Catherine Owen – författare

How To Teach Grammar offers accessible and authoritative advice and guidance on teaching grammar. It covers both subject knowledge and classroom practice, providing practical recommendations to help English teachers improve their own depth of understanding of grammar, and their confidence and ability to deliver successful grammar teaching.

The most student-friendly revision guide for the OCR B GCSE Geography specification, written to help students consolidate key knowledge for every topic. Accessible, clear, and thorough, this revision guide engages all students and supports exam success.Key Features:• Each Student Book topic revisited and condensed into single-page examples• Clearly written objectives on every page to set out what students need to know• High-quality photos, maps, and diagrams to aid retention of key processes and information• Motivating revision activities to encourage self-assessment•L Revision checklists to monitor progress and a full glossary of terms• Perfect for independent revision or alongside the Student BookDesigned to make revision manageable and effective, this guide helps students build confidence and achieve success in their OCR B GCSE Geography exams.

The most student-friendly revision resource for the OCR B GCSE Geography specification - written to help students to consolidate key knowledge for every topic

What is Geography Teaching, Now? is a comprehensive guide compiling teaching methods for over 40 aspects of geography teaching, from everyday topics such as assessment, pedagogy and resources, to the challenges facing modern geography teachers such as environmental education, decolonising the geography curriculum and geography in relation to gender and sexuality. Catherine Owen and Jennifer Monk have drawn on the classroom practice and experience of a range of practitioners to tackle the most difficult topics in a concise but enthralling manner, highlighting the importance of professional development in the geography classroom. Practical strategies are woven throughout the book, alongside questions for reflection and suggestions for further research and reading, making this must-have volume perfect for geography teachers at any stage of their careers.

Embodying the aims of the new curriculum for Wales, and forming part of the Humanities Area of Learning and Experience, Curriculum for Wales: Geography for 11-14 years will help you plan your curriculum, offering 18 chapters packed full of geographical resources, including maps, charts, diagrams and data.>> Build students' curiosity about the world around them - how it developed, what it is like now, and what it could be like in the future by helping you develop an enquiry-based approach to learning.>> Explore geography at a local, national and global scale and foster students' sense of cynefin with a focus on Wales and its place on the wider world.>> Develop core geographical skills with fieldwork enquiries embedded into the context of topics, encouraging students to investigate their local area.>> Support teachers in planning and assessment with suggested learning objectives.>> Help students to consider topics in the context of their own lives and the local area in which they live with regular 'My place' activities.>> Encourage students to think about the impact of human actions in their local area, on Wales and the world, to develop ethical informed citizens.>> Choose from crucial content areas including: weather and climate; ecosystems; landscapes and national parks; rural and urban places; sport and culture; climate change; disease; global consumers and more.

Progress in Geography: Key Stage 3, Second Edition was awarded the Highly Commended Publishers' Award by the GA in 2025, along with the accompanying Curriculum Handbook.Put progression at the heart of your curriculum with this hugely popular KS3 course from David Gardner, a leading authority in the Geography community.Fully reviewed and updated - with three new units - this forward-thinking course will fascinate young geographers, incorporating many diverse voices and exploring 'big ideas' such as place, the Earth's systems, the impact of colonialism and the complexities of development.> Choose the most cost-effective course. With 180 ready-made lessons in a single book, Progress in Geography provides a full three-year KS3. The free accompanying Progression Framework maps progress from Year 7 to Year 9, across the National Curriculum and towards the GCSE Assessment Objectives.> Ensure progress in geographical skills, knowledge and understanding. Every lesson and every unit builds upon prior learning and links to future learning, fully embedding geographical enquiry. Each double-page spread represents one lesson, with rich geographical resources, up-to-date data and case studies for pupils to interpret, analyse and evaluate.> Align with Ofsted's expectations. Curriculum expert David Gardner has fully integrated disciplinary, substantive and procedural knowledge, as recommended in Ofsted's 2023 Geography Subject Report and the GA Curriculum Framework.> Assess and demonstrate pupil progress. Ideal for formative assessment, lesson activities create a stepped approach to enquiry learning, guiding pupils through the geographical data as they answer each lesson's enquiry question. End-of-unit review lessons create a reflection point, facilitating medium-term summative assessment and giving a broader view of progress.> Lay firm foundations for GCSE. Key vocabulary, command words and concepts are introduced gradually, preparing pupils for the content and question types they will encounter at GCSE, with a particular focus on analysis and evaluation, plus newly added decision-making activities.

Reinforce and review pupils' knowledge throughout the Progress in Geography course with this write-in workbook for Units 7-12.> Check and consolidate understanding. Every lesson in the textbook has a corresponding workbook page to ensure that pupils have grasped the key concepts and can practise their skills.> Empower pupils to work independently. Workbooks can be used at home easily, with clear instructions and self-contained activities that do not require pupils to have a copy of the textbook.> Get free answers online. Answers for all workbook activities are available online, easily accessible to pupils, parents and teachers.Also available: Workbook 1 for Units 1-6 and Workbook 3 for Units 13-18.

Reinforce and review pupils' knowledge throughout the Progress in Geography course with this write-in workbook for Units 13-18.> Check and consolidate understanding. Every lesson in the textbook has a corresponding workbook page to ensure that pupils have grasped the key concepts and can practise their skills.> Empower pupils to work independently. Workbooks can be used at home easily, with clear instructions and self-contained activities that do not require pupils to have a copy of the textbook.> Get free answers online. Answers for all workbook activities are available online, easily accessible to pupils, parents and teachers.Also available: Workbook 1 for Units 1-6 and Workbook 2 for Units 7-12.

Reinforce and review pupils' knowledge throughout the Progress in Geography: Key Stage 3 course with this write-in Workbook.- Extend learning beyond lessons: every double-page spread in the Student Book has a corresponding Workbook page about the lesson content- Check and consolidate understanding: Workbook activities ensure that pupils have grasped the key concepts and skills in each lesson- Set meaningful homework tasks: the Workbook exercises are perfect for independent study, enabling students to continue learning at home

The collapse of the USSR wrought dramatic changes in Eurasia, both in terms of the structure of state power within the region, and the ways in which Western states and international organisations engaged with it. Analyses of conflict in this region remain rooted in supposed ‘global models’, often assuming that patterns of state failure are due to resistance to the liberal model of peacebuilding. This book sets out a challenge to these assumptions and framings. It not only questions but resolutely dismisses the notion that the peacebuilding methods favoured by Western states remain the most salient in Eurasia. Instead, it develops a framework that seeks to conceptualise the ways in which non-liberal actors contest or transform globally promoted norms of conflict management and promote alternative ones in their place. Authoritarian Conflict Management (ACM) consists of an ensemble of norms and practices in which non-liberal actors attempt to exert sustained hegemonic control over the local discursive, economic and spatial realms in a given territory. With case studies ranging from Afghanistan to Uzbekistan, Xinjiang to the Caucasus, the chapters shed light on the ways in which local and regional actors enact practice of ACM in order to impose stability in conflict-prone localities, thereby challenging the Western-led consensus known as the ‘liberal peace’.

The collapse of the USSR wrought dramatic changes in Eurasia, both in terms of the structure of state power within the region, and the ways in which Western states and international organisations engaged with it. Analyses of conflict in this region remain rooted in supposed ‘global models’, often assuming that patterns of state failure are due to resistance to the liberal model of peacebuilding. This book sets out a challenge to these assumptions and framings. It not only questions but resolutely dismisses the notion that the peacebuilding methods favoured by Western states remain the most salient in Eurasia. Instead, it develops a framework that seeks to conceptualise the ways in which non-liberal actors contest or transform globally promoted norms of conflict management and promote alternative ones in their place. Authoritarian Conflict Management (ACM) consists of an ensemble of norms and practices in which non-liberal actors attempt to exert sustained hegemonic control over the local discursive, economic and spatial realms in a given territory. With case studies ranging from Afghanistan to Uzbekistan, Xinjiang to the Caucasus, the chapters shed light on the ways in which local and regional actors enact practice of ACM in order to impose stability in conflict-prone localities, thereby challenging the Western-led consensus known as the ‘liberal peace’.

The collapse of the USSR wrought dramatic changes in Eurasia, both in terms of the structure of state power within the region, and the ways in which Western states and international organisations engaged with it. Analyses of conflict in this region remain rooted in supposed ‘global models’, often assuming that patterns of state failure are due to resistance to the liberal model of peacebuilding. This book sets out a challenge to these assumptions and framings. It not only questions but resolutely dismisses the notion that the peacebuilding methods favoured by Western states remain the most salient in Eurasia. Instead, it develops a framework that seeks to conceptualise the ways in which non-liberal actors contest or transform globally promoted norms of conflict management and promote alternative ones in their place. Authoritarian Conflict Management (ACM) consists of an ensemble of norms and practices in which non-liberal actors attempt to exert sustained hegemonic control over the local discursive, economic and spatial realms in a given territory. With case studies ranging from Afghanistan to Uzbekistan, Xinjiang to the Caucasus, the chapters shed light on the ways in which local and regional actors enact practice of ACM in order to impose stability in conflict-prone localities, thereby challenging the Western-led consensus known as the ‘liberal peace’.

Rooted in the back alleys, squats and psychiatric wards of contemporary Vancouver and Montreal, these unyielding poems enter the intersecting tensions and intensities in characters such as Mike, a panhandler on Vancouver's Commercial Drive, Matthew, a runaway punk, and Dara, a single mother. 'Cusp''s central sequence, however, concerns the tragic life and death of Frank Bonneville, a schizophrenic and drug-addicted artist who became Ms. Owen's muse between their 2001 meeting and his 2003 suicide. Complemented by Karen Moe's haunting photographs of Vancouver's neglected spaces and rejected objects, 'Cusp/detritus' is a testimony to an obsession with the lost. "It is intentionally unsettling, disturbing, sad, and you cannot deny it, a celebration of a life." - Prairie Fire

In Greek mythology the muses preside over the arts and inspire writers and artists to produce works of genius. In 'Frenzy', Catherine Owen pays homage to the muses in a six-part compilation of muse-quests, some the author's, some those of others. In "Flood-Ghazals," she takes the leaping form of the Persian ghazal and makes it fluid, out of entirely, loosened from its couplet bounds and set free as an unravelled block of threads. "Cobalt Moments" are paeans to a place and its temporalinhabitants-a punk-metal bar in Vancouver and some of its crazy denizens, an attempt to capture the rhythms of this hypnotizing zone of intense music and liminal people. "Opposite Angel's" is a satirical fable of the muse-seeker. How the artist, perhaps unwittingly, ends up placing their muses, especially when they are human, alive, and of the desired gender, on a pedestal. "One Week in Her Life" covers eight random days, in which the poet rambles through the urban world, facing various incongruities, griefs, absurdities, while reveling in little glimpses of peace. "agitate" is a long poem about a photographer's sojourn along a Vancouver Island beach on a trek to chronicle sea surfaces. Environmental, gendered, and artistic critique collide in her mental and physical reality as she dreams of emerging from the frenzy to establish one pure moment of beauty in the world. "Catherine Owen is a neo-romantic bard whose idiosyncratic poetry is barbed with aspects of Tough Love wed to the groom of nihilism. This poet wears a black mood for a wedding dress as she casts invective against bourgeois normalcy. Mistress of neologism and its conflicted ally-ambiguity?-this musifier is unabashedly shameless in making herself "lovesick". A poet taster's head spins, which may not be a bad thing. In an era of political correctness and its self-righteous terrorisms, Owen's muse skateboards over society's niceties as her love junkie heart leaps like an adolescent butterfly. Revel in the nuancesof light and darkness doing a tango in the ineffable quest for the muse's many forms." - Joe Rosenblatt (poet, artist, editor, and recipient of the Governor General's Literary Award) "Catherine Owen is an extraordinarily gifted poet. It's not just the sheer sonic pleasure of her language or the largesse of her endlessly inventive imagery but that she is unsettled and unsettling, deeply disobedient and yet almost selfless in her surrender to form. These poems, and especially the Flood-Ghazals, take you down and then drag you up again, gasping for air." -Robert Priest (poet, songwriter, playwright, winner of the Milton Acorn Memorial People's Poetry Award)

Twenty-first century metalheads; twelfth century troubadours and their female counterparts, the trobairitz- what could they possibly have in common? The creation of an often misunderstood and at times reviled genre for one; for another, a kin preoccupation with the questioning of structures set up by class, gender, and religion. "Describing metal fans as "raw birds, eyes banged out of their heads," Owen's loving scorn allows her to walk a fine line between paying homage to the subculture and dissecting its darkness." - Winnipeg Free Press