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Chen, Xiaofen. "The culture, ideology, and design of women's underwear for China." Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/25465/.
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Aynsley, Jeremy. "'Gebrauchsgraphik' : style and ideology in German graphic design 1910-1939." Thesis, Royal College of Art, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600808.
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Young, Joseph Jr. "Allegiance by Design: Visual Identities in Reference to Political Ideology and Brand Loyalty." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1626257876186202.
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Gunn, Maja. "Body acts queer : Clothing as a performative challenge to heteronormativity." Doctoral thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-9835.
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This artistic, practice-based thesis has been developed based on the idea that design creates social and ideological change. From this perspective, Body Acts Queer — Clothing as a performative challenge to heteronormativity introduces an artistic way of working with and exploring the performative and ideological functions of clothing with regard to gender, feminism, and queer. The thesis presents this program for experimental fashion design—exemplified through a series of artistic projects—while also discussing the foundations of such an approach and the different perspectives that have affected the program and its artistic examples. Working with clothing and fashion design through artistic projects using text and bodies, this thesis transforms queer and feminist theory into a creative process and, by looking into bodily experiences of clothing, Body Acts Queer investigates its performative and ideological functions, with a focus on cultural, social, and heteronormative structures. Body Acts Queer suggests a change in the ways in which bodies act, are perceived, and are produced within the fashion field, giving examples of—and alternatives to—how queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothing and language, the meeting point between fiction and reality, and the ability to perform interpretation and bodily transformations—where pleasure, bodily experiences, and interaction create a change.
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Jerlei, Triin. "Industrial designers within the Soviet Estonian design ideology of the Late Socialist period, 1965-1988." Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/959e31ed-a3de-426b-a57a-4e2ede431495.
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This thesis argues that a unique design ideology manifested in Soviet Estonia during the Late Socialist period. It was a combination of broader Soviet design ideologies concerned with material practices and the control of production, and Western design influences that were more apparent in Estonia than elsewhere in the Soviet Union and provided aesthetic guidance in a vacuum of Soviet style. This research allows for the first time a determination of the characterising qualities of Estonia’s Late Socialist industrial design, as well as provision of a new contextual framework for considering Soviet design ideas more broadly. To date, studies of Soviet design have focused on object aesthetics, leaving authors who are then faced with the absence of a consistent Soviet style to assume an equally absent Soviet design ideology. However, while it is not necessarily visible in the appearance of products, a tangible Soviet design ideology existed in bureaucratic apparatuses, material practices and accompanying textual materials. This thesis uses oral history and archival research to provide a detailed analysis of the Soviet ideology operating within one cultural monad of the wider USSR. In doing so it breaks away from the emphasis on Russia as the totality of 20th century Soviet socialism to make a first important step toward a more substantial history of Soviet production. Estonia can be understood as a meeting point between two major world design cultures, and from its example we can better understand the characteristics, functioning, and impact of different design ideologies.
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Huang, Yu-Chin. "National identity and ideology in the design of postage stamps of China and Taiwan 1949-1979." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498654.
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Postage stamps are exclusively made by a country that is recognized by other members of the international community. Governments have always utilized these tiny images as national and international propaganda. By 1949, the Chinese Communist Party effectively controlled the Chinese Mainland and established the People's Republic of China (PRC), while the Nationalist Party fled to Taiwan to resume its Republic of China (ROC). The PRC and the ROC simultaneously asserted their sole legitimate succession to the Chinese regime, and both countries' postal authorities utilized postage stamps to build their own Chinese national identity and engage in a long-term propaganda war. In this thesis, I will firstly analyze both the production and consumption of postage stamps in Chapter Two and Chapter Three. The production of postage stamps is always conducted by the postal authorities, responsible for planning and designing postage stamps. However, it is also inevitably affected by stamp collectors' taste and need as well as by domestic and international stamp markets. Even though ordinary postage stamp users, stamp collectors and stamp merchants are the main agents in the consumption of postage stamps, they are also the marketing targets of the postal authorities. Therefore, my approach to the study of postage stamps coordinates top-down and bottom-up strategies in order to obtain a full picture of this aspect of discourse on Chinese national identity in both countries. Following the study of the historical background both countries' postal services, Chapter Four explores how these two countries drew national leaders and national territory and designed Chinese visual characteristics in postage stamps, discussing the construction of each regime's political, geographical and cultural identity. By comparing five sets of stamp themes, including people, anniversaries, international relations, sport and the overseas Chinese, Chapter Five analyzes political, historical and ethnic identity in postage stamp designs of the 'two Chinas'.
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Holm, Raven R. "Natural language processing of online propaganda as a means of passively monitoring an adversarial ideology." Thesis, Monterey, California: Naval Postgraduate School, 2017. http://hdl.handle.net/10945/52993.
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Approved for public release; distribution is unlimited<br>Reissued 30 May 2017 with Second Reader’s non-NPS affiliation added to title page.<br>Online propaganda embodies a potent new form of warfare; one that extends the strategic reach of our adversaries and overwhelms analysts. Foreign organizations have effectively leveraged an online presence to influence elections and distance-recruit. The Islamic State has also shown proficiency in outsourcing violence, proving that propaganda can enable an organization to wage physical war at very little cost and without the resources traditionally required. To augment new counter foreign propaganda initiatives, this thesis presents a pipeline for defining, detecting and monitoring ideology in text. A corpus of 3,049 modern online texts was assembled and two classifiers were created: one for detecting authorship and another for detecting ideology. The classifiers demonstrated 92.70% recall and 95.84% precision in detecting authorship, and detected ideological content with 76.53% recall and 95.61% precision. Both classifiers were combined to simulate how an ideology can be detected and how its composition could be passively monitored across time. Implementation of such a system could conserve manpower in the intelligence community and add a new dimension to analysis. Although this pipeline makes presumptions about the quality and integrity of input, it is a novel contribution to the fields of Natural Language Processing and Information Warfare.<br>Lieutenant, United States Coast Guard
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Ismail, Alice S. "The influence of Islamic political ideology on the design of state mosques in West Malaysia (1957-2003)." Queensland University of Technology, 2008. http://eprints.qut.edu.au/19371/.
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This research begins with the assumption that the political ideology of Malaysian leaders influences the design of state mosques and seeks to investigate the relationship between Malaysian leaders political ideas of Islam and their influence on the design of state mosques in Malaysia. Even though studies undertaken of state mosque in other Muslim countries show a relationship between state mosque and politics, there are no studies that describe the influence of politics on the state mosques in Malaysia. To date, the research on the state mosque in Malaysia focuses on six main aspects: these are descriptions of the state mosque in regard to its historical development; documentation of the state mosque in the form of measured drawings; classification of state mosque styles; theory for designing the state mosque based on religious sources; discussion on the technical aspects of the state mosque design; and discourse on the role and function of the state mosque in relation to social aspects. In contrast, the aim of this research is to determine: How are the leaders political ideas of Islam expressed through the design of state mosques in West Malaysia? A case study approach as defined by Yin (2003) was applied. Evidence for the case studies has been collected from archival records to gather data regarding political development and building policy which relates to three prominent leaders in Malaysia –Tunku Abdul Rahman, Tun Abdul Razak and Tun Mahathir Mohamad - while on-site observation, state mosque documents and interview were methods to collect evidence for three state mosques in Malaysia, which are the National Mosque, Penang State Mosque and Putra Mosque. Since this research deals with specific interpretations of the state mosque as a social-physical phenomenon and the need to understand how the structural relationship exists between the state mosques and social culture, a multi-disciplinary logic of inquiry combining the interpretive and structuralist paradigms was adopted. In association, a framework incorporating both semiotics and hermeneutics were developed to analyse, firstly, the symbolic meaning embedded in the design of the state mosques and their mundane settings and, secondly, to reveal the leaders intentions and associated actions during the creation of the state mosques. An analysis of the data exposed that there is a dialectic relationship between the leaders and the design of the state mosque in the period of post-independence in Western Malaysia. The investigation of the three state mosques also suggested that the political ideas of Islam as propounded by Malaysian leaders have a profound effect on determining the design of the state mosque. This study, therefore, offers new insights, which not only add to knowledge in this field by widening and strengthening the understanding of political and architectural historical theory in Malaysia, but also are valuable for range of associated fields including architectural semiotics and non verbal communication. This is because this research reveals deep understandings of the built form and material environment operating as a sign in a cultural and social context.
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ERIKSSON, JENNY, and NATALIE KARLSSON. "Slow Fashion and how it is beeing communicated-the role of storytelling in engaging consumers in slow fashion." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18171.
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Background: The fashion industry today is one of constant and unceasing change. It is a segment of materialism, characterised by fast-paced and outsourced production, cost pressed profit structures, and never ending designs and trends. This framework together with modern day marketing communications that unremittingly stimulate new consumer wants have created a landscape of overconsumption. As a reaction to this hysteria of consumerism is the emergence of a relatively new notion, slow fashion. This ideology places emphasis on decelerating both production and consumption cycles through more conscious purchasing patterns. Previous studies confirm that although consumers are accepting of the slow fashion mind-set, their interest does not necessarily equate to engagement in terms of conscious consumption. Consequently, companies today are seeking alternative modes of communication such as storytelling. Purpose: The objective of this paper is; thus, to investigate how slow fashion is being communicated through storytelling, in better understanding how to engage consumers in more conscious and responsible fashion consumption. Method: The study uses a qualitative method of research with a deductive approach. The research design entails multiple case studies of semi-structured interviews conducted among four slow fashion companies in Sweden. Theoretical data has been collected primarily through peer reviewed literature and other written works in electronic form. The theoretical starting point of the paper begins with concepts such as slow fashion as an ideology and its values, goals and objectives. Thereafter, storytelling, engagement and meaning are each theoretically explained and empirically investigated. Conclusion: The study reveals that slow fashion retailers are using storytelling but to varying degrees in communicating the slow fashion ideology. There is a focus on engaging consumers through education, interaction and activating several human senses. It can be seen that consumers are engaged and interested in the slow fashion mind-set; however, it cannot be confirmed that they are actually behaving or acting as slow fashionists.<br>Program: Master programme in Fashion Management
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Laski, Gary. "Le design : Théorie esthétique de l'histoire industrielle." Phd thesis, Université Paris-Est, 2011. http://tel.archives-ouvertes.fr/tel-00713124.
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Brenner, Gladys. "From Constructivism to Deconstructivism." VCU Scholars Compass, 1990. http://hdl.handle.net/10156/1334.
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Thesis (M.F.A.)--Virginia Commonwealth University, 1990.<br>Title on page 6. Two folded displays. Prepared for: Dept. of Communication Arts and Design. Includes bibliographical references. Also available online.
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Bednarek, Sarah. "We Believe in Nothing." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1196.
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Hepner, Alexandre. "Desenho urbano, capital e ideologia em São Paulo: centralidalidade e forma urbana na Marginal do Rio Pinheiros." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16135/tde-10012011-103514/.
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A partir da década de 1970, iniciou-se em São Paulo um processo de expansão e deslocamento de atividades do setor de serviços, que antes se localizavam quase exclusivamente no Centro da cidade e no entorno da Av. Paulista, rumo à região do vale do Rio Pinheiros. Ao longo deste período, as antigas áreas de várzea do rio transformaram-se em espaços de intensa valorização imobiliária, marcados pela presença de modernos edifícios de escritórios, hotéis de padrão internacional e numerosos shopping centers. Esta paisagem emergente destaca-se pelo seu poderoso valor simbólico, sendo considerada por muitos como um dos principais cartões-postais de São Paulo no início do século XXI. Além disso, estas centralidades empresariais e de negócios são apresentadas por setores da mídia, da política e da academia como o elo que conecta São Paulo aos pólos centrais do sistema capitalista financeiro e informacional no contexto contemporâneo da globalização econômica. Segundo este discurso, a Marginal Pinheiros é um espaço urbano cujas funções estariam mais estreitamente relacionadas aos centros de negócios de outras importantes cidades globalizadas do que ao restante da própria metrópole em que está inserida. No entanto, o forte caráter ideológico deste discurso mascara diversas contradições subjacentes ao processo de urbanização que produziu estas áreas, desviando a atenção acerca do caráter sistematicamente excludente das políticas e investimentos públicos concentrados nesta região da cidade, em detrimento de outras regiões mais carentes de infra-estrutura e serviços públicos. Neste trabalho, analisamos como a imagem e a forma urbana destes espaços é utilizada como um elemento importante deste discurso, cujo efeito mais perverso é o de reforçar relações de dominação e segregação social na cidade de São Paulo. Conforme pretendemos demonstrar, para que a imagem da cidade possa assumir este papel como elemento de uma ideologia, são articulados esforços para organizar a produção imobiliária de modo a desenhar a paisagem de acordo com estas expectativas. Este se trata, efetivamente, de um processo de desenho urbano cujos objetivos são o fortalecimento da imagem simbólica da Marginal Pinheiros como um próspero, sofisticado e inovador centro de negócios de nível internacional. Para a compreensão deste processo, torna-se necessário valer-se do instrumental analítico da área de estudos do Desenho Urbano, o qual tem sido, a nosso ver, pouco avançado no Brasil durante as duas últimas décadas. Assim sendo, neste trabalho empreendemos um resgate teórico e metodológico desta área de estudos, de modo a empregá-la para contribuir com a análise das transformações recentes do espaço urbano da Marginal Pinheiros através de um ponto de vista alternativo.<br>Since the 1970s, the city of São Paulo has experienced a process in which most of its service sector activities, which were previously located almost exclusively in the old Downtown and in Paulista Ave., have been expanding or relocating towards the region surrounding the Pinheiros River valley. Throughout this period, the former lowland areas along the river have become areas of intense real estate valorization, marked by the presence of modern office buildings, international-standard hotels and several new shopping malls. This emerging landscape is recognized for its powerful symbolic value, and is considered by many as one of the major \"postcards\" of São Paulo at the turn of the century. Moreover, these corporate and business centralities are presented by sectors of the media, politics and academic community as the link that connects São Paulo to the central nodes of the capitalist financial and informational system in the current context of economic globalization. According to this discourse, Marginal Pinheiros is an urban space whose functions are more closely related to other business centers in major \"globalized\" cities, than to the rest of the metropolis in which it is located. However, the strong ideological character of this discourse masks several of the contradictions underlying the urbanization process through which these areas were produced, diverting attention from the systematic exclusionary character of public policies and investments that were concentrated in this region of the city, to the detriment of other areas in greater need of infrastructure and public services. This dissertation analyzes how the image and urban form of these spaces are used as an important element of this discourse, whose most perverse effect is the reinforcement of social domination and segregation in São Paulo. As we intend to demonstrate, the creation of a landscape that can assume this role as an element of ideology requires articulated efforts to organize real estate developments in order to design urban space according to these expectations. This is indeed a process of urban design, whose aim is to strengthen the symbolic image of Marginal Pinheiros as a prosperous, sophisticated and innovative international-grade business center. In order to understand this process, it is necessary to rely on the analytical tools provided by the academic field of Urban Design, which have been, in our view, relegated to ostracism in Brazil during the last two decades. Therefore, we intend to revisit urban design both theoretically and methodologically, adopting its critical standpoint for the analysis of the recent transformations of Marginal Pinheiros urban space.
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Wasserfall, Jacob. "Early mine and railway housing in South Africa : a two-part study of ideology and design in working-class housing." Thesis, University of Cambridge, 1990. https://www.repository.cam.ac.uk/handle/1810/251487.
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This study is concerned to explore the vulnerability of working-class housing in South Africa to ideological manipulation, be it of economic and/or political derivation. More descriptively, by delineating the ideological role of early forms of workers' housing in the development of capitalist South Africa, this two-part enquiry aims to reveal the instrumental potential of working-class housing in the spheres of labour control and social management, and to bring to the fore the manner in which ideology can operate through design. Two early innovations in the realm of working-class housing, the establishment of which dates back to the later nineteenth century and the birth of South Africa's first industrial community, form the focus in the opening study. Part I seeks to expound, by investigating the contrasting approach to the housing of black and white mineworkers at the Kimberley diamond fields, the true deliberations which lay behind the creation of the parallel institutions of the closed compound, on the one hand, and the garden suburb of Kenilworth on the other. The former is shown to have provided the mineowners with a directly coercive means of coming to terms with black migrant labour, and the latter to have furnished them with a means of surmounting, by 'acquiescence' rather than through the exercise of force, the growing power of white labour. Both innovations came to serve as practicable models in the spheres of labour control and social management to other large employers of labour in South Africa, such as the State Railways, and to urban management in general. Part II negotiates railway housing provision during the first half of this century against the backdrop of the 'poor white' crisis, a social dilemma of major proportions caused by pervasive rural impoverishment and the subsequent drift into the urban areas of unskilled and mostly illiterate Afrikaners. Poor white relief in time developed into a chief objective of Government, with the Railways forming the vanguard of its so-called 'civilised labour' policy after 1924 in giving preference to white workers over black in unskilled and skilled jobs regardless of the greater expense. The State Railways in due course became the largest single employer of Afrikaners in the urban areas. One result of the Railways' 'rehabilitative function' in easing the adjustment to the urban way of life of newly proletarianised Afrikaners will be shown to have been the portable railway model village. It will also be illustrated how it was to design, among other things, that the Railway Administration looked in an attempt to integrate its white employees into the social fabric of towns - the cultural strongholds of English-speaking whites - when the custom of housing railway families on the opposite side of the railway line to the town gave rise to the association thereof with 'living on the wrong side of the tracks'.
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Anglevåg, Anna, and Josefin Holmgren. "Eko(logiskt)? : – En multimodal kritisk diskursanalys av ICAs ekologiska livsmedelsförpackningar." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64885.
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The purpose of this paper is to study how ICA construct ecologically through their organic food packaging. Multimodal Critical Discourse Analysis (MCDA) is used to analyze the semiotic resources existing on food packaging, as well as identify underlying power and ideological conditions. As our analysis is based on our own interpretations, and that multimodal critical discourse analysis is a social constructionist theory, our study includes social constructionism. One conclusion of our study is that all organic products, whether design, convey some kind of discourse about purity, and that it can be expressed in different ways. ICA show this through a white and modern design which is a new thinking when it comes to organic food packaging. There is no traditional, authentic or Swedish about the products like the other organic products in the study.
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Gunn, Maja. "Body Acts Queer." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-123.
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Body Acts Queer is an exploration of the performative and ideological functions of clothes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Working with clothing and fashion design from a queer feminist perspective, I transform queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which bodies act, are perceived and are produced within the fashion field, giving examples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transformations – where desire, bodily experiences and interaction create a change.
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Tatjana, Dadić Dinulović. "Fenomenologija spektakla: scenski dizajn kao sredstvo konstrukcije događaja." Phd thesis, Univerzitet u Novom Sadu, Doktorske disertacije iz interdisciplinarne odnosno multidisciplinarne oblasti na Univerzitetu u Novom Sadu, 2014. https://www.cris.uns.ac.rs/record.jsf?recordId=94322&source=NDLTD&language=en.
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Pojam scenskog dizajna označava oblastprofesionalnog, umetničkog, kustoskog,teorijsko-kritičkog i edukativnog delovanjakoja je nastala proširenjem pojma i oblastiscenografije. Kao polje profesionalnogdelovanja u pozorištu, scenski dizajnobuhvata različte oblasti scenskogstvaralaštva, objedinjenih u procesunastanka prostora pozorišne predstave.Kao kompleksna umetnička i kustoskadisciplina, scenski dizajn pripada poljuukrštanja pozorišta, arhitekture i vizuelneumetnosti u interdisciplinarnu umetnost.Osvajanjem prostora „između“ uspostavljenje otvoreni model umetničkog istraživanja idelovanja, pa ovakvu vrstu proširenjamožemo smatrati pokretačem velikog brojanovih ili transformisanih stvaralačkih praksi.Delo scenskog dizajna može nastati usvakom stvaralačkom procesu kojipodrazumeva scenski način mišljenja iupotrebu scenskih sredstava, a koji za ciljima realizaciju prostora scenskogdogađaja. U radu je prikazano, analizirano ivrednovano deset studija slučajaumetničkih i kustoskih praksi u oblastiscenskog dizajna, čime je ukazano naraznovrsnost ishoda, umetničkih formi isredstava, različitost ambijenata u kojimasu dela izvedena, vrste publike i javnostikojima se obraćaju, kao i specifičnostinačina njihovog nastanka i raznovrsnostupotrebe medijskih linija. Takođe, prikazrazvoja scenskog dizajna van prostorapozorišta omogućio je ustanovljavanje trinjegove ključne karakteristike –višemedijsku prirodu scenskog dizajna,posebnu ulogu prostora u delima scenskogdizajna i uspostavljanje specifičnog odnosaizmeđu izvođača i publike.<br>Term scene design relates to professional,artistic, curatorial, theoretical andeducational practices developed from theexpanded meaning of scenography – assemantic category and artistic discipline. Inprofessional theatre practice, scene designconnects several artistic disciplines, jointtogether in the process of creating a spacefor theatre performance. As a complexartistic and curatorial practice, scene designstands at the crossroads of theatre,architecture and visual arts, united in thefield of interdisciplinary art. By taking thespace “in between” disciplines, scenedesign becomes an open model for artisticresearch and practice, serving as a coredrive for a large number of new ortransformed artistic and curatorial works.Every creative process which includesscenic way of thinking and scenographicmeans of expression, and aims atrealisation of performing space, can bedefined as scene design artwork. Theresearch included presentation, analysisand evaluation of ten case studies of artisticand curatorial practices of scene design.The analysis aimed at showcasing diversityof artistic outcomes, forms and means ofexpression, variety of performingenvironments and types of audience, aswell as specific circumstances in whichworks were created or diversity of mediaused. At the same time, insight intodevelopment of scene design works outsidetheatre practice resulted in establishingthree of its key characteristics – multimedianature of scene design, essential role ofspace in scene design works and specificrelation between performer and audience.
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Aldaher, Sébastien. "An Attempt to Set A design Base for post-conflict housing in the historic core of Homs, Syria." Thesis, Malmö universitet, Institutionen för Urbana Studier (US), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-44261.
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The built environment in the old city of Homs has been brutally destroyed by the conflict in Syria. The research gap in post-conflict planning and architectural design in the old city of Homs is alarming as it indicates that there are no clear roadmaps on how to deal with post-conflict housing units in such a historic area. This study aims to investigate the possible design basis of housing typologies and plans for the housing units in the old city after the conflict. This study is primarily based on a literature review and extensive discussions with a specialist architect from the city of Homs, who helped to gain a deeper understanding of how to approach such a topic. The literature review deals with the historical Arab cities’ components and the elements of courtyard houses both in general and in the old city of Homs in particular. Likewise, it looks at the city’s urban plans and building code and their shortcomings and highlights the current conditions there. It also highlights proposed strategies for post-conflict construction and discusses them. The findings of the study propose a design ideology for reconstruction strategies and translate these ideologies and findings from the literature into a practical design of typologies placed on a proposed plot of land in the old city, along with a proposal of what the plans of these houses might look like.
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Zeiher, Cindy Lee. "The fantasy is the most real thing : exploring desire in the 21st Century : Zizek and ideology." Thesis, University of Canterbury. Sociology, 2014. http://hdl.handle.net/10092/9425.
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This thesis considers how desire might be theorised in the twenty first century against the backdrop of New Zealand society, culture and film. Methodologically, this exploration is addressed with reference to Žižek’s return to a critique of ideology, whose conceptual basis is drawn from Marx, Althusser and Lacan, and which is significant in its analysis of contemporary desire as emanating from social conditions and constellations of power. Žižek’s challenge to call for a new Master is one that this thesis responds to enthusiastically. Such a response is posited from a location which intersects Lacanian psychoanalysis and sociological theories.
The method this exploration employed focus groups and individual interviews from which talk of desire is constructed and critically explored. Focus groups and individual interviews were conducted following a viewing of the New Zealand film, Heavenly Creatures, which enabled an exploration of how participants offer competing ideological locations which can reveal the hidden and not so hidden mechanisms regulating social relations and ambiguities. The participant profiles of the focus groups were designed around key themes relating to the film: fathers of teenage daughters; those working or heavily involved within the creative industries; young women aged between 18-25; and those who grew up in Christchurch during the 1950’s.
Heavenly Creatures is a film interpretation of the actual murder of Christchurch resident Honora Rieper in 1954 by her teenage daughter and this daughter’s friend. In exploring both the themes of friendship and the figure of the mother, Heavenly Creatures deliberately conflates fantasy with ideology, so that it is from this intersection that possibilities of subjective desire are confronted. When addressing desire set against this particular film, participants confront deadlocks and misrecognitions, in particular the disintegration of those ideological conditions with which they are identifying. These include the limitations of modern capitalism, concerns about the ‘environment’, the pervasive engagement with cynicism, and frustrations with the inability to intimately and socially self-express. In order to understand and articulate desire various locations are posited in the guise of subjective truth. These points of fixation are structured by the conditions of dominant social and cultural ideologies, which the participant seeks to symbolise in returning to the ambiguity of the promise of the Master’s discourse as proposed by Lacan. This thesis critically explores three of the modalities through which Lacan’s construct of the Master is revealed in participants’ talk about desire: these are the precarious position of belief, the fragmented body, and love as an ideological act. It is argued that these modalities work within discourse in such a way as to offer participants ideological personification as well as a complexity of circumstances from which they can designate the objet a (the truth of one’s desire in psychoanalytic terms) insisted by the superego. In this way these three modalities are configured as enabling a speaking, or a saying, from a position of knowledge. This position in turn insists that the subject does not have to abandon the problem of desire but rather engage with knowledge attained through confronting and developing a literacy of desire. Desire read alongside the modalities of belief, the body and love posit a contemporary ontology in which the gaze commands an ethical and somewhat moral dimension from which the subject can construct a Master which not only seeks to recognise and speak about desire, but also manage it within daily life.
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Ramsey, David Clifton. "The architecture of Leila Ross Wilburn : an investigation into the plan book process and ideology in Atlanta from 1910-1940." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23105.
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Silva, Pedro José Gentil-Homem Correia da. "Sobre as nuvens." Doctoral thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/11723.
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Moyano, Miranda Neus. "Industria y diseño. Ideología de la Hochschule Für Gestaltung Ulm 1953-1968." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/398648.
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La Hochschule für Gestaltung Ulm és una escola de disseny que comença la seva activitat en el context de l’Alemanya Federal després de la segona guerra mundial.
El seu plantejament pedagògic està basat en la pedagogia de la Bauhaus. Però evoluciona cap un ensenyament revolucionari del disseny que, fins a aquell moment, encara estava lligat a les arts aplicades. Aquestes fites tenen l’origen en la pròpia filosofia de l’Escola que, més enllà de donar forma als objectes d’us, busca resoldre els problemes estructurals de disseny de l’entorn i formalitzar les solucions.
Els seus fundadors parteixen de tendències artístiques com l’art concret que, basat en altres tendències com el constructivisme, té un profund interès en la
participació de l’artista en la societat, entenent l’art no com una activitat d’expressió o de representació del món, sinó com la possibilitat de creació de noves formes que configurin l’entorn en tots els terrenys de l’estètica: pintura, poesia, arquitectura i disseny. L’artista suís Max Bill i l’argentí Tomás Maldonado, junt a Otl i Inge Aicher, seran rellevants en la consolidació de l’ensenyament en l’Escola d’Ulm.
L’Escola busca integrar-se en el context científic i tècnic de l’època, i evoluciona cap a postures estètiques properes a la teoria de la informació, amb la integració de representants rellevants d’aquesta filosofia com Max Bense i Abraham Moles. Tomás Maldonado serà el principal artífex d’aquesta evolució fins al tancament de l’Escola, el 1968.<br>La Hochschule für Gestaltung Ulm es una escuela de diseño que inicia su andadura en el contexto de la Alemania Federal después de la segunda guerra mundial. Basada en la pedagogía de la Bauhaus, sus logros constituyen sin embargo una evolución de la enseñanza del diseño, que hasta aquel momento estaba ligada a las artes aplicadas. Estos logros tienen su origen en la propia ideología de la escuela que, más allá de dar forma a los objetos de uso, busca resolver los problemas estructurales de diseño del entorno y formalizar las soluciones.
Sus fundadores parten de tendencias artísticas como el arte concreto, que, basándose en otras tendencias como el constructivismo, tiene un profundo interés en la participación social del artista, al comprender el arte no como la actividad de expresión del artista o de representación del mundo, sino como la posibilidad de creación de nuevas formas que configuren el entorno en todos los terrenos de la formalización estética: pintura, poesía, arquitectura y diseño. Tanto el artista suizo Max Bill como el argentino Tomás Maldonado, junto a Otl e Inge Aicher, serán relevantes para la consolidación de la enseñanza en la Escuela de Ulm.
La Escuela busca integrarse en el contexto científico y técnico de la época, y evoluciona hacia posturas estéticas cercanas a la teoría de la información, integrando a relevantes representantes de esta filosofía como Max Bense y Abraham Moles. Tomás Maldonado será el principal artífice de esta evolución hasta el cierre de la Escuela en 1968.<br>The Hochschule für Gestaltung Ulm was a design school which began its work in the context of Federal Germany after World War II. Based on the teachings of the Bauhaus, its achievements are however an evolution of design education, which until then was considered a branch of the applied arts. These achievements were rooted in the ideology of the school which, beyond simply shaping objects for use, sought to solve the structural problems of designing for an environment and to realize formal solutions.
Its founders drew from artistic trends such as concrete art, which, growing from other trends such as Constructivism, had a deep interest in the social participation of the artist; they viewed art not just as the expressive activity of the artist or a representation of the world, but as the possibility of creating new forms that shape the environment in all areas of aesthetic formalization: painting, poetry, architecture and design. Both the Swiss artist Max Bill and the Argentine Tomás Maldonado, together with Otl and Inge Aicher, influenced the consolidation of teaching at the School of Ulm.
The School sought to integrate itself into the scientific and technical context of the time, and evolved towards aesthetic positions close to information theory, incorporating leading representatives of this philosophy, such as Max Bense and Abraham Moles. Tomás Maldonado was the chief proponent of this development until the closure of the school in 1968.
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Jamir, Tia. "Origen's rhetoric of identity formation : Origens Paulinism in contrast to Hellenism / Jamir T." Thesis, North-West University, 2011. http://hdl.handle.net/10394/7368.
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How did Late Antiquity’s societies articulate their identities? This dissertation is a study of the construction of textual identities, as revealed by an analysis of Origen’s Paulinism which aimed to construct Christian identity in the third century CE. I have chosen extracts from Origen’s exegesis of Paul, found primarily in one text, his Commentary on Romans, as resources for my examination of identity issues. This text is an extremely helpful example of a deliberate fashioning of Christian identity through Origen’s joint use of Hellenistic paideia and the Bible. Pierre Bourdieu’s notion of habitus provides a helpful lens in decoding Origen’s and Hellenistic texts. Using habitus, the focus is on the rhetoric of identity formation through the fabric of the cultural, social, political, ideological, and literary contexts of Origen’s world. The study is more descriptive than polemical. The Greek paideia provides an immediate background to Late Antiquity’s concept of identity formation. The extant literature of the period comprised the fundamental vehicles of self–definition. This concept of fashioning identity through the construction of texts presents numerous difficulties for the contemporary reader. I will show that Origen used Greco–Roman moral philosophy and rhetoric in interpreting Paul. In seeking Origen’s notion of Christian identity, Origen’s reading of Romans is shaped by strategies of self–scrutiny and self–formation. Although Origen modifies the Greco–Roman moral philosophies—such as the notion of self–control, transformational narratives, and rhetoric deployment in his exegesis—much of the shared cultural and literary background remains.
Using the Hellenistic nuances of self–control and rhetoric, Origen shows his audience a distinct picture of what a transformed, mature believer should look like, the humanitas. The transformation that a believer underwent resulted in a new or intensified form of piety with consequent changes in social affiliations, relations and loyalties. He also uses different descriptions —“new man,” “inner man” and “perfect”—to identify the mature transformed believers. This believer is the humanitas, the much sought after identity, with the milieu of the third century C.E. He attempted to create a body of knowledge and to utilize it for the
preparation of a strong Christian identity in the midst of the pressures and temptations of the hegemonic Roman Empire and the pervasive Greco–Roman culture.
Along with the paideia, the Roman Empire nurtured and challenged Origen’s Paulinism. The Roman Empire did not require individuals, or even communities, to adopt for themselves a distinctly Roman identity to the exclusion of all others. Yet, everyone was required to worship the genus of the Emperor. The Roman identity transformed the Greek–barbarian dichotomy into an imperial ideology which claimed Roman supremacy over all other cultures and people. This usurpation of other societies by the Romans is an inverted mirror image of Origen’s usurpation of Rome’s Romanitas or humanitas through his Paulinism. Thus, he is to be seen constructing identity through shared forms of symbolic and linguistic construction which were readily available within his socio–political reality.<br>Thesis (Ph.D. (Church and Dogma History))--North-West University, Potchefstroom Campus, 2012.
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Homem, Edson de Castro. "A ipseidade na ética argumentativa de Paul Ricoeur." Universidade do Estado do Rio de Janeiro, 2004. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2999.
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A ipseidade na ética argumentativa de Paul Ricoeur é a referência básica da hermenêutica do si ao qual sempre retorna. Ela estabelece a constante mediação reflexiva em oposição à pretensa posição imediata do sujeito. A mesmidade do si tem como contrapartida o outro. Na comparação, a mesmidade é sinônimo de identidade-idem em oposição à ipseidade-ipse que inclui a alteridade. Esta inclusão questiona a capacidade do si construtivo da ética e, portanto, responsável jurídica e moralmente nas várias injunções do outro. O projeto ético de Ricoeur é compreensível a partir e dentro de sua peculiar metodologia que ele denomina de dialética entre a ética teleológica e a moral deontológica. Esta dialética se fundamenta na tríade do desejo, do dever e da sabedoria prática em recíproca atividade, privilegiando a dimensão teleológica do desejo da vida boa com o outro e para o outro em instituições justas. A ética argumentativa tem a função de dar conteúdo as duas dialéticas pela inclusão do outro no si mesmo sem o qual a reflexão sobre a ipseidade perderia o sentido. A sabedoria prática da ética e do julgamento moral em situação inclui a discussão porque o conflito é insuperável e determina o argumento para o consenso eventual. Nossa tese é a afirmação da capacidade do si mesmo atuar ações construtivas. Além da critica à ideologia e à utopia, Ricoeur fundamenta a dialética entre o princípio-esperança e o princípio de responsabilidade mediante a via utópica do futuro e a via realista da preocupação com o presente diante dos casos inéditos em que a vida e o ecossistema se associam. A imputação pessoal e coletiva desde o passado, no presente para o futuro é devida à responsabilidade. A ipseidade constrói o futuro no presente através de decisões éticas.<br>The ipseity in ethics argumentative of Paul Ricoeur is the basic reference of the hermeneutic of the selfhood that he always returns. She settles the constant reflexive mediation in the opposition supposed immediate position of the subject. The sameness of the selfhood has like counterpoint the other. In the comparison, it is a synonym of identity-ditto an opposition ipseity-ipse that it includes the others. This inclusion questions the capacity of the self to be ethical and, ergo responsible juridical and morals in the various junction of the other. The ethical project of Ricoeur is comprehensible from and inside his peculiar methodology that he nominates dialectics between the teleological ethics and the deontological moral. This dialectics settles the triad of desire, obligation and practical wisdom in reciprocal activity, privileging the teleological dimension of the desire goods life with the other and for other in fair institutions. The ethics argumentative has the function to give contents the two triads, through the inclusion of the other in selfhood without the reflection about ipseity would lose sense. The practical wisdom of the ethical and moral judgement in situation includes discussion because the conflict is insuperable and it determines the best argument for the eventual consensus. Our thesis is the affirmation capacitys of selfhood to actuate constructive actions. By critique on ideology and utopia Ricoeur bases the dialectics between the principlehope and the principle of responsibility through utopian way of future and realistic way of preoccupation with the present in front of the hard cases that life and the ecosystem are associated. The personal and collective ascription on the past, in the present towards the future is due to the moral responsibility. The selfhood constructs the future in the present by your ethics decisions. It deals about ethical capacity of selfhood.
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Ko, Ping-Chen, and 柯秉辰. "The Discrete Among Political Ideology,Instituional Design and Executive Thinking Framework:The Diognosis of Reinventing Government in Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/77867733324018333703.
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碩士<br>東海大學<br>政治學系<br>99<br>This article think Political ideology,Institutional design and Executive of discrete, found in BOT, Privatization of public enterprises and Contracting-out for public service。These institutional are in transition to democracy in Taiwan in response to environmental needs after the solution, this is my country reinventing government engineering link,but as other reinventing government sometimes Integration thoughts situation。
BOT, Privatization of public enterprises and Contracting-Out for Public Service reinventing government engineering so effectiveness limited and fail, key cause of Political philosophy,Institutional design and Policy executive situation of discrete。
This article think confirmed the former hypothesis produces the following discussion:The first, people to discuss BOT, Privatization of public enterprises and Contracting-out for public service, from case study institutional design the missing or improper execution,but This article think unable really understanding the problem。So this article form institutional produce background and implicit Political philosophy commence,by Political ideology、Institutional design and Executive three links the concept of consensus,to review BOT, Privatization of public enterprises and Contracting-Out for Public Service execute situation in Taiwan。The second, this article stressed political actual Operation political Economy ideology the importance,in Political actors relative lack of immanency political Economy ideology consistency in Taiwan。This article to clarify reinventing government engineering the missing。
Key words：Reinventing Government,Political ideology,Institutional design
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Sargin, Guven Arif. "Myth and ideology in middle landscape politics in the perception of nature in American environmental design discourse /." 1996. http://catalog.hathitrust.org/api/volumes/oclc/36115797.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1996.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 310-325).
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Lin, Shu-Hui, and 林淑惠. "A Case Study of Analyzing the Exhibition Design of Historic Building with the Viewpoints of Ideology and Cultural Hegemony---- of Tainan's Old City Hall Building." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/71112004569715878529.
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碩士<br>中原大學<br>室內設計研究所<br>91<br>Exhibiter establishes the conversation between the new and the old with all kinds of exhibitive methods to explain the space through historic vein. When planning the ideal exhibitive content structure and exhibit method always ignore the second level meaning which is the outer extension of historic building. It means the connotation of ideology and hegemony. The study is focus on the exhibitive concept under the preservative concept of historic building. In this issue the major discussion is about the exhibitive concept of museum. Be used Ideology by Louis Althusser and Hegemony by Antonio Gramsci to analyze the exhibitive objectives and methods of historic building. Eliminating investigates of exhibitive design method or evaluation; it focuses on the ideology and hegemony issue in exhibition. Bring up another viewpoint of exhibitive thought in the exhibitive concept of traditional historic building.
The exhibit of Historic Building has growing logic in itself. It base itself on the true life, don’t transform in people and society. But the resources of culture don’t collect easily, so need the country to intervene inside. However the intervention isn’t to run all show. Historic Building becomes material life sublimation in the viewpoint of exhibition. It also becomes Ideology reflections and reverberations in people true life.
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Cheng, Wen-Jun, and 鄭文俊. "An Influence of Ideology and Hegemony on the Core Curriculum and Instruction of Industrial Desugn Education in Taiwan." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/26142975967644441305.
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博士<br>國立彰化師範大學<br>工業教育學系<br>89<br>An Influence of Ideology and Hegemony
on the Core Curriculum and Instruction of
Industrial Design Education in Taiwan
Wen-Jun Cheng
Abstract
The purpose of this dissertation was an attempt to discourse the potential influence of ideology and hegemony on the core curriculum and instruction of Industrial Design Education in Taiwan. The research methods used include both theoretical study and positive study.
For the theoretical study, the textbooks, papers and journals related to the subject of ideology and hegemony were studied using analytic and concluding methods. By studying the literature, one can immediately gain the basic concepts. With the knowledge of the basic concept, one can use the discipline of industrial design to explore the significance of the subject through the use of hermeneutic and critical method. Ultimately, one can explain the principle of the study and lead to a conclusion. Follow the completion of the theoretical study, initially, a qualitative research was initiated and conducted through observation and interviewing of a selected group of tutors. Following by the qualitative research, appropriate questionnaires were generated based on the results of the qualitative research. A general survey of students with the questionnaire was conducted and a conclusion of the study was derived.
In summary, the influence of ideology and hegemony on the Industrial Design Education deserves more attention. Furthermore the tutor of core curriculum has to make an attempt to understand the feeling and expectation of the students on the influence of ideology and hegemony in order to improve the learning effectiveness of students. Finally, the tutor should apply the skills of communication with an open-minded attitude in order to encourage a better interaction with the students.
For a better Industrial Design Education, it would be beneficial for tutors to adopt the strategy of using encouragement, respect and trust instead of inspiration supervision and constraint. By respecting the differentiation of each individual student, the tutor could provide wider alternatives for each student to become successful. If the strategy as recommended by this dissertation can be adopted by all tutors, the ultimate goal of industrial design education of not duplicating the concepts of tutor, but incubating the mature character of each student can then be achieved in Taiwan.
Keywords: industrial design education, core curriculum,
ideology and hegemony.
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Basto, Joana. "A representação de género em manuais escolares do ensino primário do Estado Novo." Master's thesis, 2015. http://hdl.handle.net/10400.26/9352.
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A presente dissertação pretende analisar manuais escolares do Estado Novo,
mais precisamente os livros únicos, criados como meio de propagação de
ideologias ditatoriais. Esta análise pretende perceber de que forma esses objetos,
utilizados durante um longo período de tempo e passados de geração
em geração, transmitem mensagens relativas à distinção entre o ser homem
e o ser mulher. Pretende-se compreender quais as informações veiculadas,
quais as distinções entre as representações dos sexos e de que forma isso
influenciou uma sociedade, a portuguesa, que conviveu lado a lado com este
material escolar, sendo formada por ele. Este estudo procura contextualizar
histórica, política e socialmente os objetos em causa, passando depois para
a observação e análise da representação visual do género, manifesta nas
ilustrações dos manuais. Tendo em conta que o Design de Comunicação
pode ser um meio de observação e reflexão, procuramos perceber de que
forma este interferiu nas sociedades, mais precisamente através da imagem.
Por último, e como peça fundamental desta dissertação, analisaremos as
imagens dos livros únicos da primeira, segunda e terceira classes, de modo
a criarmos uma categorização, com base em fundamentos teóricos, que nos
permita retirar conclusões pertinentes sobre a construção social do género
no período em causa.
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Santos, Sofia Brandão dos. "O design de manifesto em contexto: "Brado", plataforma de divulgação." Master's thesis, 2019. http://hdl.handle.net/10451/40816.
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Over the centuries, design has generalized itself as an important element of the economic and cultural spheres of society. A designer’s work is based on the professional relation that is established with a client, which aims to produce graphic contents suited for ful-filling comercial and advertisement demands. However, the dimension of the field of ac-tion of this professional activity has expanded and it has become a political and social oriented tool.
Several events in the last centuries induced the most varied graphic answers associated with manifestos, protests and activism. These happenings turned design into an important interventionist tool. Thus, design ended up serving in different contexts, such as political, social, personal and/or collective manifestos, satire and social commentary, help in huma-nitarian and ecological causes, amongst others. This investigation work, through a selec-tion of practical case studies, sought to study the relationships that design created with manifestos from the XVIII to the XXI century. By understanding that design has been used as a weapon in service of the unrested voices, a reflexion on the importance of the designer’s education on social and political conscience was also analyzed. The period between the end of the XX century and the beginning of the XXI century es¬tablished itself as an important period for globalization with the Digital Revolution. New technologies provided different means of communication which, by consequence, influenced methods associated with communication, such as design itself. In this context, digital technological equipments, such as the computer, became important work tools for the contemporary designer, endowing him with quicker, more functional methods of creating and producing objects that, by its turn, evoked the development of innovative graphic languages. Many of these languages were applied to the manifesto design, ena¬bling it with new formats and expressions that, in its turn, found in the internet as their global propagation network. The theoretical basis for this investigation motivated the creation of the “Brado” project, a proposed public network for the disclosure, propagation, stimulus, promotion and sha¬ring of the contemporary manifesto design in Portugal.
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Wen, Chi-ming, and 文起明. "A Discussion of The City Through The Theater Art Creation─ On the Basis of Three Stage Designs and The Viewpoint from Romanticism to Japan's Anti-Modern Ideology." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/67129920003507013815.
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碩士<br>國立臺南藝術大學<br>建築藝術研究所<br>101<br>For observation of the city, tended to positive and quantitative analysis, in the field of architecture now, lack of experience and observation of the city connotation. This thesis is different from the amount of research. This thesis by the characteristics of theater arts, with stage design and theater performances, to explore the city a unique perspective connotation
In this thesis, the foundation of discusses is divided into three parts: The first section discusses how cities affect theater work, this part study the history of the city and the theater, both in Greek and Roman. Secondly, for the sake of to have in-depth critical perspective on the city, study Romantic literature in this part, it is profound criticism for the city. Third, this thesis has by analysis of theater work " The Dream of Grass Maze ", to proposed a method of research to be used for get the city connotations. This case creation of text, is by the city and Romanticism literature.
In this thesis finally, I participate in three stage design as this thesis discusses specific practice cases. Including two dance performances, “In addition to Mary, who else?”, “Back to 80s-Recollection of new memory”, and the theatrical “The fan has Commandments for Women”.
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Genova, Jared Michael. "¡Hasta la utopía siempre! : conflicting utopian ideologies in Havana’s late socialist housing market." 2012. http://hdl.handle.net/2152/20043.
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Through the broader contextualization of ethnographic fieldwork in Havana’s newly reformed housing market, this study theorizes the Cuban late socialist condition through a lens of utopian ideological conflict. A popular narrative of free market utopia has emerged in the face of the state’s recalcitrant ideology of state socialism. The popular narrative is reproduced through growth in the informal economy, while the socialist utopian narrative is maintained by the ubiquity of its bureaucratic apparatus. Inspired by postmodern theorist Jean Baudrillard’s Simulacra and Simulation (1994), this thesis theorizes the Cuban state narrative as an ideological simulation, supported only through its strongest simulacrum – the government bureaucracy.
Previous work on Cuba has cited the importance of access to government-purchased goods to fuel the informal economy and individual wealth accumulation. This study highlights the reproduction of a narrative of free market utopia in the desire for access to transactions as intermediaries, particularly as the deals increase in hard currency value. The passage of Decreto-Ley Number 288, which authorized the buying and selling of homes has served to rapidly capitalize the market and encourage further development of an informal network of brokers. Greater economic hybridization in the housing sector, among others, is gradually eroding the totalizing nature of the state’s socialist utopia.<br>text
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Manganye, Hlengani Thomas. "The attitudes of secondary school learners towards Biology and implications for curricula development." Thesis, 2001. http://hdl.handle.net/10500/18112.
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This study focused on curriculum development in biology education. It was based on the
present biology curricula from grade 10-12. The purpose of the study was to investigate the
attitudes of secondary school learners towards involvement in curriculum development and
specific biology content areas of all three grades. The assumption was that future curriculum
planning and development in science (biology) education should consider learners'
preferences, interests and needs. For the empirical investigation, a sample of 666 grades
10, 11 and 12 learners from three different school types (rural, ex-model C and private
schools) in the Northern Province completed an attitude questionnaire. Statistical analysis
of the results led to the following findings, amongst others.
• With regard to willingness to be involved in curriculum development, the results were
as follows:
(a) Significant differences were found between learners when age and school
type were used as moderator variables.
(b) No significant differences were found when grade and gender were used as
moderator variables.
Regarding the attitudes of learners towards involvement in curriculum development
and specific biology content, some low but significant relationships and a number of
significant differences were found between learners' attitudes towards involvement
in curriculum development and specific biology content for all the grades. In each
instance, age, gender and school type were also taken into consideration.
These findings suggest a complete and significant restructuring of the biology curriculum in
secondary schools. A learner-centred curriculum design that actively involves learners in
decision-making will consider the needs and interests of learners. This is seen as appropriate
in an outcomes-based approach and may lead to more motivated learners.<br>Psychology of Education<br>D. Ed. (Department of Psychology of Education)