Дисертації з теми "Beauty teaching"

The purpose of this study was to determine if beauty was important to elementary age children when exploring and making aesthetic judgements about works of art and to determine the criteria elementary students used in judging beauty in works of art. This study also explored beauty as a concept that could be used as an organizing idea for designing a thematic unit with the purpose of introducing elementary students to postmodern art and issues. One hundred and sixty first grade and fourth grade students looked at 20 pairs of art reproductions and picked the artwork they considered the most beautiful. The criteria elementary students use for determining beauty in artworks was found to be color, realism, subject matter and physical appearance of the subject of the work of art.

This study analyzes visual artifacts from three case studies, Hetch Hetchy Valley, Echo Park, and Glen Canyon, in order to contribute to scholarship devoted to environmental visual rhetoric. Through these studies, I address connections between aesthetics and environmental ethics and challenge scholarship that argues mainstream preservationist perspectives have adhered to an anthropocentric ideological paradigm. Grounding my argument in philosopher Arnold Berleant's notion of participatory aesthetics and deploying social semiotics and media analysis methodologies, I propose that two particular aesthetic grammars have been at use in mainstream environmental rhetorics, that which I call the wilderness sublime and the wilderness interactive. Present in the late 19th and early 20th centuries, and well documented in existing scholarship, the aesthetic of the wilderness sublime has operated through strict dichotomies between nature and culture that promote reductive views of human relationships with nature. Conversely, I argue that the aesthetic of the wilderness interactive, discoverable in artifacts from the mid-20th century to today, has worked to resist these dichotomies through the use of participatory elements that feature humans and nature in what Berleant calls a "relationship of mutual influence," falling within a more ecocentric ideological view. Through my analysis, I extend Berleant's theoretical application from photography to websites to argue that web-based rhetorics contain distinct potential for the realization of participatory features. In particular, I focus on the aesthetic, technological, social, archival, subjective, and epistemological dimensions proposed by Melinda Turnley to discuss dialogic features of websites that can work to engage diverse stakeholders. Through my findings, I offer a visual analysis heuristic that can be used to discover participatory aesthetics within visual artifacts and resist dualistic views of the environment. Likewise, I present a user analysis heuristic that can help identify targeted stakeholders and recognize participatory aesthetics within websites. Ultimately, this study answers the call of environmental aesthetics to address the realization of perceptual norms that offer more ethical conceptions of human relationships with nature, and it extends this focus into the digital environment to discuss the ability of web design and aesthetics to promote generative stakeholder dialogue in environmental protection and restoration.

The aim of this dissertation is to test the feasibility of setting up a heritage trail on a non-historic campus as an effective educational tool to facilitate cultural identification among students. The ELCHK Lutheran Secondary School is used as a case study. Since understanding the place is fundamental to value-based conservation, heritage education for students should start from their acquainted environment with a sense of belonging. Existing external heritage resources provided to schools are not sufficient to meet the mounting needs for cultural heritage education. One’s own campus should be incorporated into the design of teaching and learning activities. In this dissertation, an in-house, on-campus heritage trail is set up on a non-historic campus, with neither declared monuments nor graded historic buildings, through a stakeholder participation approach. Major visiting points are determined according to an opinion survey of the stakeholders. The proposed trail can also be used for docent service for visitors and other orientation programs. The proposed campus heritage trail may only be operated on a pilot scale in view of its inherent limitations of small campus size and low degree of attractiveness. Its non-historic nature also implies lack of adequate funding for management and impetus for conservation. Nonetheless, implementation and evaluation of the proposed learning activities should still be tried out. If review proves that utilization of the trail is an effective tool to cultivate a sense of identity, continuity and belongings among students, the feasibility of the proposal can be verified. An ordinary school, as long as it is loved and has its own identity and individuality, deserves recognition and conservation. Regardless of age, non-historic places have to be taken care of with passion and enthusiasm before they can gradually evolve into more historic and precious jewels.<br>published_or_final_version<br>Conservation<br>Master<br>Master of Science in Conservation

The first part of the thesis is the autobiographical novel, Who Do You Love? It is narrated in the first person by Francis, a fictionalised representation of the author. The novel tells the story of how Francis is sacked as a journalist and then a little later learns that his former-lover, Ellida, has died. These traumatic events prompt Francis to remember his past life with Ellida and induce, in the present day, a crisis in his marriage to Hadley, a school teacher. His failure to get a new job and his grief at Ellida’s death result in a crisis of confidence which is exacerbated when Hadley becomes interested in another man. As he discovers more about Ellida’s family, his situation grows even more complex and conflicted. Throughout the novel, all the main characters have to address the question posed in its title. The novel is accompanied by an educational commentary which reflects deeply upon the author’s writing processes and the possible application of the lessons learnt in the author’s teaching and writing careers. The commentary shows how the author has found it helpful to think of himself primarily as an “aesthetic learner” rather than a writer or teacher. The commentary discusses various issues connected with aesthetic education and then shows what happened when the author put the principles of aesthetic education into practice in his own classroom teaching. Four case studies – the author’s own pupils -- are analysed in detail: two eleven-year-olds and two fifteen-year-olds. They were asked to write their own “aesthetic autobiographies” – autobiographical accounts which deploy the devices of fiction – and then were interviewed regarding their thoughts and feelings about this project. The commentary suggests that the case studies reveal some important things about their lives and situations, and shows that there are possible educational and therapeutic benefits in projects such as these.

The purpose of this thesis was to develop a core curriculum to be used at Fullerton College for the esthetician program. This curriculum consists of two Esthetic courses which will help facilitate student learning, prepare them for licensure and help them develop life long skills to meet the competitive job market.

The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.

The purpose of this study was to determine if beat detection and beat competency (i.e. maintaining a steady beat) could be more effectively taught through movement, singing, or a combination of the two. Subjects (N =102) were kindergarten students from an elementary school in the Southwest. Students completed a pretest and posttest to assess beat detection ability; the test measured their ability to tap a steady beat with and without music. Subjects received instruction in one of three methods for a six-week period: singing, movement, or a combination of the two. Data analysis results revealed a significant (p < .05) difference between the pretest and the posttest scores for all three groups; subjects appeared to show progress in the ability to detect and maintain a beat with all three instructional methods. There was no significant difference, however, in the progress between the groups; each method of instruction yielded similar improvement.

This thesis, Teaching Musical Meter to School-Age Students Through the Ski-Hill Graph, aims to demonstrate the “pedagogability” of modern meter theory, that is, that new scholarship on meter can translate into a coherent and practically implementable instructional curriculum, with various advantages for school-age students. The curriculum model developed in the thesis is derived from Richard Cohn’s work on and approaches to meter theory, which focuses on “sound rather than notation” and graphic representations of meter through mathematical music theory. The materials set out in the thesis demonstrate ways students might be taught to articulate their experience of meter. A unified approach, it incorporates Cohn’s ski-hill graph and other instruments of mathematical music theory such as the SkiHill app, numbering for counting meter, cyclic graphs, and beat-class theory. Among the outcomes it anticipates is a deeper engagement with music in classroom settings. Through this new foundation, where meter studies fits more compatibly with studies of tonality, students should logically be able to perform, compose, and analyse music both aurally and visually with increased confidence and understanding.

As faculty we probably have strong feelings about online teaching and we certainly have pet peeves about our students. What if we were to ask our students what their pet peeves about us or our online classes are? (The student assessment of instruction at my own institution doesn’t include a question this direct). And yikes! once we ask, what do we do with that information? Whether you are new to online or an experienced online instruction, come join the conversation and together we will discuss ways to ‘tame the online beast.’

La thèse interroge la formation des architectes à l’Ecole des beaux-arts au vingtième siècle en privilégiant deux orientations qui fondent une histoire réglementaire et une histoire de la pédagogie. D’un côté, les archives de l’Ecole des beaux-arts et ses règlements font émerger les moments de réforme et de débats comme les phases de stabilité. D’un autre côté, l’enseignement de la théorie de l’architecture éclaire certaines pratiques pédagogiques, notamment à l’articulation entre les cours et les concours d’émulation. Ce regard croisé entre histoire règlementaire et pédagogique traduit l’évolution et les continuités d’un enseignement. Ainsi sont évaluées les capacités de l’institution à se réformer et à questionner ses traditions académiques au fil du temps. Du berceau parisien aux antennes provinciales, des enjeux scolaires à ceux de la profession, des cours aux concours, est ici proposée une lecture inédite de certains traits de l’enseignement de l’architecture à l’Ecole de beaux-arts au XXe siècle<br>This PHd thesis is focused on the architect’s formation at the Ecole des Beaux-Arts during the Twentyth century. It is focused on the history of both regulations and pedagogy. Archives of the Ecole de Beaux-Arts and texts of regulations show reformes and period of stability along the century. The teaching of Architectural Theory, expecially the articulation between courses and contests, shows some pedagogical practices. By using a double perspective, continuities and evolutions have been highlighted. Moreover the abilities of the institution to let its academic traditions evolve has been explored. From Paris to provincial schools, from academical contest to professional one, from courses to contests, an innovative way of understanding teaching at the Ecole des Beaux-Arts during the Twentyth century is proposed

El patrimoni medieval jueu català, inexistent en el currículum escolar, és una assignatura pendent a les escoles del país, i a la didàctica del patrimoni. Proposem en aquesta recerca un model didàctic per a la seva transmissió entre l’alumnat de primària. Els manuscrits il·luminats són uns mitjans idonis per la transmissió del patrimoni intangible del període en el qual han estat concebuts, com intentem demostrar amb l’exemple dels Beatus de Girona i la cultura mossàrab. I en aquest sentit, disposem d’unes fonts primàries úniques que podrien ser emprades per la didàctica del patrimoni tangible i intangible hebreu català: la col·lecció de manuscrits il·luminats jueus dissenyats per la celebració de la pasqua hebrea, confeccionats en terres catalanes, els quals són un clar exemple per una banda de la vocació didàctica dels manuscrits il·luminats, com també de les possibilitats que ofereix el seu ús per al coneixement d’una cultura i d’una època. L’avantatge afegit de l’ús de les haggadot catalanes per la didàctica de la història hebrea-catalana és que ens venen a omplir el buit documental i arqueològic provocat per la destrucció i la fragmentació del patrimoni jueu a la nostra terra, a través d’un cicle visual que ens aporta una panoràmica única dels calls catalans. No obstant topem amb greus dificultats alhora d’emprar aquest llegat a l’aula de primària. El desconeixement del patrimoni jueu català i de la cultura jueva en general i la ignorància general en cultura religiosa dóna una imatge inintel·ligible d’aquest patrimoni. I per altra banda, cal destacar les dificultats de treballar amb fonts primàries: ni la llengua hebrea, ni el llenguatge ni l’escriptura medievals no són comprensibles per al públic escolar actual, fet que provocaria la necessitat de crear una edició adaptada de les haggadot de Pessah. I finalment la iconografia antiga genera una incomprensió total entre el públic escolar: les imatges també han de ser explicades i adaptades. Així doncs, després d’analitzar el potencial didàctic del cicle visual dels manuscrits il·luminats a partir del Beatus de Girona, establim les bases teòriques d’un model per a la transmissió del patrimoni jueu català: explorem les estratègies d’ensenyament de les ciències socials, i investiguem el conte i la imatge com a eines didàctiques que estaran a la base del nostre projecte. Iniciem la confecció del model didàctic amb una anàlisi prèvia de les haggadot catalanes, centrada en la transmissió del patrimoni medieval jueu català, que ens marca assenyala els diferents temes que hauran de sortir en el nostre projecte, com la seva articulació visual. Seguidament posem les bases del nou model basat en la didàctica de la imatge i del conte, delimitant-ne els objectius i determinant-ne els continguts, per finalment passar a la seva descripció textual i visual. Finalment experimentem el model creat i l’avaluem mitjançant tècniques grupals de grups de discussió o focus group. Gràcies als resultat dels diferents grups de discussió han estat validat els objectius de la recerca, mentre s’han aportat indicacions molt valuoses per tal de millorar el model creat: s’ha evidenciat de que el model, tot i essent adequat als propòsits que s’han marcat, ha de ser ampliat i completat per tal d’augmentar-ne l’abast i proporcionar eines per al seu treball a l’aula Gràcies a la nostra recerca podem afirmar finalment que el patrimoni medieval jueu català contribueix a posar en valor la diversitat cultural de la ciutat, i que la seva inclusió a l’aula de primària és una ocasió única per conèixer el passat de la ciutat, i per realitzar una pedagogia intensiva de la diversitat i del dret a la diferència, fet que fa que el nostre model pugui anar més enllà de la didàctica del patrimoni per establir-se com a eina per al creixement de l’alumnat en sentit crític i en valors ètics.<br>Medieval Hebrew-Catalan Heritage, not represented in school curricula, is a pending issue in our schools and in heritage education. We set forth in this study a teaching model for its transmission among Elementary School pupils, based on the collection of Medieval Hebrew-Catalan illuminated manuscripts. Illuminated manuscripts are key elements for intangible assets transmission from the period in which they were conceived, as we pretend to have demonstrated through the example of Gerona Beatus and Mozarabic culture. In this respect, we have at our disposal unique primary sources that could be used for Hebrew- Catalan tangible and intangible heritage teaching: the made in Catalonia collection of illuminated manuscripts designed to Jew Passover celebration, which are an example of the educational vocation of illuminated manuscripts, as well as of the opportunity of its use for understanding a culture and a special period. An added advantage in using the Catalan Haggadot for Hebrew-Catalan history teaching is the possibility to fill the gap in archaeological rests and documentation caused by the destruction and fragmentation of the Jewish Heritage in our territories, providing us a visual view of Catalan medieval ghettos. We run however into serious difficulties while using this legacy in Elementary School. Ignorance about Catalan Jewish heritage and about general Jewish culture, as shared unawareness about general religious principles as well, gives a confusing image of Catalan Jewish heritage. And secondly, the difficulties of working with primary sources should be noted. Neither the Hebrew language nor the medieval writing are understandable by today’s common elementary pupils, which should provoke the need for an adapted edition of the Haggadot of Pessah. But moreover, ancient iconography generates a total lack of understanding among elementary students as well: old images must be explained and adapted. For these reasons, in our research, after analyzing the educational possibilities of the illuminations of the Gerona Beatus, we establish the bases to didactic model conceived to Catalan Jewish heritage transmission. In this sense, we explore social sciences teaching strategies, and we also investigate tales and images as educational tools, understanding them as the basis of our project. In order to develop our teaching model, we start with a preliminary analysis of the Catalan Haggadot, focused on transmission of Jewish Catalan Medieval heritage, which sets the guidelines of the different issues that have to be represented in our project, as well of its visual features. We lay the foundations of a new educational model based on a tale and on images, defining its main target and determining its contents, and we eventually report its visual and textual description. We finally proceed to the experimentation on the educational model and its assessment, conducted by means of focus group. Thanks to the results of different discussion groups, the research’s targets have been validated, while valuable indications have been provided to improve the created model: it has been shown that the model, despite being suitable for the purposes that have been defined, must be completed and extended to increase its scope and to provide tools for classroom work. Through our research we can eventually conclude that Catalan Jewish heritage helps to highlight the city cultural diversity, and we can note its inclusion in elementary classroom as an unique opportunity to discover the past of the city, and to perform an intensive teaching of diversity and the right to difference, which should make our model going beyond the teaching of heritage to establish itself as a tool for the growth of students in critical and ethical values.

Cette thèse se veut une contribution à la recherche en éducation musicale en France. Elle est ancrée dans le domaine de l’enseignement spécialisé de la direction de chœur et aborde les pratiques de l’élève et de l’enseignant dans leur interdépendance, à travers l’analyse d’une situation réelle d’enseignement-apprentissage du geste de direction musicale. La recherche traite spécifiquement le travail de l’enseignant et tente de mettre en lumière le rôle de ce dernier dans la construction des savoir-faire liés à un élément technique particulier :« la levée ». Il s’agit de mettre en évidence la manière dont l’enseignant structure le cours, et les aménagements qu’il opère, en termes de « milieu » pour accompagner l’élève vers les connaissances visées<br>This thesis has the purpose investing in the research of musical education in France. It isfocused on specialised teaching for choir conductors and hence studies the practicesundertaken by both the student and the teacher interdependently, by analysing the conductinggestures in a real teaching-learning situation. The research specifically takes an interest in theteacher's work, and seeks to highlight the role of the latter in the building of knowledge linkedto a particular technical element: « the upbeat ». Of particular importance is the way in whichthe teacher structures the lessons, organises the layout, in terms of “the environment” in orderto direct the students towards targeted learning

En 1988 s’ouvrait à Paris la première session de l’Institut des Hautes Études en arts plastiques fondé et dirigé par Pontus Hulten. Ce dernier, des artistes comme Daniel Buren, Sarkis et l’écrivain Serge Fauchereau y furent enseignants. Jusqu’en 1995, l’IHEAP accueillit de jeunes plasticiens, venus du monde entier. Dans la lignée des cafés de Montparnasse, des institutions avant-gardistes, le Bauhaus et le Black Mountain College, cet institut éphémère expérimenta une pédagogie éloignée des traditionnelles écoles des beaux-arts. Son fonctionnement et ses pratiques d’enseignement ont été étudiés d’après archives et témoignages. Plus largement, l’histoire de cet institut permet d’étudier les enjeux réels et imaginaires de l’enseignement et la transmission de l’art à l’époque contemporaine. À l’heure où les écoles d’art réfléchissent et mettent en place le 3ème cycle du cursus LMD, conformément au processus de Bologne, la thèse met en œuvre une réflexion historique et critique sur un précédent exemplaire<br>The first session of the “Institut des Hautes Études en Arts Plastiques” founded and managed by Pontus Hulten took place in Paris in 1988. Artists like Daniel Buren, Sarkis, and the writer Serge Fauchereau were teachers there. Until 1995, IHEAP welcomed young artists coming from all over the world. In the tradition of “cafés de Montparnasse”, institutions “d’avant-garde”, such as the Bauhaus and the Black Mountain College, this ephemeral institute experimented a new pedagogy far from traditional schools of fine arts. Working methods and teaching practices have been observed from archives and testimonies. Even more, the history of the institute gives the opportunity to study the real and imaginary issues of education and transmission of the art in contemporary era. At the present time when schools of fine arts deliberate and organize the third stage of LMD in accordance with Bologna process, the PhD presents an historical and critical analysis of a perfect precursor

碩士<br>世新大學<br>經濟學研究所(含碩專班)<br>100<br>The main purpose of this thesis is to discuss the research question：「Beauty Affect Instructors’ Teaching Ratings」，Database from Hamermesh & Parker (2005) Published in Economics of Education Review- Beauty in the classroom: instructors’ pulchritude and putative pedagogical productivity. In this paper the extension of the original seven variables，beauty, gender, minority, credits, division, native, tenure，the other to join professor age variables to observe its impact on teaching ratings，In this study，analysis of variance and multiple regression models through STATA statistical software inspection and beauty，and other variables on the teaching ratings. And join the interaction age, gender, minority, native, and beauty, to observe its impact on teaching evaluation，beauty，whether teaching evaluation results will be affected. By analysis of variable to determine the beauty, gender, minority, credit, division, native, tenure and age of eight factors on teaching ratings has in impact..We find： beauty, gender, credit, native and the four factors most significant impact on the results of teaching evaluation，The interactive age，gender and beauty，its significant impact on the results of teaching evaluation. And beauty of teaching ratings results also a significant impact. Professor age of the individual teaching evaluating results，though not significant，But the indirect effects of age through the beauty factor of teaching evaluation results. According to past literature，beauty and age are closely related to，In this study，age, gender, minority, native and beauty for interactive regression analysis results also confirmed the age of beauty deeply. Minority factor of individual teaching evaluation results are not significant，but the minority factor through interaction with the beauty，indirectly，on the teaching evaluation results have an impact.

碩士<br>國立臺南大學<br>國語文學系中國文學碩士在職專班<br>103<br>This thesis shows how “The Beauty of Nan-Ying” series presents the relationship between farmers and their own lands, and how the picture books including genre painting works as media for plant teaching. The study aims to use the series’ presentation of farmers' lives and plant teaching to help students and the general public achieve a deeper understanding of the series. In order to understand the symbolic meaning of the plants, ten volumes from the series that are related to plants are selected and studied through textual, literature and picture analysis.This thesis is divided into five chapters. The first chapter presents the methodology and its limitations, as well as clarifications for the terminology used in this thesis. The remaining chapters analyse the characteristics of “Nan-Ying” plants, how textual organization of the materials used in the series correspond to literary genre, and explain the connection of the visual and verbal narratives. This thesis also focuses on the symbolic meanings, physical characteristics, and the emblematic features of plants all of which provide an entry point to analyse the analogical possibilities between plants and human sentiments.In addition, certain picture books are taken into the primary school curriculum for its description of ‘rural life’, ‘botanic knowledge’, and ‘cultural experiences’. This research thus evaluates the practicality of the texts in ‘The Beauty of Nan-Ying’ in terms of the above three aspects respectively. Lastly, this thesis will summarize the findings in each chapter, and provide a conclusion and further recommendations as the research result.

This study identified the skills necessary to successfully complete the beauty culture program of Alberta. The (Alberta) beauty culture teachers (N =40) were surveyed, with their responses being used to assess the perceived skills. The instument, a 41 item survey, was established through the use of a Delphi panel to establish content validity. The reliability was calculated by using the Hoyt-Stunkard analysis of variance technique. The instrument's reliability showed a +0.95 level of internal consistency. The means for the items ranged from a high of 5.85 (an affective skill) to a low of 4.12 (a cognitive skill). All items indicated a need to retain the existing beauty culture competencies. The items were divided into three taxonomies; namely, cognitive, affective, and psychomotor. This was done to inform the respondent of the nature of the tasks. All three of the affective skills ranked in the highest frequency group, with two of the items being placed in the first and second spot. R-mode factor analysis was used to group the items into clusters according to the respondents' ratings on the six-point scale. With the initial loading set at 0.50, only one task was found to be spurious. Seventeen clusters (factors) were produced and were spread across affective, cognitive, and psychomotor skill areas. Skills involving manipulative procedures varied in importance levels. Technologically advanced methods of achieving cosmetology outcomes were not considered as important as the learning of basic tasks. This indicated a need to teach only the basics in preparation for completion of the beauty culture program in Alberta.<br>Graduation date: 1993

碩士<br>國立彰化師範大學<br>特殊教育學系<br>107<br>Abstract The main purpose of this study was to investigate the effect of multi-sensory teaching method on teaching beauty skills to students with intellectual disabilities who study in the classless of mental retardation in vocational high schools. The study used multiple probe design across participants. Data on immediate and maintenance effects were collected through participants’ scores on beauty skill tests. In addition, data on social validity was collected through a semi-structure questionnaire and a peer acceptance scale. The finding of this study were: 1. Multi-sensory teaching method had immediate and maintenance effects on participants’ beauty skills (general makeup skills, work attitude, and hygiene behaviors). 2. Participants cared more about their appearances and had more good hygiene behaviors after beauty skills learning. 3. Peer acceptance improved after teaching participants beauty skills. Key words: Multi-sensory teaching method, intellectual disabilities student, beauty skills

博士<br>國立臺灣師範大學<br>工業教育學系<br>96<br>The job ability is utmost important for mental retardate students because their job opportunity is less than that of the ordinary students. The purpose of this study was to explore the application of motion study on automotive beauty teaching for vocational high school students with mental retardation. The single-subject ABA’ design was adopted in this study to apply motion study on automotive beauty teaching. Ten participants including five girls and five boys were selected from the same class of Nan-Kang vocational high school. Experiment teaching lasted for eighteen weeks (70.5 hours) to evaluate the effects of experiment teaching. Data presented by graphic method and analyzed by visual analysis method. The C statistics method and the Wilcoxon matched-pairs signed-ranks test were used to analyze the data too. The results of this study indicated that: 1.Researcher developed automotive beauty teaching material that includes five chapters with 164 pages and 24 operating items, including training video. 2.Ten participants got the 24 operating items of automotive beauty skills by way of learning material and teaching experiment. 3.Application of motion study on automotive beauty teaching can successfully train students with mental retardation in vocational high school to get the ability of automotive beauty skill. 4.The improvement of equipments and tools of this study can be the reference for automotive beauty teaching for vocational high school students with mental retardation.

碩士<br>中國科技大學<br>企業管理研究所<br>102<br>The main objectives of cosmetology incubation are the improvement of skills, service course diversification and customer source diversification, meanwhile, other additional objectives are, for example, to meet customer’s need in the current trend, to associate the theory with practice and apply it to real situation. This study will have its focus on the cosmetology and body-shaping industry to investigate mutual influences among three variables, namely, teacher’s teaching style, learning attitude of the student and learning performance, meanwhile, whether learning attitude has significant mediating effect on teaching style and learning performance will also be investigated. Through research hypothesis and result verification, it was found that: A questionnaire survey was used in this study. With an availability of 330 valid questionnaires, the data were processed and analyzed by the linear structural relationship model (LISREL) to verify the inference hypotheses of the study. The results of this study were summarized as follows: 1. Teacher’s teaching style has significant and positive influence on student’s learning attitude. 2. Teacher’s teaching style does have significant and positive influence on student’s learning performance. 3. Learning attitude has significant and positive influence on the learning performance. 4. Learning attitude has partial mediating effect on teacher’s teaching style and learning performance.

M.Tech. (Somatology)<br>The somatology industry has seen a rapid advancement in the use of technology to address physical concerns of clients in terms of addressing the visible signs of skin ageing, issues around centimetre reduction, cellulite and other aspects. In South Africa, the Somatology curricula vary between public and private higher education institutions. Even more diversity has been noted within the private somatology higher education providers. The electrical equipment curriculum that is taught in specifically nationally and/or internationally accredited private institutions has not been updated in years and is perceived as outdated. These students are still being taught and examined on electrical equipment that was popular during the 1980’s and that have since been replaced with updated and modern machines. The purpose of this study was to establish the perceived proficiency of newly-qualified nationally and/or internationally accredited graduates in using electrical equipment currently used in the modern health and skincare industry. This study made use of a mixed method design, incorporating three different data-collection techniques. These techniques included unstructured and semi-structured personal telephone interviews and structured questionnaires. Collecting data from three perspectives allowed for triangulation, ensuring validity and reliability. The results of this study concluded that the graduates, from selected specified nationally and/or internationally accredited private higher education institutions, did not deem themselves to be proficient in the use of modern electrical equipment. This sentiment was supported by their employers in the health and skincare industry, and verified by the lecturers who facilitated their learning during their two-year qualification.

碩士<br>亞洲大學<br>資訊工程學系碩士在職專班<br>98<br>Abstract One of the objectives of this study is to establish the platform for local-specific teaching by using Moodle. Another purpose is to digitize the Che Longpu’s local-specific teaching materials. The last intent is to take the computerized teaching materials as a tool to combine computer media and information technology with teaching; thus discussing the effects of this combination on students’ learning. The study used the method of quasi-experiment teaching, which consists of teaching four sixth-grade classes in an elementary school in Taichung County. Two randomly chosen classes, 61 students in total, were used as the experimental group. Another two randomly chosen classes, 66 students, was the control group. For the experimental group, we teach the class with the aid of computer media and information technology. In contrast, the control group was taught with traditional approaches. After the lessons, we tested all of the students by “the local-specific achievement test”. The students were then grouped by their genders and social science grades. Based on the hypothesis, we analyzed and interpreted the data by using SPSS 12.0. From this research, we came to the following : 1. In the examination of local-specific teaching achievements, the average points of the experimental group surpasses the control group by 11.494 points. 2. The mean difference between the high-score and the middle-score groups of the experimental are over 10 points, which implies the learning outcomes for students in these experimental groups are better than those in the control’s. 3. The learning outcomes for students in the low-score group do not have any distinguishable differences. This may result from the memory-emphasized nature of the local-specific test. 4. On the effects of combining technology with teaching, there is no significant difference among different genders. Boys performed better than the girls. For the educational institutes, designers of education systems, and future researchers, this study provided some suggestions on the application of Social Studies teaching with the aid of information technology.

Submitted in fulfilment of the requirements for the Master’s Degree in Technology: Somatology, Durban University of Technology, 2014<br>The beginning of the 20th century presented the Somatology profession with unprecedented challenges of acquiring a scientific base and achieving professionalisation. It is in this milieu that a few research studies were previously undertaken with regard to Somatology education however, none particularly focused in relation to areas that are preparing graduates for industry. The current study was a national study that explored the existing National Diploma offering through the lens of students, educators and members of the Durban University of Technology’s Advisory Board. In particular, it focused on developing broad guidelines to guide academics on what further content was required to be integrated into the current Somatology education. A triangulated approach using both quantitative and qualitative methods was used to guide the operationalisation of the research process. Five Universities of Technology participated in the study, viz. Cape Peninsula University of Technology, Central University of Technology, Durban University of Technology, Tshwane University of Technology and the University of Johannesburg. Third year and B.Tech students were surveyed with regard to the current Somatology Programme and what further aspects needed to be integrated into it to better prepare graduates for industry. In addition, in-depth interviews were also held with ten academics, two from each University of Technology, to examine what they thought needed to be included in education to strengthen the current programme. The same was done through a focus group discussion with members of the Durban University of Technology Advisory Board. A programme analysis of current content being taught at the five Universities was also undertaken. The results reflected that although most of the samples were satisfied with the current educational programme, they still believed that gaps existed and that graduates were still not adequately prepared for industry. It was found that both students and educators saw the need for more therapies to be included in the training. Both educators and the Advisory Board sample also saw the need for a stronger emphasis to be placed on practical skill development. The Advisory Board sample also strongly articulated for training to occur in an industry context as opposed to the University based experiential setting. Using data from these multiple samples, a set of guidelines was developed and presented. These guidelines were based on what further therapies needed to be integrated into education. The Duke Integrative Medicines Wheel of Health was adopted as the theoretical framework of the study. It was also utilised to identify specific areas that needed to be interwoven into education to further strengthen graduates’ preparedness for industry.

碩士<br>吳鳳科技大學<br>應用數位媒體研究所<br>105<br>Due to digital devices becoming popularization and information technology continuing innovation, multimedia teaching materials have been increasingly used in schools to supplement many conventional teaching approaches. The integrated application of multimedia teaching materials to the beauty makeup of cosmetology curriculum has become a trend in recent years. Using digital media technologies, this study presents an example of implementing a multimedia teaching material on the beauty makeup skills of cosmetology curriculum. We apply the multimedia learning material to assist the instruction of the beauty makeup of cosmetology curriculum for a vocational high school in Chiayi County. This study employed the literature review and questionnaire survey methods to discuss the practical implication of supporting the multimedia teaching material for students in learning environments for teaching the beauty makeup skills. The main objective of this study is to investigate the relationship between the learning style preferences of cosmetology curriculum students and their learning satisfaction and achievements. Descriptive and analytical statistics were used to identify the learning style preferences of students and their relationship. Our findings can be used to improve the quality of teaching in cosmetology curriculum. Moreover, students would be advantaged if teachers understood the factors that can be related to students’ learning styles.

碩士<br>吳鳳科技大學<br>應用數位媒體研究所<br>101<br>The teaching of Cosmetology is both oriented by skills and practices, and students are used to traditional teaching methods. However, due to the limitations of space and time, teachers are not able to demonstrate for students on the go. This may further affect the learning effects on the student side. The teaching materials of digital media can be used to activate learning without the limitations of space and time. It may facilitate the teaching of Cosmetology both oriented by skills and practices. The object of the current study is students from Cosmetology Department in some continuing education school in Southern Taiwan. And the purpose of the current study was to analyze the learning effects of traditional teaching methods and those integrated with teaching materials of digital media, so as to find out if there are any significant differences between both. The object of the current study is the students from the Cosmetology Department of a continuing education school in Southern Taiwan. And the purpose of the current study was to analyze the learning effects of teaching Cosmetology with 3D digital teaching materials. The major results od the study can be listed as follows: 1.Students perform better in learning from the instructor’s demonstration. 2.Learning with 3D digital teaching materials, students thinks that such materials help to keep the class order, memorize the massage seps, upgarde learning environment, and raise the confidence in passing the skill test. 3.Students think 3D digital teaching materials aid in understanding notes and learning the introduction to acupoints & the 15 steps of the face massage. Besides, students are satisfied with the sound effects of digital media. 4.Students think 3D digital teaching materials assists in practicing eye massage (pressing 5 points and the 8-shape step), forehead massage (the semicircle and double-U shape), nose & lip massage (pressing acupoints), cheek massge (straight-line around the part of the hand between the thumb and the index finger). 5.Students think the instructor’s demonstration facilitates learning and practicing eye massage (pressing 5 points and the 8-shape step), the massage on the lower part of the face (foreward: the V-shape, backward: using both thumbs only, and the upward movement ), forehead massage (straight-line and spiral), eye massage (the 8-shape step), nose & lip massage (pressing acupoints), and cheek massge (spiral). 6.Students are more satisfied with the instructor’s demonstration and practice than with using 3D digital teaching materials. 7.Students in the control group think that the factor of the individual’s average monthly income affects the learning of massage skills. And students in both of the experimental group and the control group all think the factor of residence locations affects the learning of massage skills. Except for the above-mentioned, it is not found that the students in both groups view their learning differently in the analyses of other personal background variables.

碩士<br>國立新竹師範學院<br>美勞教學碩士班<br>91<br>In the fast tempo of modern life, hard script handwriting has become an indispensable writing tool, comparing with the traditional Chinese writing brush, hard script’s application is easier, more practical and more controllable. The use of computer has become more and more popular in recent years, and its application in document processing has also made our life much more convenient. However, we can not rely on computers only and abandon handwriting. Most of the students in elementary school have a writing posture problem. Their handwriting is either stiff or lacking of the sense of beauty. The sense of beauty can only been found in very few handwriting nowadays. With the beauty experiences and the development in space concept, a suitable experimental material about calligraphy teaching in hard standard script for middle and upper grade students of elementary schools has been developed and taught in this research. The influence of sense beauty for students is also discussed in the research. This research adopts nonequivalent control-group design in quasi-experimental research. The experiment subjects come from middle and upper students in Hsinchu Elementary School. Two middle grade classes and two upper grade classes （133students in total）are reclassified into two groups-experiment group and control group, respectively. Each class is regarded as one unit. The “ hard handwriting examination for elementary school ”has been taken fir each unit first. Afterward, the experiment groups from middle and upper grade students take not only courses in Chinese words learning, but also learn “calligraphy teaching in hard standard script ”. On the other hand, the control groups take only the original courses. The two groups take the “ hard handwriting examination for elementary school ”once again at the end of experiment. After the 14-week experimental teaching, scores of the previous examination and the examination afterwards are collected, one-way analysis of covariance and Chi square test from statistical method are undertaken, and then statistical analysis are proceeded. The final result of this research demonstrates: 1. In elementary schools, carry out the calligraphy teaching in hard standard script will enhance middle-grade students’ ability in writing beauty expression. 2. In elementary schools, carry out the calligraphy teaching in hard standard script will enhance upper-grade students’ ability in writing beauty expression. 3. The calligraphy teaching in hard standard script has better effect on higher graders than that on the middle graders in elementary school. According to the results mentioned above, the suggestion for the present hard script handwriting teaching and its future development for elementary school are also brought up in this paper.

碩士<br>臺中技術學院<br>多媒體設計系碩士班<br>97<br>In teaching game design field, Most of studies focus on models and teaching effects of the combination of teaching methods and games, but rarely practically develop structures from methodologies for teaching game design. Therefore, this study assumed that Bloom’s taxonomy of educational objectives could be a suitable methodology for teaching game design, because it could be a common language for learning objects and could be used for coordinating the educational goals, activities and assessments of subjects and courses. This study developed a systematic method which referred to the educational goals of fine arts for vocational high schools. We adopted the materials of a section called “Formal Principles of Beauty” from a textbook. In addition, we not only extracted the educational goals and contents from the materials but also converted them into a form of game and learning content elements based on the knowledge dimension and cognitive process dimension from Bloom''s taxonomy. Next, we utilized Bloom''s taxonomy to assist planning, designing and evaluating the process of teaching game design. As a result, based on above mentioned systematic method, we implemented a game prototype for teaching the concepts of gradient, repetition, contrast and symmetry for “Formal Principles of Beauty”. Eventually, we conducted a test for 155 students from a vocational high school and reviewed our method by sorting out the test results.

碩士<br>中興大學<br>高階經理人碩士在職專班<br>99<br>Online learning is one kind of study tools in recent years. The students can have more learning option from Internet without time and place constraints. In addition, Internet study has more advantages against others learning ways. Although Internet learning could replace traditional teaching model, however, how to execute two tools is what we are going to research in this study. It should be more helpful for learners to secure online teaching and physical education. The issue will be examined and discussed on this study. This study is explore how Technology Acceptance Model (ATM) to affect learning willingness and level of acceptance. Second is to explore interactive learning and online communities how to affect consumer’s learning willingness and level of acceptance. By empirical results shows that perceived usefulness does not affect behavioral intentions directly. But, the perceived usefulness and perceived ease of use is positive on consumer’s willingness. Moreover, the behavioral intention has a positive affection by online study and online community. Cumulatively, this study is expected to have a specific contribution to create online study system on beauty industry with the empirical results accordingly.

一直以來，職業教育的使命，是為幫助青少年提升未來就業及社會所需的能力，同時讓他們由學校教育過度至就業階段作好準備。隨着全球經濟環境在迅速轉變，知識成為衡量勞工價值的工具。香港的高中職業教育提供的適切性受到質疑，認為職業教育應結合知識的學習與能力的培養。直至2003年，應用學習課程引入高中教育階段，課程兼備職業知識與能力的培養，為學生提供更多元化的學習機會，並為他們在學術及職業方面都提供了進階途徑。職業課教師透過其教師實踐與師生互動的過程，直接影響着學生的升學及就業抉擇。本研究試圖去理解如何培養學生的可就業能力時，不能不從教師的角度去理解他們對培養可就業能力的看法，與適用於職業教育的教學法。<br>本研究發現，縱使高中的職業教育得以發展，修讀的人數一直較預期的少，且多是由一些學業成績差及學習動機弱的學生選讀。就應用學習而言，第三組別學校基於成本效益的考慮，也不會向學生積極推廣應用學習課程。加上外判式教育提供的方式，使導師的教學質素良莠不齊，標誌着中學職業教育的發展正處於邊緣化的狀態。<br>對於能力的理解與培養的看法，「美容學基礎」及「旅遊與款待」的教師皆認為，溝通能力是相關行業內最重要的能力元素。畢竟旅遊與款待業及美容業均存在獨特的專業性，各科教師對其相關行業的可就業能力的理解也有異。要成為美容師就需具備自我推進的能力，而從事旅遊與款待業，就需具備學習能力以適應不斷轉變的工作環境。這些分析發現不但為建立香港的可就業能力架構提供了參考基礎，還顯示了基本知識與能力的學習對發展出自我推進及學習能力扮演着關鍵的角色。然而，教師對於能力為本及問題為本教學取向中，重視解難能力及自主學習能力的培養，關注比較不足。<br>Historically, vocational education has borne the mission to improve the skills of young people for work and life and to remain relevant to the shifting needs of young people in school-to-work transitions. In alignment with the recent global economic changes, knowledge is now seen as a defining characteristic of valuable workers. The appropriateness of the vocational education in senior secondary schooling is questioned in the light of the changing work environment and the need in the future for knowledgeable and competent workers. In Hong Kong, curricula in vocational courses are also expected to incorporate an emphasis both on knowledge and on the development of competences in relation to that knowledge. In order to comply, Applied Learning with curricula providing a knowledge base and offering breadth for the development of various generic skills was then launched in 2003 to provide young people with diversified learning opportunities for further studies and work. Through teaching and social interaction with students, vocational teachers exercise the form of agency to influence students on the plans and decisions of school-to-work pathways. As this thesis intends to explore how employability skills are nurtured in the course of teaching, the study is focused on teachers’ perceptions about nurturing students’ employability skills and the appropriate teaching pedagogy to adopt for vocational education.<br>Although the development of vocational education in senior secondary schooling was noticeable, it was not popular and tended to attract fewer students than expected. The low academic achievers and students of less motivation comprised the majority of students. Even the low banding schools did not promote Applied Learning due to concerns about cost effectiveness. The practice of outsourcing the teaching responsibilities to external agencies caused the inconsistency of teaching standards across the course delivered. All these signified the marginalized status of vocational education in secondary schooling.<br>Regarding teachers’ perceptions about nurturing students’ employability skills, both instructors of “Fundamental Cosmetology and school teachers of “Tourism and Hospitality identified communication skills as the most important competence for the novice in the beauty industry, tourism and hospitality industries. There still was a demand for distinct competences for different workplaces. Cosmetologists were required to obtain a sense of responsibility with a shown desire to improve. Those who intended to work in tourism and hospitality were expected to learn how to help themselves better adapt to the changing needs of the workplace. These findings not only were construed as a basis to develop the employability skills framework in Hong Kong, but also revealed that learning basic knowledge and skills in schools played a key role in helping students to develop the above competences. Nevertheless, vocational teachers should raise their awareness of nurturing students’ problem-solving skill and self-regulated learning that is the pedagogical objective of the competency-based and problem-based instructional approaches to achieve.<br>For understanding the teaching pedagogy of vocational education, instructors of “Fundamental Cosmetology basically adopted the primitive apprenticeship approach to teaching and focused mainly on the practical skills of the related profession. They were experienced practitioners in the beauty industry and could frame the classroom activities and skills practices by its work culture; whereas school teachers of “Tourism and Hospitality emphasised preparing students for achieving high grades in the public examination. They even tried to foster learning through organizing various creative, authentic activities such as a virtual enterprise programme, tour guide training and a practice programme. Students were inspired to learn knowledge, knowledge application and pay more attention to obtain competences. These findings showed that school teachers could construct the authentic school learning environment in the sense sharing a similar work culture in workplace. However, school teachers were overloaded with administration work, and diverted by those trivial and unnecessary non-teaching tasks. They needed to spare time for a more productive and effective teaching approach and for nurturing students’ complex reasoning skills.<br>Our research indicated that teachers faced great problems in motivating the low-motivated students due to the marginalized status of vocational courses. Teachers organized the authentic activities that were used concrete problems as a context for students to learn. However, the essence of problem-based pedagogical approach emphasizes the ideals of deep, sustained and self-directed learning through exposure to authentic problems. This creates a more stimulating learning environment and cultivates in students problem solving skill and other high order thinking skills. The findings of this study show that vocational teachers need to underscore the positive results of incorporating problem-based learning into curriculum development.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>在教與學的理解上，美容導師採用傳統的學徒學習模式，以職業實用技能為主要的教學內容。由於導師具有豐富的美容工作經驗，她們能營造具有工作文化的真切活動。相反地，旅遊教師則是考試主導教學，主要協助學生爭取良好公開試成績。他們甚至安排一些具創意的真切活動如成立虛擬旅行社、領隊訓練與實習計劃，以引導學生學習知識、知識的應用與關注能力的培養。本研究發現學校的學習是可以透過安排真切活動而提供職場學習的工作文化體驗。不過，學校教師的行政與非教學工作繁重，確實需要釋放教學空間以發展新的教與學環境，讓學生達致有效的學習，同時培養不同的高階思維。<br>從受訪教師描述的教學狀況分析，發現教師基於職業課程收取學習動機較弱的學生，為了提升他們的學習興趣，費盡心思安排的真切活動，重視提供情境導向，但在形式以外，如何深化問題為本課程強調的學生的自主學習，自行界定討論問題，重視學習過程中培養學生解難能力等方面。本研究建議可進一步深化以上方面的思考。<br>陳家兒.<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 301-316).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Chen Jia'er.<br>摘要 --- p.I<br>Abstract --- p.II<br>目錄 --- p.IV<br>圖表目錄 --- p.VIII<br>Chapter 第一章 --- 導論 --- p.1<br>Chapter 第一節 --- 研究背景<br>Chapter 一、 --- 工作改變與可就業能力的培養 --- p.1<br>Chapter 二、 --- 應用學習 --- p.25<br>Chapter 第二節 --- 研究目的 --- p.27<br>Chapter 第三節 --- 研究問題 --- p.28<br>Chapter 第二章 --- 文獻綜述<br>Chapter 第一節 --- 技能發展<br>Chapter 一、 --- 技能概念的爭議 --- p.30<br>Chapter 二、 --- 技能發展的趨勢 --- p.32<br>Chapter 第二節 --- 職業教育的發展概況<br>Chapter 一、 --- 國際上中學職業教育的發展概況 --- p.43<br>Chapter 二、 --- 香港的中學職業教育發展概況 --- p.47<br>Chapter 第三節 --- 中學職業教育的教與學 --- p.50<br>Chapter 一、 --- 教與學的背景理論 --- p.51<br>Chapter 二、 --- 教學法與教學內容的關係 --- p.63<br>Chapter 三、 --- 職業教育的教與學 --- p.68<br>Chapter 四、 --- 職業教育課程的最新發展 --- p.92<br>Chapter 五、 --- 普通教育與職業教育的融合 --- p.93<br>Chapter 第四節 --- 資歷架構的發展<br>Chapter 一、 --- 資歷架構發展的背景 --- p.96<br>Chapter 二、 --- 香港的資歷架構發展概況 --- p.100<br>Chapter 三、 --- 總結 --- p.104<br>Chapter 第三章 --- 研究設計<br>Chapter 第一節 --- 研究的概念架構 --- p.105<br>Chapter 第二節 --- 具體研究問題的闡述 --- p.106<br>Chapter 第三節 --- 研究法<br>Chapter 一、 --- 質化研究的取向 --- p.107<br>Chapter 二、 --- 研究法的確定 --- p.108<br>Chapter 第四節 --- 研究對象及選取<br>Chapter 一、 --- 職業課程的選取 --- p.109<br>Chapter 二、 --- 訪談對象的選取 --- p.112<br>Chapter 第五節 --- 資料收集的方法 --- p.114<br>Chapter 第六節 --- 資料的整理與分析 --- p.115<br>Chapter 一、 --- 閱讀原始資料 --- p.116<br>Chapter 二、 --- 在資料中尋找意義 --- p.116<br>Chapter 三、 --- 編碼 --- p.116<br>Chapter 四、 --- 歸類 --- p.116<br>Chapter 第七節 --- 研究意義 --- p.117<br>Chapter 第八節 --- 研究限制 --- p.118<br>Chapter 第四章 --- 「職業教育發展」、「美容學基礎」與「旅遊與款待」的概述<br>Chapter 第一節 --- 香港中學職業教育的發展概況 --- p.120<br>Chapter 第二節 --- 應用學習課程 --- p.128<br>Chapter 一、 --- 發展概況 --- p.128<br>Chapter 二、 --- 應用習的發展分析 --- p.130<br>Chapter 第三節 --- 「美容學基礎」的概述 --- p.133<br>Chapter 一、 --- 學習目標 --- p.134<br>Chapter 二、 --- 課程大綱 --- p.136<br>Chapter 三、 --- 教與學 --- p.139<br>Chapter 四、 --- 施行模式 --- p.140<br>Chapter 五、 --- 評估 --- p.141<br>Chapter 六、 --- 學歷認證 --- p.142<br>Chapter 第四節 --- 「旅遊與款待」的概述 --- p.143<br>Chapter 一、 --- 宗旨與目標 --- p.143<br>Chapter 二、 --- 課程大綱 --- p.144<br>Chapter 三、 --- 教與學 --- p.145<br>Chapter 四、 --- 評估 --- p.146<br>Chapter 五、 --- 升學及就業的銜接 --- p.147<br>Chapter 第五章 --- 教師對能力的理解及能力教授的意識<br>Chapter 第一節 --- 教師對科目相關行業的能力的理解 --- p.149<br>Chapter 一、 --- 對教授「旅遊與款待」的教師而言--能力是緊繫於科本與基本知識 --- p.149<br>Chapter 二、 --- 對教授「美容學基礎」的教師而言--尤其重視工作關能力與態度 --- p.153<br>Chapter 三、 --- 教師對科目相關行業的能力的看法--旅遊業與款待業vs美容業 --- p.155<br>Chapter 第二節 --- 能力與知識的微妙關係<br>Chapter 一、 --- 對教授「旅遊與款待」的教師而言--培養能力是學習科本知識的副產品 --- p.156<br>Chapter 二、 --- 對教授「美容學基礎」的教師而言--能力與成績沒有必然關係 --- p.158<br>Chapter 三、 --- 對能力的理解主哉能力的培養--「旅遊與款待」vs「美容學基礎」 --- p.160<br>Chapter 第三節 --- 教師對教授能力的看法與實踐<br>Chapter 一、 --- 「旅遊與款待」教師沒有刻意去培養能力 --- p.161<br>Chapter 二、 --- 「美容學基礎」導師有計劃地從活動中培養能力 --- p.164<br>Chapter 三、 --- 能力的教授--沒有刻意的培養vs有計劃的培養 --- p.167<br>本章結語 --- p.168<br>Chapter 第六章 --- 主導教師教學的主要元素<br>Chapter 第一節 --- 一切從教師對課程的理解開始<br>Chapter 一、 --- 對教授「旅遊與款待」的教師而言--課程屬入門理論並需配合考試的評核要求 --- p.174<br>Chapter 二、 --- 對教授「美容學基礎」的教師而言--課程需配合文憑試及銜接資歷架構 --- p.178<br>Chapter 三、 --- 教師對課程的理解--「旅遊與款待」vs「美容學基礎」 --- p.181<br>Chapter 第二節 --- 個人的知識及經驗影響對教學的理解<br>Chapter 一、 --- 對教授「旅遊與款待」的教師而言--沒有相關學歷與工作經驗，勝在有興趣與教學熱誠 --- p.182<br>Chapter 二、 --- 對教授「美容學基礎」的教師而言--有相關學歷及工作經驗，享有高度的課程與度 --- p.185<br>Chapter 三、 --- 個人的知識及經驗影響對教學的理解--「旅遊與款待」vs「美容學基礎」 --- p.187<br>Chapter 第三節 --- 學生的學習期望對教師教學的影響<br>Chapter 一、 --- 「旅遊與款待」的學生--少談心，多談不用讀與成績 --- p.188<br>Chapter 二、 --- 「美容學基礎」的學生--想學一技之長有助就業，滿足個人需要 --- p.197<br>Chapter 三、 --- 學生的學習期望與對教師教學的影響--「旅遊與款待」vs「美容學基礎」 --- p.204<br>Chapter 第四節 --- 學校政策的兩面刃<br>Chapter 一、 --- 「旅遊與款待」--選修、必修、退修 --- p.205<br>Chapter 二、 --- 「美容學基礎」--沒有一刻不被邊緣化 --- p.208<br>Chapter 第五節 --- 主導教師教學的元素<br>Chapter 一、 --- 「旅遊與款待」--一切以考試主導 --- p.211<br>Chapter 二、 --- 「美容學基礎」--大多以職業技能為主導 --- p.212<br>本章結語 --- p.214<br>Chapter 第七章 --- 職業相關課程的教與學<br>Chapter 第一節 --- 教學內容重心<br>Chapter 一、 --- 「旅遊與款待」教師：考試主導、成績為先--教授學科理論知識與應試技巧是最重要 --- p.223<br>Chapter 二、 --- 「美容學基礎」教師：大多以職業技能為主導--職業技能訓練是教學的重心 --- p.227<br>Chapter 三、 --- 教學內容重心：總離不開基礎知識與能力的元素 --- p.233<br>Chapter 第二節 --- 教學取向<br>Chapter 一、 --- 「旅遊與款待」教師：考試主導、成績為先--所教知識是切身的、重複鍛鍊語文表達力 --- p.234<br>Chapter 二、 --- 「美容學基礎」教師：職業技能為主導--保留傳統師徒式的職業技能傳授 --- p.250<br>Chapter 三、 --- 「旅遊與款待」與「美容學基礎」--情境學習與營造工作文化的啟示 --- p.263<br>本章結語 --- p.265<br>Chapter 第八章 --- 結論<br>Chapter 第一節 --- 本研究的主題<br>Chapter 一、 --- 中學職業教育的發展困局 --- p.272<br>Chapter 二、 --- 中學職業教育的教學問題 --- p.275<br>Chapter 三、 --- 可就業能力培養的問題 --- p.279<br>Chapter 第二節 --- 本研究的理論貢獻<br>Chapter 一、 --- 回應可就業能力的討論 --- p.283<br>Chapter 二、 --- 中學職業教育的教學法 --- p.285<br>Chapter 第三節 --- 本研究的實踐意義<br>Chapter 一、 --- 香港中學推行職業教育的政策建議 --- p.294<br>Chapter 二、 --- 中學職業教育的教學實踐建議 --- p.297<br>Chapter 第四節 --- 研究限制 --- p.299<br>Chapter 第五節 --- 未來研究方向 --- p.300<br>參考書目 --- p.301<br>Chapter 附錄一： --- 訪談提綱 --- p.317<br>Chapter 附錄二： --- 1863年至2010年12月香港職業教育/中學職業教師發展大事紀錄 --- p.318

碩士<br>國立臺北教育大學<br>自然科學教育學系<br>107<br>Collaborative teaching of cross-field STEAM course can train primary students to develop their ability of "explore and implement". It is the global education trend and the target of our country's 12-year compulsory education. This study adopts a case study in a class of five grade in elementary school with 28 students as research subjects. It lasted 8 sessions about the "Animal imitating beasts STEAM course" by two teachers’ collaborative design and teaching as an extension of the "Animal Wonderland" unit. Students undergo with STEAM literacy tests (SLT) before and after unit learning to explore whether their STEAM literacy has improved. The collected data includes STEAM literacy test, Arduino & sensor learning sheet, discussion sheet of animal imitating beasts, semi-structured interview, teaching thinking, etc., for data analysis and interpretation. The results of the study are as follows: 1) the two teachers collaborate in teaching STEAM courses to help students acquire the relevant concepts of "animal imitating beasts", Arduino programming to manipulate sensors, and successfully assembling "animal imitating beasts". 2) The "animal imitating beasts" assembled by each group students can meet the special habits of the animal. Using Arduino to control the sensor to simulate the effects of the beast's ability to change the body color, change the call, and change the lighting frequency. 3) The z test of the STEAM literacy pre-test and post-test were significantly different,indicating that there was a significant improvement in STEAM literacy among elementary school students, especially in the Arduino programming (combined with the sensor part),problem solving ability and mathematical literacy.

Cette thèse étudie les relations artistiques entre le Canada et la France à la fin du XIXe siècle et définit la place qu’occupe l’atelier libre qu’est l’Académie Julian dans le réseau artistique parisien, tout en privilégiant comme étude de cas le passage de ses élèves canadiens entre 1880 et 1900. Soucieux d’entreprendre une étude fouillée sur cette institution artistique et de revenir aux documents d’archives et autres témoignages, nous privilégions la voix des étudiants et des journalistes de l’époque pour décrire tant l’atmosphère que le fonctionnement de l’Académie Julian en précisant notamment les stratégies développées par Rodolphe Julian lui-même pour faire de cette école un lieu quasi incontournable pour qui veut suivre une formation artistique de qualité. La personnalité de Rodolphe Julian, tout comme celle de Marie Bashkirtseff – que nous percevons comme le porte-parole « visible » de l’Académie Julian – seront mises à l’avant-plan puisque, en plus des élèves eux-mêmes, ces deux personnes furent les véritables ambassadeurs promotionnels de l’établissement. Rodolphe Julian, entrepreneur hors norme, doit être étudié pour lui-même afin d’appréhender la complexité propre au personnage et de saisir pleinement l’originalité de son école. Notre étude se penchera sur l’homme et son établissement qui ont incité des générations d’étudiants, dont les peintres canadiens – amateurs curieux ou professionnels accomplis – à cumuler, en plus d’un savoir-faire technique acquis par leur formation dans cet établissement, des labels de promotion et de visibilité (prix, médailles, distinctions) favorables au plein épanouissement commercial d’une carrière artistique au Canada. L’art français est alors fort prisé par la classe dominante canadienne désireuse d’acquérir pour ses salons un portrait ou un paysage. En cela, l’acquisition d’un enseignement rigoureux basé sur l’étude de la composition et du modèle nu répondra à cette attente de la clientèle tout en ayant par la suite un impact direct dans les méthodes d’apprentissage offertes au pays. Un grand nombre des anciens élèves canadiens de l’Académie Julian chercheront par leur formation à propager et à implanter un système d’enseignement des arts similaire à celui acquis à l’Académie Julian, permettant ainsi à des générations d’artistes de bénéficier de leur expérience outre-Atlantique comme d’autres artistes-professeurs l’avaient fait avant eux. L’axe principal de la thèse repose sur l’idée selon laquelle l’éclatement progressif de la reconnaissance de l’École des beaux-arts au profit des ateliers privés transforme les prérequis à l’accès à la formation et présente, dans son lien à l’économie – dans le rapport art et industrie – l’artiste comme un entrepreneur qui adapte et développe son discours et sa production à la demande du marché. Au Canada, l’offre d’éducation technique et de formation professionnelle met de l’avant un modèle artistique français. En ce sens, le voyage qu’entreprennent les artistes en direction de la ville de Paris prend tout son sens comme destination d’étude et de labellisation du statut de l’artiste. En plus de faire l’histoire de l’Académie Julian et de son fondateur, Rodolphe Julian, l’objectif de cette thèse est de répertorier la présence des artistes canadiens dans cette école tout en soulignant l’apport qu’offre cette institution dans la reconnaissance de la formation artistique liée au système honorifique que l’école et ses professeurs parviennent à contrôler en favorisant leurs élèves au Salon. Pour atteindre notre objectif, nous privilégions une division en trois chapitres, reliés l’un à l’autre par une thématique commune, soit l’éducation artistique française. Dans la logique qu’impose le déplacement outre-Atlantique des peintres, le premier chapitre aborde cette question du point de vue canadien pour ensuite définir le contexte français. Dans cette première partie, nous présentons les structures à la disposition des artistes au Canada et nous précisons le réseau de formation disponible au XIXe siècle. Les figures clés que sont Napoléon Bourassa ainsi que l’abbé Joseph Chabert sont prises en exemple pour aborder la question de la formation artistique au pays où le modèle pédagogique français est utilisé. La commande du curé Sentenne pour la chapelle Notre-Dame du Sacré-Cœur de la basilique Notre-Dame de Montréal illustre la quasi-nécessité qu’ont les peintres canadiens de devoir faire le voyage en direction de Paris pour poursuivre leur formation artistique et permet de comprendre que le lieu de production est tout aussi important pour l’œuvre que pour l’artiste. À cette époque, la renommée de l’École des beaux-arts de la ville de Paris, avec la réforme de 1863, fait de cet établissement l’un des plus prestigieux du monde. Toutefois, malgré des efforts de restructuration, l’établissement reste en marge de son époque ce qui favorise l’essor des « Académies libres » dont la plus célèbre est l’Académie Julian. Le second chapitre est entièrement consacré à cette école et à son fondateur, présenté comme un homme d’affaires avisé et un petit maître de la peinture. Jusqu’alors reléguée au second plan par rapport à son Académie, l’étude du personnage permet de saisir l’originalité de son établissement lorsqu’il décide, entre autres, d’y accepter les femmes. Conscient du potentiel qu’offre son école – susceptible d’accueillir des artistes du monde entier – nous analysons les stratégies d’expansion et de promotion de l’Académie mises en place par Rodolphe Julian et nous nous attardons à l’utilisation du personnage de Marie Bashkirtseff pour atteindre ces deux objectifs. Le troisième chapitre définit pour sa part les motifs et la formation acquise auparavant qui incitent les peintres de notre corpus à vouloir poursuivre leur formation artistique à Paris, et plus particulièrement chez Julian. Le milieu socio-économique (et socio-linguistique, tous deux liés) et l’influence d’un maître de formation européenne apparaissent comme des facteurs propices à leur inscription à l’Académie Julian et c’est par les archives de l’école que nous mettons à jour les différents abonnements et le temps passé dans cet établissement par les peintres canadiens. Les inscriptions disponibles sur les fiches d’abonnement permettent – avec l’analyse de témoignages connexes – de définir le fonctionnement de cette institution de formation artistique. Ainsi, à partir de documents d’archives, le séjour parisien du peintre canadien Joseph Saint-Charles fait l’objet d’une étude de cas qui permet de relier l’artiste à l’Académie Julian, mais aussi de déterminer les stratégies qu’il met en place pour se faire reconnaître comme peintre professionnel, en France, mais aussi au Canada lorsque ses succès sont rapportés dans les journaux. Malgré la disparition des registres de l’école, nous abordons cependant la question des Canadiennes de passage à l’Académie Julian et soulignons les inégalités qui subsistent entre les sexes. Malgré certaines disparités, il n’en demeure pas moins que même pour la gent féminine, l’établissement se présente comme un tremplin d’insertion et de reconnaissance de la pratique artistique, que ce soit par l’acquisition d’un apprentissage académique traditionnel où prédomine la maîtrise du dessin ou par le fait d’obtenir la « correction » des maîtres consacrés de la peinture française. Bien qu’il faille reconnaître le fondement des critiques que rapportent les élèves sur leur passage à l’Académie Julian, nous remarquons que, pour la plupart, le but véritable de leur inscription vise à les préparer à leur future carrière comme artistes professionnels et leur permet d’obtenir la consécration qu’offre le fait d’être admis au Salon national des artistes français avec l’appui de l’école et de ses professeurs, qui orienteront ce que certains qualifieront de « produit Julian ».<br>This thesis examines the artistic relations between Canada and France at the end of the nineteenth century, and the legacy of the ‘ateliers libres’ of the Académie Julian within the Parisian arts network. Through a case study, it focuses on the experience of Canadian students at the institution between 1880 and 1900. A conscious desire to provide a detailed study of this art institution drawing upon its annals and various personal accounts underlies the recourse to testimonies by students and journalists of the time to describe the prevailing atmosphere at the Académie Julian as well as its general management, its origin, and the strategies adopted by Rodolphe Julian himself to shape his school into ‘the institution de rigueur’ for those who sought artistic training of the highest calibre. Along with the students themselves, the personality of Julian as well as that of Marie Bashkirtseff – considered to be the "visible" spokesperson of the Académie – are at the forefront of this research since these two individuals were the true ambassadors of the Académie. Rodolphe Julian, an exceptional entrepreneur, must be examined in his own right to provide an understanding of his complexity and to fully grasp the originality of his Académie. This research examines both the man and his school, which together enticed generations of students, including Canadian painters (curious amateurs and accomplished professionals alike) to acquire not only the technical know-how during their training at the Académie Julian but also earn accolades and awards (prizes, medals and distinctions) inextricably associated with a commercially successful artistic career in Canada. During that period, French art was highly valued by the dominant Canadian upper and middle classes eager to purchase portraits and landscapes to adorn their living rooms. Indeed, rigorous instruction based on the study of composition and nudes met students’ expectations and directly influenced training methods in their home country. As a result of their training, a large number of former Canadian students of the Académie Julian sought to perpetuate an art education system similar to that of the Académie Julian, thus enabling generations of artists to benefit from their transatlantic experiences as other artist-professors had done before them. The main thrust of this thesis is its contention that the progressive change in perception of the École des Beaux Arts towards recognition of the "ateliers privés" influenced training prerequisites, shifting the artist into an economic space, intertwining the arts with industry: the artist as entrepreneur capable of adapting and developing his discourse and production in response to market conditions. In Canada, the diversification of technical education and professional training favoured the French artistic model. For artists, studying in Paris was meaningful; it was also a means of enhancing their status. In addition to tracing the history of the Académie Julian and that of its founder, Rodolphe Julian, this thesis also seeks to identify the presence of Canadian artists in the Académie, and to highlight its contribution to the recognition of fine arts training and its interplay with the honorary system of the Salon, which the Académie and its instructors controlled, by favouring their students. This thesis comprises three chapters, each linked by an overarching theme: the French art education system. Defining the French artistic context from a Canadian perspective, Chapter 1 deals with painters who were compelled to cross the Atlantic. The first section outlines the training possibilities available to artists in Canada and the training network available to artists in the 19th century. In covering the topic of art education in a country where the French teaching model prevailed, key figures such as Napoléon Bourassa and Abbé Joseph Chabert, are cited. Curé Sentenne’s commission for Montréal’s Notre-Dame Sacré-Cœur chapel of the Notre-Dame Basilica illustrates the near necessity for Canadian painters to travel to Paris to pursue their artistic training and helps explain why the place of production was just as important for an artwork as it was for the artist. At that time the reputation of the École des Beaux-Arts in Paris, consolidated by the reform of 1863, made this establishment one of the most prestigious in the world. However despite restructuring efforts, the Académie remained out of touch with the times, and this favoured the rise of the ‘Académies libres’, the most famous of all being the Académie Julian. Chapter II is devoted entirely to the Académie Julian and its founder, an astute businessman and ‘petit maître de la peinture’. The study of the man himself, which has so far served as a backdrop to a more detailed study of the Académie reveals the innovative nature of his establishment particularly with regard to his decision to admit women to study in his studios. Aware of the prospects his school offered, he was willing to accommodate artists from all over the world. His strategies for the expansion of the Académie are analyzed as well as the role of Marie Bashkirtseff in this respect. Chapter III describes the motivations and preliminary apprenticeships, which encouraged the artists being studied here to pursue their education in Paris, specifically at the Académie Julian. The socio-economic context – perhaps the socio-linguistic as well, since they are interrelated – and the influence of a master of European training appear to be the deciding factors. The institution’s archives shed light on the registration of Canadian painters and the time they spent there. The entries in the records of the Académie along with various personal accounts make it possible to understand how this training institution was managed. Based on information retrieved from the archives, the time that Canadian painter Joseph Saint-Charles spent in Paris is used as a case study not only to link the artist to the Académie Julian but also to determine the strategies which enabled him to be recognized as a professional painter in France as well as in Canada where his successes were widely reported in the press. Although there is no record of Canadian women in the archives of the Académie Julian, their role is nevertheless analyzed, underlining the prevailing gender inequalities. In spite of certain disparities, for female artists the Academy nevertheless constituted a springboard for inclusion and recognition of their artistic practice, whether it was through acquiring a traditional academic apprenticeship where the mastery of drawing prevailed or by working “under the guiding hands” of acclaimed Masters of French painting. Although the validity of criticisms leveled by students against their school must be acknowledged, for most of them the real purpose of their enrolment was to prepare their future careers as professional artists, facilitate their rite of passage to the "Salon national des artistes français", thanks to the support of the Académie and its instructors, and be “emblazoned” with the ‘Julian trademark’.<br>Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel.