet in diameter—was constructed about 3000–2500 bce (fig. 1–
12). Its passageway, 62 feet long and lined with standing stones,
leads into a three-part chamber with a corbel vault (an arched
structure that spans an interior space). Some stones are
engraved with linear designs, mainly rings, spirals, and diamond

16. shapes. These patterns may have been marked out using strings
or compasses, and then carved by picking at the rock surface
with tools made of antlers. Recent analysis of such engraved
designs suggest that we should understand them in terms of the
neuropsychological effects—including hallucinations—they
would have had on people visiting the tomb. They may have
played important roles in ritual or political ceremonies that
centered around death, burial, and the commemoration and
visitation of the deceased by the living.
Of all the megalithic monuments of Europe, the one that has
stirred the public imagination most strongly
is STONEHENGE in southern England (figs. 1–13, 1–14).
A henge is a circle of stones or posts, often surrounded by a
ditch with built-up embankments. While Stonehenge is not the
largest such circle from the Neolithic period, it is one of the
most complex, with eight different phases of construction and
activity starting in about 3000 bce and stretching over a
millennium and a half through the Bronze Age.
1–12 Tomb Interior with Engraved Stones
Newgrange, Ireland. c. 3000–2500 bce.
1–13 Stonehenge
Salisbury Plain, Wiltshire, England. c. 3000–1500 bce.
The site started as a cemetery of cremation burials marked by a
circle of bluestones, transported over 150 miles from the west,
where they were quarried from a site in Wales that was also a
prehistoric healing site. Through numerous sequences of
alterations and rebuilding, Stonehenge continued to function as
a place of the dead. Between 2900 and 2600 bce, the bluestones
were rearranged into an arc. Around 2500 bce, a circle of huge
sarsen stones—a gray sandstone—created the famous
appearance of the site, with the bluestones rearranged within.
The center of the site was now dominated by a horseshoe-
shaped arrangement of five sarsen trilithons, or pairs of upright
stones topped by lintels. The one at the middle rose taller than

17. the others to a height of 24 feet, with a lintel over 15 feet long
and 3 feet thick. This group was surrounded by the so-called
sarsen circle, a ring of uprights weighing up to 26 tons each and
averaging 13½ feet tall.
Many theories have been advanced to explain the meaning of
Stonehenge. In the Middle Ages, people thought that Merlin, the
legendary magician of King Arthur, had built it. Later, the
complex was erroneously associated with the rituals of Celtic
druids. Because its orientation is related to the position of the
sun at the solstice, some have argued that it was an observatory
to track cosmic events or a calendar for regulating agricultural
schedules. None of these ideas is supported by current
archaeologists and recent evidence. We now believe that
Stonehenge was the site of ceremonies linked to death and
burial, and that this complex can only be understood in relation
to nearby prehistoric sites dating from the same period when it
was in use.
1–14 Diagram of Stonehenge
The settlements built near Stonehenge also follow circular
layouts, but they were built not of stone, but wood, and they
were the site of human habitation rather than burial and ritual.
A mile from Stonehenge is Durrington Walls, a large settlement
(almost 1,500 feet across) surrounded by a ditch and containing
a number of wooden circles and circular houses. Archaeological
evidence demonstrates that some people who stayed here had
traveled from regions far away from the site and may have been
visiting as pilgrims. Stonehenge and Durrington Walls were
connected to the Avon River by banked avenues, joining the
world of the living (the wood settlement) with the world of the
dead (the stone circle). Neolithic people would have moved
between these worlds as they walked the avenues, sometimes to
bring the dead for burial, sometimes to participate in
ceremonies or rituals dedicated to the memory of ancestors. The
meaning of Stonehenge, therefore, rests within an understanding
of the larger landscape that contained habitations as well as

18. ritual sites.
EDUU 510 Professional Disposition Self-Assessment Rubric
Criteria Exemplary
10pts.
Proficient
9-8 pts.
Emerging
7-6 pts.
Needs Improvement
5-below pts.
Professional
Dispositions
Self
Assessment
Clearly and
concisely describes
three dispositions
candidate possesses
and demonstrates,
two areas for
improvement and
justification for each
response as well as a
plan for areas of
improvement

19. Adequately describes
three dispositions
candidate possesses
and demonstrates,
two areas for
improvement and
justification for each
response as well as a
plan for areas of
improvement
Partially describes
three dispositions
candidate possesses
and demonstrates,
two areas for
improvement and
justification for each
response as well as a
plan for areas of
improvement
Provides a limited
description of the
three dispositions
candidate possesses
and demonstrates,
two areas for
improvement and
justification for each
response as well as a
plan for areas of
improvement

20. Professional Dispositions Self-Assessment
The dispositions adopted by Brandman University’s School of
Education are listed below. The behaviors listed are examples
of the kind of conduct expected of students in the School of
Education, but are not intended to be inclusive.
1. Professional Demeanor & Responsibility - punctual and
prepared for classes and field experiences, dresses appropriately
in professional settings, responsible for meeting deadlines and
following instructions, accepts responsibility for own actions,
capable of dealing with disappointment, flexible, adapts to
change, reacts appropriately under stress, exhibits a positive
attitude toward schools, teaching, students and parents
2. Commitment to Learning for ALL Students - shows
sensitivity to all students, respects individual differences,
responds to the needs of students and their families and
communities, embraces diversity to improve student learning,
demonstrates compassion, patience and fairness
3. Communication - demonstrates responsive listening skills,
able to communicate with a variety of audiences, demonstrates a
willingness and commitment to continually improve
communication skills
4. Collaboration - is skilled in expressing self in groups, works
effectively with professional colleagues and other adults, able
to accept and respect different points of view
5. Self Reflection - engages in problem solving and self-
evaluation, accepts and acts upon constructive criticism and is
receptive to new ideas, uses feedback to make improvements,
strives for personal and professional growth

21. 6. Ethics - demonstrates truthfulness and honesty, maintains
ethical and legal behaviors in interactions with others,
maintains confidentiality, respects the intellectual property of
others by giving credit and avoiding plagiarism/cheating
Directions:
1. Reflect on the six professional dispositions adopted by the
School of Education and complete the
self-assessment.
2. Identify three dispositions that you feel you currently
possess and are able to demonstrate. For each disposition
provide a justification for your response.
3. Identify two dispositions you would like to improve. For
each disposition provide a justification for your
response and a plan for improving in those areas.
Professional Dispositions Self-Assessment
Name:
Course Number/Title:
Date:
1. Identify 3 dispositions that you feel you currently possess
and are able to demonstrate. For each disposition
provide a justification for your response.
Disposition
(Include # and Title)
Justification
Disposition (Include # and Title)
Justification

22. Disposition
(Include # and Title)
Justification
2. Identify 2 dispositions you would like to improve. For each
disposition provide a justification for your response
and a plan for improving in those areas.
Disposition
(Include # and Title)
Justification
Plan for Improvement
Disposition
(Include # and Title)
Justification
Plan for Improvement