Thèses : « Arts – study and teaching – philosophy »

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Hood, Emily Jean. « Creative Matter : Exploring the Co-Creative Nature of Things ». Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404623/.

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This dissertation is about new materialism as it relates to art education. It is a speculative inquiry that seeks to illuminate the interconnectivity of things by considering the ways in which things participate in generative practices of perceiving and making. To do so, the dissertation pioneers an arts-based methodology that allows for broad considerations about who and what can be considered an agent in the process of art making. In this inquiry, the researcher is an artist-participant with other more-than-human and human participants to construct an (im)material autohistoria-teoría, a revisionist interdisciplinary artwork inspired by the work of Anzaldúa. The term w/e is developed and discussed as new language for expanding upon Braidotti's posthumanist subjectivity. New theories called thing(k)ing (including found poetry) and (im)materiality are discussed as movements towards better understanding the contributions of the more-than-human in artmaking practices.

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Dodson, Susan W. « An examination of the sources and practice of art as transformation : a case study of Peter London's philosophy and teaching process / ». free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9924880.

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Silva, Luis Fernando Lima e. « Dimensões curriculares do ensino de filosofia : uma interlocução com a arte ». Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20587.

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The present research has as central focus the teaching of Philosophy in interlocution with Art. This study aims to investigate the curricular dimension of the discipline of Philosophy throughout history, as well as the potential of the object of Art and its formative character in Philosophy. The understanding of Art as a communicative, perceptive and reflexive resource in the educational process in Philosophy is emphasized as presupposing in this dimension, being this one conceived in a dialogical way and having the teacher as an important mediator of that process. In this bias, the hypothesis is assumed that the treatment given to the object of Art in the classroom can exceed the usual sense of illustration or sensitization and characterizes the teaching of Philosophy supported in the interlocution of knowledge. The reflections developed on the meaning of Art in the teaching of Philosophy, have repercussions on an exploratory process on the role of didactic book in the process of interlocution of knowledge. The investigations were carried out having as object the didactic book Filosofia: experiência do pensamento (2014), since it contains subsidies for a critical reading on the interlocution between Art and Philosophy, given its differentiated structure in the presentation of the philosophical problems that brings a considerable number of pieces of Art used in the formative process in Philosophy. The analysis has as premise that the didactic material reflects educational intentionalities and it i still an instrument that subsidizes teaching practices. Finally, the research recognizes the place of aesthetics as a language that provides knowledge through art, not only restricted to the contemplation or apprehension of beauty, but rather as an important element in the process of building philosophical knowledge
A presente pesquisa tem como foco central o ensino de Filosofia em interlocução com a Arte. Este estudo se propõe a investigar a dimensão curricular da disciplina de Filosofia ao longo da história, assim como o potencial do objeto de Arte e seu caráter formador em Filosofia. Enfatiza-se como pressuposto nessa dimensão a compreensão da Arte como recurso comunicativo, perceptivo e reflexivo no processo educativo em Filosofia, sendo este concebido de modo dialógico e tendo o professor como importante mediador de tal processo. Neste viés, assume-se a hipótese de que o tratamento dado ao objeto de Arte em sala de aula pode ultrapassar o sentido usual de ilustração ou sensibilização e caracteriza o ensino de Filosofia respaldado na interlocução de saberes. As reflexões desenvolvidas sobre o significado da Arte no ensino de Filosofia, repercutem em um processo exploratório sobre o papel do livro didático no processo de interlocução de saberes. As investigações foram realizadas tendo como objeto o livro didático Filosofia: experiência do pensamento (2014), por conter subsídios para uma leitura crítica sobre a interlocução entre Arte e Filosofia, dada sua estrutura diferenciada na apresentação das problemáticas filosóficas que traz um número considerável de peças de Arte utilizadas no processo formativo em Filosofia. As análises têm como premissa que o material didático reflete intencionalidades educativas e ainda é um instrumento que subsidia práticas de ensino. Por fim, a pesquisa reconhece o lugar da estética enquanto linguagem que propicia um conhecimento por meio da Arte, não restrito à contemplação ou à apreensão do belo, mas sim, como um elemento importante no processo de construção de saberes filosóficos

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Johanek, Cynthia L. « A contextualist research paradigm for rhetoric and composition ». Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115713.

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The unresolved nineteenth-century debate--"is rhetoric an art or a science?"--hashindered our attempt to establish an inclusive research paradigm for rhetoric and composition. The newly dominant paradigm is quickly narrowing to prefer the qualitative designs that suit our literary ideals, relieve our math and statistics anxiety, and fulfill political ideologies. Such qualitative work has given us great insight into the mind of the researcher, a stronger voice to the individual, and a powerful tool for groups traditionally oppressed by our field.At the same time, however, our field needs quantitative research that examines the scope of certain issues or that tests the effectiveness of solutions to problems, and we should remain prepared to understand such research from other fields. But the quantitative/qualitative division in composition cannot be healed through "methodological pluralism" or by examining the epistemologies governing those methodological choices.A Contextualist Theory of Epistemic Justification (Annis, 1978) provides a new lens through which we may recontextualize the competing epistemologies our field has outlined, providing a new decision-making framework through which we may appreciate the intersection of research issues (issue/question, purpose, method, and publication) and rhetorical issues (writer, audience, and subject) that form the varied contexts for our work: contexts highlighted in a matrix of questions representing a Contextualist Research Paradigm for Rhetoric and Composition.To illustrate such a paradigm, Eileen Oliver's (1995) "The Writing Quality of Seventh, Ninth, and Eleventh Graders, and College Freshmen: Does Rhetorical Specification in Writing Prompts Make a Difference?" is reprinted with an interview with Oliver, in which she detailed the context for her study. To further demonstrate a Contextualist Paradigm at work, my own study--"Red Ink / Blue Ink: Does it Really Make a Difference?"--responds to the largely untested anecdotal evidence that discourages writing teachers' use of red pens.A Contextualist Research Paradigm is necessary for composition to heal the artificial divisions between qualitative and quantitative research, to direct our attention fully to context rather than politics, form, and numbers, and to conduct not only the research we like, but also the research we and our students need.
Department of English

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Barnes, James L. « An international study of curricular organizers for the study of technology ». Diss., Virginia Tech, 1987. http://hdl.handle.net/10919/37284.

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The purpose of the study was to identify the key descriptors of a definition of technology and curricular organizers for use in the study of technology. Seven panels were used for the three round Delphi to identify the key descriptors and curricular organizers. The panels included: (1) technology educators, (2) philosophers of education, (3) philosophers of technology, (4) historians of technology, (5) anthropologists of technology, (6) futurists, (7) industrialists/business leaders. A Thurstone and Chave Method of Equal Appearing Intervals was used to assign scale and Q values to each item ranked in the Q sort. An 80th centile was used for an item to achieve a consensus. The results of both research questions were rank ordered based on scale value from highest to lowest. Fourteen key descriptors of a definition of technology obtained a consensus. These are innovation; invention; creative; extends human capabilities (physical, social ,and intellectual); a process (change, individual, corporate, design, creative, and systematic); extension of human potential; problem solving; purposeful human manipulation of the material world; closely linked to science but not simply applied science, body of knowledge; used to solve problems and create opportunities; played an important role in the emergence of Homo sapiens; a system of tools, knowledge, and behaviors associated with the exploitation of environments; and has social, economic, political, and environmental impacts. Seven curricular organizers achieved a consensus. These are problem solving; process organizers (creativity, enterprise, systems, inventions, and problem solving); the process of technology; design and innovation; research and development; and awareness of implications and potential of technology (health, food, communication, production, and control).
Ed. D.

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Savoie, Alain. « Le désintéressement comme valeur de base de l'art et de son enseignement : Bergson contre Nietzsche ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36770.

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Most adult human activities reflect a moral position. This thesis aims to show that art, as one form of human endeavour, follows suit. Consequently, art education should reflect this connection. In this thesis I make a philosophical investigation of one possible approach to art education. Furthermore, to be reflective of western society's emphasis on personal autonomy and authenticity, I contend that the only appropriate moral stance in education should be intuitive, non-calculating and non-utilitarian.
In order to philosophically illustrate and support my position, I use the aesthetic thoughts of Bergson and Nietzsche and put them in opposition. This is because they exemplify two opposite conceptions of morality that currently permeate society. Bergson's concept of aesthetics depends upon a stance of disinterest. Nietzsche's is utilitarian. The first exemplifies a humanist orientation that supports an altruistic morality and an aesthetics that puts emphasis on perception. This ethical position actually emerges from an active consciousness, a personal mode of being. On the other hand, Nietzsche's stance is a precursor to one strand of postmodern thought that may be described as a pragmatism oriented towards the achievement of power. This attitude excludes any possible form of disinterestedness. Indeed, Nietzscheism espouses a "noble egoism" and an impersonal mode of being that breeds a narcissistic and immature form of artistic creation. This is a creation that becomes a glorification and edification of oneself, albeit an impersonal self. This is a narcissistic attitude that finds an echo in some trends of contemporary art.
In regard to contemporary art, I argue that Nietzsche's influence may be seen in a deviant utilitarian morality that results in a scientistic and anti-aesthetic artistic current. This is a nihilistic trend evident in the work of artists such as Marcel Duchamp. As an alternative, I propose a Bergsonian "ethico-aesthetic" conception of art, inspired and encompassed by disinterestedness as a mature pedagogical value. From this perspective, instead of a neutral attitude, we maintain a more empathic position toward life and art. This altruistic morality produces a responsible and sensible art---concerned with the creation of common grounds. This suggests a need for a form of creation that unfolds from what Bergson could term a "mysterious" sentiment of obligation to bear witness to beauty, in all its forms, as a precisely non-utilitarian and disinterested experience of perception.

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Higgins-Linder, Melissa M. « Case Study of the Columbus Museum of Art's Teaching for Creativity Summer Institute ». Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1499353441955593.

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Spičanović, Vladimir. « Beyond the anti-aesthetic ». Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20473.

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This thesis is a critical examination of postmodernist pedagogy currently used in the education of visual artists. It is particularly concerned with the teaching of the traditional disciplines of painting and drawing within a postmodern context. My hypothesis is that the teaching of visual arts within a postmodern orientation more or less relies on an anti-aesthetic stance that is content-centered, with an insistence on critically and politically aware art. The overall objective of this thesis is twofold: First, to generate some questions and ideas that could be of assistance to post-secondary art instructors. Second, to establish a framework for an extended qualitative research that will address the impact of postmodernism on education of artists. The title "beyond the anti-aesthetic" does not necessarily present itself as a negation of the postmodernist paradigm. It identifies a need to revitalize visual art instruction within the postmodern model, to re-address the interplay between form and content in visual art and enhance critical thinking.

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Mercader, Victor. « Study of the ethical values of college students ». [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001545.

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Belluigi, Dina Zoe. « Excavating the 'critique' : an investigation into disjunctions between the espoused and the practiced within a Fine Art studio practice curriculum ». Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1003413.

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This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.

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Lutkus, Lauren Julia. « Holistic Approaches to Art Education : A Case Study of Choice-based Art Education ». Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1564572381222662.

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Muriana, Marina Borges. « O percurso da lagarta : tradição e complexidade no ensino de língua inglesa em escolas de idiomas ». Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21433.

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In this research I investigate the phenomena traditional class, whose backbone is the coursebook, and complex class, based on the Complex Educational Design (CED), both from the students’ perspective. The phenomena emerge from experiences in English language classes for adults, at a language institute. The English proficiency level in Brazil is not satisfactory when compared to other countries and, associated to that, the contemporary world demands didactic alternatives which can be more inclusive, being able to embrace the interwoven network knowledge. Thus, I propose a reflection upon the contrasts between a traditional and a complex class, based on the essence arising from the description and interpretation processes of such classes. For this purpose, the methodological basis is the complex hermeneutic-phenomenological approach (FREIRE, 2010, 2012, 2017), which, for being a qualitative approach, enables the articulation of objectivity and subjectivity during the interpretation process, fostering the revelation of the essence of the human experiences’ phenomena studied. As theoretical support, I chose the complexity epistemology (MORIN, 1999, 2001, 2005, 2013, 2015) due to its articulation to the methodological approach used, which demonstrates its inter/transdisciplinarity from a teaching-learning point of view, according to Fazenda (2006, 2012) and Leffa (2006). To design the traditional classes, I used coursebooks by an international publisher and for its theoretical basis I found support in the studies of Paiva (2009), who brings a historical overview of the English language coursebook in Brazil, and Souza (1997-1998), who considers that a pedagogical weapon. To the complex classes, I chose a design based on the Complex Educational Design (FREIRE, 2013) proposing a course design based on complexity. Average forty-five-minute classes were taught to two different groups; each one had a traditional and a complex class and the teacher required the seven students to write a text describing the class they had just participated in. Fourteen texts were obtained, and they were interpreted based on the complex hermeneutic-phenomenological approach. From the texts describing the traditional classes, the following themes emerged: Grammar, Learning, Information, Transmission, Repetition and Dynamism. From the complex classes, the themes that emerged were Reflection, Discussion, Learning, Expression and Sharing. The contrasts between the themes of the two kinds of classes suggest that a complex design, for embracing traditional aspects, can be more inclusive, besides promoting reflections upon contemporary issues
Neste estudo, investigo os fenômenos aula tradicional, cuja espinha-dorsal é o livro didático, e aula complexa, baseada no design educacional complexo (DEC), ambos na perspectiva dos alunos. Os fenômenos descritos e interpretados são as vivências dos alunos, tendo como contexto aulas de língua inglesa para adultos, em um instituto de idiomas. O nível de proficiência em língua inglesa no Brasil não é considerado baixo se comparado a outros países e, associado a isso, o cenário contemporâneo demanda alternativas didáticas mais inclusivas, capazes de abarcar também um pensamento em rede. Proponho, por isso, a reflexão a respeito dos contrastes entre uma aula tradicional e uma aula complexa, por meio das essências que emergem do processo de descrição e interpretação de tais aulas. Para tanto, baseio-me metodologicamente na Abordagem Hermenêutico-Fenomenológica Complexa, ou AHFC (FREIRE, 2010, 2012, 2017), que, por ser uma abordagem qualitativa de estudo, permite que objetividade e subjetividade se articulem durante o processo interpretativo, auxiliando na descoberta das essências dos fenômenos da experiência humana estudados. Como aporte teórico, optei pela epistemologia da complexidade (MORIN, 1999, 2001, 2005, 2013, 2015), a qual está articulada à abordagem metodológica escolhida e que, no âmbito do ensino-aprendizagem, apresenta sua característica inter/transdisciplinar conforme Fazenda (2006, 2012) e Leffa (2006). Para a confecção das aulas tradicionais, utilizei livros didáticos voltados ao ensino de língua inglesa de uma editora internacional e, para a fundamentação teórica a respeito do mesmo, obtive respaldo nos estudos de Paiva (2009), que apresenta um panorama histórico do uso do livro didático de língua inglesa no Brasil, e de Souza (1997-1998), que o apresenta como uma arma pedagógica. Para o desenho das aulas complexas, utilizei uma proposta embasada no DEC (FREIRE, 2013), o qual propõe um desenho de curso fundamentado na complexidade. Foram ministradas aulas de quarenta e cinco minutos, em média, em dois grupos distintos; cada um dos grupos participou de uma aula tradicional e de uma aula complexa e, ao final de cada aula, a professora pediu que os sete alunos participantes escrevessem um texto descrevendo a aula da qual participaram; foram obtidos quatorze textos, que foram interpretados por meio da AHFC. Dos textos referentes às aulas tradicionais emergiram os temas Gramática, Aprendizagem, Informações, Transmissão, Repetição e Dinamismo, e, dos textos referentes às aulas complexas, os temas foram Reflexão, Discussão, Aprendizagem, Expressão e (o) Compartilhar. Os contrastes entre os temas advindos dos dois tipos de aulas sugerem que uma proposta complexa, por abarcar também o tradicional, pode ser mais inclusiva, além de promover reflexões pertinentes a questões contemporâneas

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Giroud, Jeanette. « Secondary arts teachers' perceptions of integrated arts ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/1726.

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During the 1980s, research in the arts by Project Zero and Arts Propel revealed that in American schooling the areas of artistic intelligence and artistic education had been neglected. Gardner (1989) proposed a theory of multiple intelligences, suggesting that in addition to the linguistic and logical-mathematical forms, there are a number of distinct forms of intelligence that each individual may possess in varying degrees. The concept of multiple intelligences as opposed to "talent" in an art form offers the opportunity to view arts education in a new light. The original purpose of Arts Propel was to assess artistic potential in the same way that IQ or SAT instruments are designed to test scholastic potential. What began as an assessment endeavour, became a curricular undertaking and as a result, a number of educational institutions developed integrated arts approaches to arts learning, claiming that where the arts were integrated within the curriculum, higher achievement was recorded. The National Curriculum's statement on The Arts for Australian Schools (1993) included the five arts forms of dance, drama, media, music and visual arts as "Arts" components and justified this stance by clearly stating that the common statements and profiles accommodated a wide range of approaches. However, the strands of arts experience and learning - Creating, Making and Presenting, Arts Criticism and Aesthetics, and Past and Present Contexts - have the potential to provide a common framework for integration of the various forms. During the course of this research the strands have already been subject to change and are now known as Expressing, Responding and Reflecting. During the trialling phase of The Arts' Student Outcome Statements, divisions between the arts forms became apparent. Some of the issues included: attempts by arts teachers to maintain the status quo, strong boundaries between the arts, unequal representation of arts forms in schools and application of Student Outcome Statements Strands to all the arts forms. At the commencement of this research the divisions between the arts forms remained as strong as ever, yet a truly integrative approach has the potential to strengthen the place of arts in schools. This research documented ten secondary arts teachers' perceptions of integrated arts. The teachers all taught in government schools and each art form was represented by two teachers. The purpose of the research was to record arts teachers' perceptions of integrated arts at a time of rapid curriculum change. Qualitative methodology using the instrument of semi-structured scheduled interviews was the data gathering process. The interviews were audio-taped and once the data was compiled it was sent to the participants for their approval. This study found that arts teachers' perceptions of integrated arts were, on the whole, positive. Most teachers believed that an integrated arts approach would give students a deeper understanding of the arts and promote bonding between arts teachers. Teachers felt that the combination of the five arts forms into one learning area (The Arts), provided long overdue recognition of the arts as a significant learning area. Other perceived benefits included the building of strength and support, and the overcoming of isolation that characterised the arts in schools in the past. It is recommended, as a result of this study, that where possible, the physical location of the arts departments in schools should be considered during the planning stage so that arts areas are not isolated. It is also recommended that media and dance should adopt the changes, so that The Arts area of learning will not be fragmented. This can be achieved through document support which will show dance and media teachers how they can work effectively within an Arts framework. Integrated Arts programs, such as those offered by some of the schools in this study, will provide strong guidelines for future arts consolidation and enrichment in schools.

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Paris, Lisa. « Visual arts history and visual arts criticism : Applications in middle schooling ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.

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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.

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Fallona, Catherine Ann 1968. « Manner in teaching : A study in moral virtue ». Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288891.

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There is a growing interest in the study of the moral qualities of teachers. Many studies emphasize empirical techniques without attention to the philosophical features of moral conduct or focus on the philosophical features without connections to the actual conduct of teachers. This dissertation combines philosophical and empirical inquiry to study the moral conduct of teachers. Using Fenstermacher's distinction among teaching method, style, and manner, the technical and personality characteristics of teachers are distinguished from teacher conduct that expresses moral virtue. This conduct is known as the manner of the teacher. This dissertation investigates how manner may be made explicit, as a philosophical concept and an object of empirical inquiry. The philosophical part examines the conceptual nature of moral action in the classroom, using an Aristotelian ethics as the framework for analysis. The empirical part is a case study of three classroom teachers, whose moral conduct is examined using the Aristotelian framework. This dual philosophical/empirical approach permits inquirers to observe and analyze selected moral dimensions of teaching, then draw conclusions about how the teachers express moral virtue. The empirical part is a qualitative study of three teachers, each interviewed and observed over a one year period. Case studies illustrating the teachers' expressions of moral virtue were developed, followed by a cross-case analysis that revealed common and distinct elements in the teachers' manner. The cross-case analysis suggests that the teachers express virtues in similar ways according to the Aristotelian framework and in particular ways according to their individual style. Further, teachers express more than one virtue simultaneously. The main conclusion one may draw from this study is that it is possible to systematically observe and describe manner in teaching. Suggestions for further research include (1) situations in which the expression of one virtue appears to conflict with another, (2) the difficulties of analyzing the intellectual virtues, and (3) clarifying the relationship between manner and teachers' context, content, and students. A significant implication of this study is that it is possible to attend to manner in ways that permit the development of moral virtue in teaching.

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Haines, Elizabeth. « The web of exchange : a study of relationships between the separate arts ». Thesis, University of Wales Trinity Saint David, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683305.

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Tattersall, J. « A strategy for culture : five nation study of arts support systems ». Thesis, City University London, 1986. http://openaccess.city.ac.uk/7401/.

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This thesis seeks to apply some concepts and theories from predominantly post 1960 research in organisational behaviour to the study of the Arts Council as reflected through its policies, in the belief that few, if any, real attempts have thus far been made by academics to relate some of the profound difficulties of the public administration of the art to this branch of the sciences. The project is based on an examination of the assumption with which the Arts Council historically has justified both its general operations and its particular decisions. A close examination is made of past and recent statements of policy (I am assuming that administrators often make policy and advise in the making of policy and am treating decision making and policy making as synonymous for purposes of this thesis), the main aim being to identify the various ideological and structural determinants which bear upon decision making processes necessary for a subsequent evaluation of the various representative systems. These determinants vary from political pressures to aesthetic preconceptions, and overt to covert hierarchical power structures within the framework. Specific areas of concern have revolved around the problems of co-ordination, accountability and control of public subsidy to the arts and in particular, what model or models of organisational structure and decision-making processes might successfully reconcile traditional cultural criteria and alternative contemporary conceptions of artistic and cultural development and worth, including all current non-art criticism. In particular, the research has focused on what might be termed the Arts Council's 'secondary accountabilities-' (the word 'accountability' is usually only used when explaining its formal relationships with Government), in respect to artistic standards, artists and members of the general public. This is accountability imposed from 'below" the quango, a relatively undeveloped concept which this thesis examines in much greater detail. My points are illustrated by an examination of the policies of the arts agencies in Great Britain, New Zealand, Australia, America and Canada. Further comparisons are made between the Arts Council of Great Britain and Sports Council of this country in view of the proposals in New Zealand and Australia for a more integrated policy framework based on concepts of recreation and leisure which could result in a new Department of Recreation, Arts and Sport whose primary function would be to develop a national recreation policy to allow for coordinated development of all aspects of recreation, arts and sport. The examination is made largely from the point of view of organisation theory. For while I believe the cultural debate outlined in chapter one represents the crucial question for arts councils to resolve, organisation theory fortuitously illustrates these larger issues and also suggests some means of resolving the conflict between public accountability and responsibility to the development of the arts.

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Kamaluddin, Latif. « A study of the teaching of Baba Sawan Singh in the Gurmat Siddhant ». Thesis, University of Stirling, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292561.

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Rocha, Samuel D. « Education, Study, and the Person ». The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280945814.

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Brandeis, Judy. « English language arts and media education : making links ». Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21197.

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The purpose of this study is to advance existing Media Education theory by looking at similarities in English Language Arts (ELA) theory and Media Education theory. The study explores similarities and differences between the two areas of study creating a broader understanding of literacy, English Language Arts, Media Education and pedagogy.
In order to clarify the co-relation between English Language Arts theory and Media Education theory, I interviewed experts in both fields to shed light on how these two areas of study complement one another and where the points of difference lie. The information points to the development in theory and opportunities for research that may help teachers in training and classroom teachers integrate Media Education and ELA education.

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Thomas, Brennan. « Composition studies and teaching anxiety a pilot study of teaching groups and discipline- and program-specific triggers / ». Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151207488.

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Jay, Joelle K. « Matters of reflection in quality teaching : a study of teachers' reflection in the contexts of their professional lives / ». Thesis, Connect to this title online ; UW restricted, 2001. http://hdl.handle.net/1773/7917.

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Turner, H. J. M. « St. Symeon the new theologian : A study of his experience and teaching concerning spiritual fatherhood ». Thesis, University of Manchester, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370966.

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Wang, Li. « A Study on Wach's & ; Eliade's Approaches to Comparative Religion ». TopSCHOLAR®, 1991. https://digitalcommons.wku.edu/theses/2939.

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The main viewpoints and methods of two important figures of tho "Chicago school" in the comparative study of religion, Wach and Eliade, are investigated, and then are discussed on three levels: the disciplinary, the philosophic,al, and the historical. Or the disciplinary level, their theoretical emphases and methodological characteristics are discerned. On the philosophical level, their presuppositions are classified by an "archic analysis," a scheme of one's philosophical orientation provided by Walter Watson. And on the historical level, their theories are examined against the concrete religious data of Chinese Buddhism. Finally, the conclusion is drawn from the analysis of the relations among these three levels, and the significance of the discipline of comparative religion is interpreted.

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Vroombout, Lynn. « Striking a balance between formalism and expression in visual arts practice and visual arts education ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.

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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.

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Jansen, Richo. « The language of arts and culture ». Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2362.

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Thesis (MPhil (Modern Foreign Languages))--University of Stellenbosch, 2007.
Arts and Culture is one of the new learning areas in the grade 8 and 9 school curriculum. To understand and then express themselves in a correct and confident manner, learners need the correct terminology for Arts and Culture. The learners need more than the day to day terminology in order to participate in conversations focussing on specialised subjects such as music, dance, drama and visual arts. It is important to note that the idea is not to develop expert academics but it is an attempt to enrich children for life and give them more self confidence. The aim of this computer project is to provide an information website to assist the grade 9 learners in the Arts and Culture domain to develop the appropriate language needed in the learning area.

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Cao, Li 1957. « Professors' post-class reflection : a case study ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36884.

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The topic of teacher reflection has been gaining greater attention in the education literature. Nevertheless, teachers' reflective processes have not been well understood. This study attempted to describe characteristics and content of professors' post-class reflection. More specifically, it attempted to determine whether professors engage in the reflection process consciously and ways in which this process can be characterized. Eight professors, representing two levels of teaching experience, teaching a lecture or seminar undergraduate class in humanities or engineering, participated in this case study. Interviews, classroom observations, and instructional plans and materials comprised the data sources. Transcripts of the interviews were analyzed thematically, using QSR NUD*IST 4. Findings indicate that professors' post-class reflection became a routine: it happened at different points of time, mostly right after the class, and as a continuous process. Their reflection involved a mixture of having intuitive feelings about the class as well as thinking logically about how the class unfolded. They reflected intentionally and for two major purposes: to get ready for the next class and to improve teaching in general. They were either unable to characterize their way of reflecting on the class or were very clear that their reflection was more an intuitive process than a rational one. They reflected mostly on their teaching performance, on the content covered in class, on the students, and on instructional contexts. Based on the results, a conceptual framework is proposed that describes professors' post-class reflection as interrelated with rational and non-rational information processing. The study contributes to a better understanding of the complex process of teacher thinking and informs the design of faculty development interventions that aim at promoting reflective practice.

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Menon, Nimi. « Schooling the imagination : an experiment in arts-based education ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79797.

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This classroom-based interpretive inquiry investigates how the teaching strategies used in a grade-three classroom in a small, private, arts-based primary school implement the arts mission of the school. Further, it explores the relationship between art subjects [music, visual arts, theater, and dance] taught in art ateliers and academic subjects taught in the classroom. The art teachers' practices and the classroom teacher's practices are conceptualized within a Vygotskian socio-cultural framework. Further theoretical background is provided by the literature from art-based curriculum studies, developmental psychology, philosophy of education, and theories of qualitative research. This inquiry challenges the traditional view of arts reflected in most North American classroom practices. The chief research participants were the classroom teacher, the arts teachers, the school's founder, and the school's Principal. The children in the school also participated in focus groups. Data collected and analyzed include 40 hours of classroom-based observations in one class over a three-month period, 12 hours of interviews with the research participants over 16 months, and documents such as course handouts and small brochures describing the school's mission. Findings indicate that the arts instructors and classroom teacher collaborate closely to develop the yearly "theme unificateur" or unifying theme. Attitudes and strategies revealed in the study fit the constructivist model of classroom instruction. Despite growing pains experienced by the school's current expansion, findings suggest that the arts instructors and the classroom instructor are not only filling the academic mission of the school, but are also (a) creating strong relationships with their students, (b) promoting self-esteem and emotional intelligence, and (c) creating artistic and cultural literacy.

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Gibson, Susan E. « Drama praxis : Rural arts workers and lifelong learning : a phenomenological study ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2000. https://ro.ecu.edu.au/theses/1359.

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The purpose of this study is to explore and describe the experiences of a specific group of arts workers in an isolated rural community in the South West of Western Australia. These participants have all worked in the community as arts workers for an extended period of time. Through phenomenological research, the telling of these workers stories, it is anticipated that the research will highlight, strengthen and enrich the political and economic positions of these workers. The study is based on the assumptions and pre-conceptions that geographical and cultural isolation contributes to significant problems and situations such as communication that the workers can have when organising, co-ordinating and funding community arts projects. The current theories of ‘lifelong learning’ are discussed and evidenced through the experience of the research participants. Although generalisations are not appropriate based on form, style and philosophical paradigm of this research, certain implications are evidenced through the participants responses, opinions and experiences. The study is conducted within a qualitative research paradigm. Phenomenology is the methodology used in this study. As such the lived experiences and perceptions of the research participants are described. Open-ended interviews were conducted.

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Johnston, Jerre Lynn. « ART CRITICISM : A "READING" OF THE VISUAL ARTS ». Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291319.

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林志明 et Chi-ming Lam. « Engaging children in doing philosophy to promote an open society ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45551777.

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Karl Popper developed a falsificationist epistemology in which knowledge grows through falsifying, or criticizing, our theories. Since criticism plays such a vital role in Popper’s falsificationist methodology, it seems natural to envisage his heuristic as a helpful resource for developing critical thinking. However, there is much controversy in the literature over the feasibility and utility of his falsificationism as a heuristic. This study argued that Popper’s falsificationism is justified on the grounds that it not only solves, theoretically, the problem of the bounds of reason in the form of comprehensively critical rationalism, but influences, practically, the research work of scientists from diverse fields. It also found that there is cause for cautious optimism about the effectiveness of falsification as a strategy for solving scientific problems. Popper’s falsificationist epistemology carries profound political and educational implications. On a political level, it is necessary to establish and maintain an open society by fostering five core values, viz. freedom, tolerance, respect, rationalism, and equalitarianism, as well as three crucial practices, viz. democracy, state interventionism, and piecemeal social engineering. On an educational level, the overriding aim is to nurture in children the requisite abilities, skills, and dispositions characteristic of critical thinking for full participation in an open democratic society. In order to achieve Popper’s educational ideal, this study proposed implementing Matthew Lipman’s Philosophy for Children (commonly known as P4C) programme in schools, arguing that the programme can fulfil the requirements of Popper’s educational ideal through using community of inquiry as methodology of teaching, philosophy as subject matter for inquiry, logic as both means and ends of inquiry, and Socrates as a model teacher for inquiry. The present study then conducted an experiment to assess the effectiveness of Lipman’s P4C programme in promoting Hong Kong children’s critical thinking. Forty-two Secondary 1 students volunteered for the experiment, from whom 28 students were randomly selected and randomly assigned to two groups of 14 each: one receiving P4C lessons and the other receiving English lessons. The students who were taught P4C were found to perform better in the reasoning test than those who were not, to be capable of discussing philosophical problems in a competent way, and to have a very positive attitude towards doing philosophy in the classroom. It was also found that P4C played a major role in developing the students’ critical thinking. Considering that the construction of children by adults as incompetent in the sense of lacking reason, maturity, or independence reinforces the traditional structure of adult authority over children in society, it runs counter to the goal of fostering critical thinking in children. As a way to return justice to childhood and to effectively promote critical thinking in children, the present study suggested reconstructing the concept of childhood, highlighting the importance of establishing a coherent public policy on promotion of agency in children and also the importance of empowering them to participate actively in research, legal, and educational institutions.
published_or_final_version
Education
Doctoral
Doctor of Philosophy

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Deumier, Morgan. « Egoistic Teaching : Rousseau, the Good Life, and the Teacher's Role ». Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27920.

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Lärarrollen brukar först och främst ses som en altruistisk företeelse - läraren bör främst hänge sig åt andras behov. Trots att en sådan syn är tongivande idag är den oerhört problematisk. Denna essä ämnar att bidra till forskning om lärarrollen. Genom att använda Rousseaus idéer om det goda livet såsom de framställs i Emile, argumenterar jag för att lärarrollen ska vara egoistisk istället för främst altruistisk. Detta argument utvecklas genom tre teman: I, Happiness and Suffering; II, Compassion; III, The Egoistic Teacher. I korthet kan de två första teman anses vara förberedande inför det tredje. I det tredje temat, med exempel från litteraturen, konkretiserar jag innebörden av en egoistisk syn på lärarrollen. Genom ett egoistiskt perspektiv ses själva lärarskapet som en förlängning av lärarens själv (ego) i det ämne hen lär ut, till studenterna (inom vissa gränser). Denna syn på lärarrollen möjliggör en annan förståelse för det goda livet i läraryrket. Essän för fram tanken om att lärarens främsta fokus bör vara egoistiskt för att kunna leva ett gott liv.

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Burgess, Linda Kathryn. « The Sufi teaching story and contemporary approaches to composition ». CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1533.

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Yau, Foon-chi Lynn, et 邱歡智. « The arts and education policy : a comparison of the Hong Kong and international baccalaureate arts curricula ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37338687.

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Choi, Ching-ha Maggie. « Perceptions of using language arts activities in teaching short stories : a case study ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36743124.

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Choi, Ching-ha Maggie, et 蔡青霞. « Perceptions of using language arts activities in teaching short stories : a case study ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B36743124.

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Buescher, Eileen Maura. « Learning to Teach English Language Arts in Urban Middle Schools:A Cultural and Interactional Perspective ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492691799114938.

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Kyle, Judy A. « Investigating philosophical discussion with children as co-researchers : a case story of doing educative research using collaborative philosophical inquiry ». Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36776.

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This thesis is about an investigation of how children with philosophical experience use philosophical discussion as a way of doing research. A Lawrence Stenhouse description of 'research' as "systematic and sustained enquiry made public" (Bridges 1996, p. 2) served as my starting point for what to count as 'research'. As an interpretive case story of children participating in research as co-researchers, this research is about how I engaged in an after-school Discussion Research Group co-research project with seventeen volunteer students from my Philosophy for Children classes. Our co-research was a methodological experiment in merging genres of research (Anderson, 1989) in which we adapted and combined Philosophy for Children and qualitative research techniques in a philosophical exploration of philosophical discussion. Bringing together the children's philosophical expertise and my interest in the use of qualitative research methodologies, I explored how and whether 'to do philosophy' is 'to do research'.
Using an open and systematic inquiry approach, I answer the dissertation research question in three ways: by demonstration, by surfacing philosophical inquiry research acts and by conceptual investigation. In a set of co-researching stories, I use document and verbatim transcribed data obtained from audio and video tapes of forty-eight co-research sessions to demonstrate the co-researcher children at work using their own voices. Using these data I surface philosophical inquiry research acts by identifying philosophical inquiry 'moves' the children use in the research context. And I present a conceptual investigation of research roles as a way of answering how the philosophical work the children co-researchers do can be seen as 'doing research'.
This investigation offers a textured portrayal of children using philosophical discussion as a way of doing research. It presents their work as a complex and comprehensive account of 'philosophical discussion'. It uses children's verbatim data to surface the philosophical in research thereby supporting my assertion that to do philosophy is to do research. It presents a conceptual refinement of a variety of research roles. And it presents a viable example of how philosophical and qualitative research methodologies can work together for mutual benefit.

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Kibirige, Geoffrey. « Philosophy for children and McPeck's critique of the concept of generic and transferable thinking skills ». Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61304.

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This thesis attempts to apply McPeck's critique (one which contests the teaching of critical thinking by using lists of skills assumed to be generic; or applicable to all subjects) to Lipman's program, the "Philosophy for Children".
The hidden question is: "Can Lipman's program withstand McPeck's critique?" Is there anything that can be salvaged? Though McPeck's critique undermines Lipman's claims regarding the use of generic thinking skills as a means of educating a critical thinker, this thesis suggests that the skills that Lipman calls "generic" seem to exist. In addition it is suggested that what is needed is to find out what impedes their transference.
This thesis suggests that McPeck's reflections and critique should send us to prepetual inquiry which is the very heart of "Philosophy for Children" where Lipman's program should be viewed simply as a resting place out of which to jump on to better answers.

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張壽安 et So-an Chang. « The development of the Hui-Chou school of Confucian philosophy in the mid-Ch'ing period ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1986. http://hub.hku.hk/bib/B31230581.

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Trotter, Andrew Hugh. « Understanding and stumbling : a study of the disciples' understanding of Jesus and his teaching in the Gospel of Matthew ». Thesis, University of Cambridge, 1987. https://www.repository.cam.ac.uk/handle/1810/250904.

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The dissertation is a redaction-critical study of Matthew's portrayal of the disciples' understanding of Jesus and his teaching. After surveying current views of the question, the introduction states why the subject is important and why the author feels it has been inadequately handled. Working presuppositions are expressed. The main body of the thesis consists of two sections. The first explores many of the narratives in which it appears Matthew has redacted his sources in favour of making the disciples understand Jesus. The section begins with a chapter on the notion of understanding in background literature to Matthew. Chapters follow which investigate Matthew's depiction of the disciples as those who understand the parables and other teachings of Jesus and partially understand his person and mission. The motives for Matthew's redaction are a primary focus of these chapters. Conclusions are reached concerning the portrayal of the disciples in Matthew vis-a-vis their portrayal in Mark and other Matthean sources. The second section of the thesis looks at the as yet unexplored dimension of the disciples' lack of understanding of Jesus, particularly as it relates to their 'stumbling' over his person. Again a chapter is devoted to the background literature concerning the notion of stumbling in order to establish that there is a noetic element in the concept; then, several chapters explore passages in Matthew which show the disciples misunderstanding Jesus and stumbling at his teaching. This lack of understanding is portrayed so thoroughly by the evangelist that the disciples not only stumble at Jesus but become stumbling blocks themselves, first for Jesus, and potentially for other members of the Christian community. A short summary chapter, explaining some conclusions to be drawn from the work and suggesting avenues of further needed exploration, concludes the work.

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Massie-Laberge, Catherine. « Toward a systematized pedagogy of musical expression : an observational study of instrumental teaching ». Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121391.

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Observational studies of instrumental teaching present limited data on the efficiency of various teaching methods (Karlsson & Juslin, 2008; Kennell, 2002). Although technology has been demonstrated to improve emotional communication (Karlsson, 2008), musicians may have a negative attitude toward using it for learning expressive skills (Lindström, Juslin, Bresin, & Williamon, 2003). More studies are needed on the structural aspects of lessons, the dynamics of social interactions, and the prospects of using computer-based instruction in teaching expression (Laukka, 2007). The aims of this thesis are to (a) explore the nature of instrumental teaching with an emphasis on expression, (b) assess how teachers and students conceptualize expression and the teaching of it, and (c) see how they appraise the use of technology in teaching expression. In order to do this, we (a) observed instrumental lessons and (b) interviewed participants (12 university undergraduate students and their teachers: n=6). Interactions from 12 lessons were analyzed based on four educational functions of language (testing, instructional, accompanying, expressive). Results showed that 18% of the lessons were devoted to students' expressive development and that teachers used mainly the verbal mode of communication, in which the outcome feedback strategy was prevalent. Questionnaire responses revealed that expression was the preferred characteristic of music performance and that it was conceived as multidimensional and that the teachers' approach was based on the "instrumental-technical" view. Strategies, such as questioning, experimenting with sound, modeling, and using metaphorical language, are suggested as efficient ways to develop students' own expression. Teachers' interest towards the use of technology to teach expression decreased after they had received information on the underlying mechanisms of the Feel-ME software used, while students' interest remained positive. A concept map that integrates informative feedback and strategies to help students develop their own expression was created as a model for explicit music expression teaching.
Les études sur l'enseignement instrumental présentent un nombre limité de données concernant l'efficacité des différentes méthodes d'enseignement (Karlsson & Juslin, 2008; Kennell, 2002). Bien qu'il ait été démontré que la technologie améliore la communication émotionnelle (Karlsson, 2008), les musiciens peuvent avoir une attitude négative envers son utilisation pour l'apprentissage des compétences expressives (Lindström, Juslin, Bresin, & Williamon, 2003). Davantage d'études doivent être effectuées quant à l'utilisation de la technologie dans l'apprentissage de l'expression (Laukka, 2007). Les objectifs de cette recherche étaient (a) d'étudier la nature de l'enseignement instrumental, en particulier l'expression, (b) d'évaluer la façon dont les enseignants et les élèves conceptualisent l'expression et son enseignement, et (c) de vérifier les perceptions de l'utilisation de la technologie dans l'enseignement de l'expression. Nous avons (a) observé des leçons instrumentales, et (b) réalisés des entrevues (12 étudiants instrumentistes de premier cycle et leurs enseignants : n = 6). Les interactions entre professeurs et élèves de 12 leçons furent analysées en fonction de quatre fonctions éducatives (test, instruction, accompagnement, expression). Pour la durée totale des cours instrumentaux, 18% fut consacré au développement des compétences expressives. Les professeurs utilisaient davantage les stratégies verbales pour enseigner l'expression, plus précisément la stratégie «outcome feedback». Les réponses au questionnaire ont révélé que l'expression, caractéristique la plus appréciée, est définie comme un concept multidimensionnel. Les stratégies, telles que l'expérimentation sonore, la modélisation, les métaphores, aident à développer l'expression des élèves. L'intérêt des professeurs quant à l'utilisation de la technologie pour l'enseignement de l'expression a diminué après avoir reçu de l'information concernant le logiciel Feel-ME, tandis que celui des étudiants est demeuré positif. Un schéma de stratégies comprenant un feedback informatif est suggéré comme modèle d'enseignement systématique pour aider les étudiants à développer leur expression.

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Barker, Beverly Dee. « Teaching philosophy and practices among chemistry faculty attending the MID project workshops implications for reform in chemistry / ». [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001612.

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Niblack, Linda Marie. « Videotaping : A tool for self-evaluation in language arts processes ». CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/958.

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Grimes, Larry G. « Teaching Evolution : A Heuristic Study of Personal and Cultural Dissonance ». Scholarly Commons, 2012. https://scholarlycommons.pacific.edu/uop_etds/23.

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Darwinian evolution is a robustly supported scientific theory. Yet creationists continue to challenge its teaching in American public schools. Biology teachers in all 50 states are responsible for teaching science content standards that include evolution. As products of their backgrounds and affiliations teachers bring personal attitudes and beliefs to their teaching. The purpose of this study was to explore how biology teachers perceive, describe, and value their teaching of evolution. This research question was explored through a heuristic qualitative methodology. Eight veteran California high school biology teachers were queried as to their beliefs, perceptions, experiences and practices of teaching evolution. Both personal and professional documents were collected. Data was presented in the form of biographical essays that highlight teachers' backgrounds, experiences, perspectives and practices of teaching evolution. Of special interest was how they describe pressure over teaching evolution during a decade of standards and No Child Left Behind high-stakes testing mandates. Five common themes emerged. Standards have increased the overall amount of evolution that is taught. High-stakes testing has decreased the depth at which evolution is taught. Teacher belief systems strongly influence how evolution is taught. Fear of creationist challenges effect evolution teaching strategies. And lastly, concern over the potential effects of teaching evolution on student worldviews was mixed. Three categories of teacher concern over the potential impact of evolution on student worldviews were identified: Concerned, Strategist, and Carefree. In the final analysis teacher beliefs and attitudes still appeared to he the most important factor influencing how evolution is taught.

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Currie, Joni L. « Traditional and interdisciplinary teaching approaches a comparative study of teacher's attitudes toward the arts in general education / ». Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1988.
Source: Masters Abstracts International, Volume: 45-06, page: 2747. Typescript. Abstract precedes thesis as preliminary leaves i-ii. Includes bibliographical references (leaves 60-64).

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Lee, Han-Soo. « Divine Grace and the Christian life : a study of Paul's teaching on the tension between Divine Grace and human responsibility ». Thesis, University of Aberdeen, 1990. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU026810.

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This thesis is an attempt to identify the problems bound up with the grace-responsibility tension in Paul's writings and to point out their significance for understanding the Christian life within the structures of his thought. We have tried to examine 'three main issues' in order to get a general picture of what Paul has taught in relation to the question of the grace-responsibility tension. This enables us to ascertain whether Paul's teaching discloses a consistent pattern of thought, or whether it includes differences in emphasis of elements of discord. The total pattern of thought which emerges from this study is that two types of language are used in all these three problems; man must hold himself responsible to continue in the faith, but, if he does so, Paul often depicts their responsible action in terms of God's own action. But we also noticed that he applies language differently with reference to time and eternity. The ontological gap between time and eternity cannot be bridged by any human reasoning; it is 'methodologically' wrong to translate the relationship between God and men into a rigidly logical system in terms of God's absolute mode of action, because many unknown aspects of God's rule resist this approach. Rather this ontological distance necessitates our faith-approach to it, in so far as the responsible life of faith is the only logical standpoint from which our belief in human freedom and responsibility can be verified and become evident under the sovereignty of God. This kind of conception we defined as experiential monergism in order to keep balance between divine sovereignty and human responsibility.

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Smith, Janet L. « Integrating language arts and social studies through the use of literature ». CSUSB ScholarWorks, 1991. https://scholarworks.lib.csusb.edu/etd-project/736.

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Daniel, Sheri. « A layered conceptual model of factors critical to the architectural design laboratory ». Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/543772.

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In the pluralistic community of architectural education, the pedagogical paradigm has traditionally viewed the design laboratory as the integrating environment, where the student transforms the discrete parameters of architecture into an architectural form. With curriculum structure defining the parameters to which a student is exposed, the tendency is to direct the student through an additive and linear progression. The problem exists to develop a conceptual model that unifies the discrete fragments into a connected educational experience, insuring within the design laboratory the necessary balance between intellectual, professional and self-actualization concerns. The ultimate goal of the conceptual model, is to capture the essence of communication, that is the transfer of meaning, in the unique condition of the architectural design laboratory. The proposed method of inquiry for developing the model is of an interdisciplinary, comparative analytic process, to assess the full scope of factors pertinent to the design lab at any one moment in time.
Department of Architecture

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Costa, Solange Lopes Vinagre. « Oficina on-line complexa como extensão da sala de aula de inglês : percepções e construções ». Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21441.

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This is a qualitative research in the Applied Linguistics field which aims at describing and interpreting the phenomenon experiencing a complex online workshop, developed based on the complex educational design (FREIRE, 2013), as an extension to the English language classroom, from a students’ perspective. It also investigates how the use of the complex educational design as a guide to develop online English language teaching-learning activities can contribute to maintaining the participation of students, who usually show an interest in using digital technology tools to extend their classroom learning, but who often discontinue their use. Besides the complex educational design, this study is also theoretically grounded on complexity (MORIN, 2003, 2005, 2015a, 2015b, 2015c), which are the basis for the development of complex online workshops that reflect students’ reality, interests, needs, and expectations. The research is methodologically grounded on the complex hermeneutic-phenomenological approach (FREIRE, 2010, 2012, 2017), which articulates with the theoretical foundation used. The eight research participants were students from different face-to-face classrooms from the English language course of an educational institution in the city of São Paulo. Their English language proficiency level ranged from beginning of B1 to B1+ of the Common European Framework of Reference for Languages. The focal workshop was two weeks in length and was held asynchronously on the Google Classroom virtual environment. Three research instruments were used by students to textually record their perceptions of the phenomenon: a first week account, a final questionnaire, and a non-participation account. The texts generated by students’ responses to the instruments were interpreted following the complex hermeneutic-phenomenological approach procedures, which revealed the following themes: learning, development, time, difference, interaction, self-reflection, protagonism, and connection. Such themes depict the nature of the experience of the phenomenon under investigation
Esta é uma pesquisa qualitativa na área de Linguística Aplicada que tem por objetivo descrever e interpretar o fenômeno vivência em oficina on-line complexa, desenvolvida com base no design educacional complexo (FREIRE, 2013), como extensão da sala de aula de inglês, na perspectiva dos alunos. Também investiga de que forma a utilização do design educacional complexo como linha norteadora para o desenvolvimento de atividades on-line para o ensino-aprendizagem da língua inglesa pode contribuir para a manutenção da participação dos alunos, que, muitas vezes, demonstram interesse em utilizar ferramentas de tecnologia digital como extensão de sua aprendizagem presencial, mas que geralmente descontinuam seu uso. Além do design educacional complexo, este estudo também se embasa teoricamente na complexidade (MORIN, 2003, 2005, 2015a, 2015b, 2015c), que fundamentam o desenvolvimento de oficinas on-line complexas que refletem a realidade, interesses, necessidades e expectativas dos alunos. A pesquisa tem o embasamento metodológico da abordagem hermenêutico-fenomenológica complexa (FREIRE, 2010, 2012, 2017), que se articula à fundamentação teórica utilizada. Os oito participantes da pesquisa eram alunos de turmas presenciais diferentes do curso de inglês de uma instituição de ensino na cidade de São Paulo. Seu nível de proficiência na língua inglesa variava de início de B1 a B1+ do Quadro Europeu Comum de Referência para Línguas. A oficina focal teve a duração de duas semanas e foi realizada de forma assíncrona no ambiente virtual Google Classroom. Foram utilizados três instrumentos para o registro textual pelos alunos de suas percepções a respeito do fenômeno: um relato da primeira semana, um questionário final e um relato de não participação. Os textos gerados pelas respostas aos instrumentos foram interpretados segundo os procedimentos da abordagem hermenêutico-fenomenológica complexa, revelando os seguintes temas: aprendizagem, desenvolvimento, tempo, diferença, interação, autorreflexão, protagonismo e conexão. Tais temas caracterizam a natureza da vivência do fenômeno investigado

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Thèses sur le sujet « Arts – study and teaching – philosophy »

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