Dissertations / Theses: 'Creative pedagogies'

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McCrary, Robin Micah. "Toward a Cultural Competence in Creative Writing Pedagogies." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1578408835816055.

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LaGrotteria, Angela. "Feminist Pedagogies in the Creative Writing Classroom: Possibilities and Reflections." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1498598135412239.

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Owen, Richard Nicholas York. "A search for 'creative' 'partnerships' : constructing pedagogies for artists and educators working together." Thesis, University of Hull, 2008. http://hydra.hull.ac.uk/resources/hull:5800.

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This thesis examines what constitutes a 'creative' 'partnership' and whether theoretical frameworks and models can be articulated which produce 'creative partnerships'. The thesis derives from an ethnographic study of Fichte Nursery School and artists and educators working within Creative Partnerships programmes in Hull, based upon qualitative research and narrative enquiry. The thesis presents an historical perspective of creativity and cultural education in English schools and suggests that, as a result of performativity discourses within education, contemporary discourses of creativity are determined by social relationships based in Gesellschaft as opposed to Gemeinschaft, and are heavily prescribed by political agendas which strive for economic growth and thus become supersaturated with meaning and desire. A Deleuzian philosophy of creativity is proposed as a suitable philosophical basis for this research, as the concept of heterogenesis allows for the possibility of the development of an alternative discourse of creativity in which social relationships are more closely aligned to conditions of gemeinschaft. The thesis identifies discourses upon which pedagogies for artists and educators might be established and argues that pedagogies are ambiguous and contingent architextures which define learning spaces. The Nursery School is seen as an example of a complex, heterogenetic Deleuzian city and it is presented as the site for the empirical research. The thesis examines the manifestation of creativity in the school, the manifestation of creativity by artists in schools and the role of 'outsiders' in participating in creative relationships. Six structural features are presented which form the architexture of the pedagogies of artists and educators, conceived as six interconnected Zones: a Zone of Scrap, of Disguise, of Infectivity, of Intimacy, of Surprise and a Zone of Grace. A new methodological tool is proposed, to observe classroom practice: that of the Classroom Gaze. Implications for policy, practice and practitioners are discussed.

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Conor, Bridget Elizabeth. "Screenwriting as creative labour : pedagogies, practices and livelihoods in the new cultural economy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/2642/.

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This thesis analyses screenwriting as an exemplary and idiosyncratic form of creative labour in the ‘new cultural economy’ and specifically, in the contemporary UK screen production industry. Using a critical sociological framework combined with a neo-Foucauldian understanding of work and subjectivity, a series of explicit analytical connections are made in this project, between screenwriting, creative labour and the new cultural economy. I contend that screenwriting, as a form of creative labour which in many ways eschews the term ‘creative’, is an instructive, timely case study precisely because it agitates traditional dichotomies - between creativity and craft, art and commerce, individual and collaborative work - in pedagogy and practice. After tracing the dynamics of this form of creative work in theoretical, discursive and historical terms, I then analyse how screenwriting is constructed, taught and practiced as labour in three areas: ‘How-to’ screenwriting manuals, pedagogical locations for screenwriting in the UK and British screenwriters’ working lives. At each site, I focus on how craft and creativity are defined and experienced, how individual and collective forms of work are enacted at different locations and what implications these shifting designations have. Screenwriting within the mainstream Hollywood and British film industries in the contemporary moment demands particular and complex forms of worker subjectivity in order to distinguish it from other forms of filmmaking and writing, and to make the work knowable and do-able. I follow the voices of screenwriters and those who teach and instruct about screenwriting across the fieldwork sites and analyse the ways in which they calculate, navigate and make sense of the screen production labour market in which they are immersed. The theatrical, mythic and practical navigations of screenwriters in pedagogy and practice that are the centre of this thesis offer an antidote to impoverished, economistic readings of creativity, craft and creative labour in contemporary worlds of work.

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Berg, Danita. "Re-Composition: Considering the Intersections of Composition and Creative Writing Theories and Pedagogies." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1573.

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Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline. Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.

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Diri-Rieder, Youmna. "HOW MIGHT CREATIVE EXPRESSION & DRAMATIC PEDAGOGIES BE USED TO DEVELOP PERSPECTIVE-TAKING AND DEMOCRATIC PRACTICES AMONG STUDENTS IN K-12 CLASSROOMS." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366388854.

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Bellany, Jeanette Anne. "'Going live' : establishing the creative attributes of the live multi-camera television professional." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/57730/1/Jeanette_Bellany_Thesis.pdf.

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In my capacity as a television professional and teacher specialising in multi-camera live television production for over 40 years, I was drawn to the conclusion that opaque or inadequately formed understandings of how creativity applies to the field of live television, have impeded the development of pedagogies suitable to the teaching of live television in universities. In the pursuit of this hypothesis, the thesis shows that television degrees were born out of film studies degrees, where intellectual creativity was aligned to single camera production, and the 'creative roles' of producers, directors and scriptwriters. At the same time, multi-camera live television production was subsumed under the 'mass communication' banner, leading to an understanding that roles other than producer and director are simply technical, and bereft of creative intent or acumen. The thesis goes on to show that this attitude to other television production personnel, for example, the vision mixer, videotape operator and camera operator, relegates their roles to that of 'button pusher'. This has resulted in university teaching models with inappropriate resources and unsuitable teaching practices. As a result, the industry is struggling to find people with the skills to fill the demands of the multi-camera live television sector. In specific terms the central hypothesis is pursued through the following sequenced approach. Firstly, the thesis sets out to outline the problems, and traces the origins of the misconceptions that hold with the notion that intellectual creativity does not exist in live multi-camera television. Secondly, this more adequately conceptualised rendition, of the origins particular to the misconceptions of live television and creativity, is then anchored to the field of examination by presentation of the foundations of the roles involved in making live television programs, using multicamera production techniques. Thirdly, this more nuanced rendition of the field sets the stage for a thorough analysis of education and training in the industry, and teaching models at Australian universities. The findings clearly establish that the pedagogical models are aimed at single camera production, a position that deemphasises the creative aspects of multi-camera live television production. Informed by an examination of theories of learning, qualitative interviews, professional reflective practice and observations, the roles of four multi-camera live production crewmembers (camera operator, vision mixer, EVS/videotape operator and director's assistant), demonstrate the existence of intellectual creativity during live production. Finally, supported by the theories of learning, and the development and explication of a successful teaching model, a new approach to teaching students how to work in live television is proposed and substantiated.

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Beaudoin, Andrea. "Las raices de la luz/ Escritura creativa en español: trayectoria, pedagogia y proyecciones en programas de posgrado en Estados Unidos." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1583853794470005.

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Kaufmanė, Elena. "Valdorfo pedagogikos reikšmė II-IV klasių moksleivių kūrybiškumo ugdymui." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060517_104213-43973.

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Children education in Lithuania is undergoing a period of intense changes. Along with changes, many innovations are being introduced. Waldorf pedagogic is one of most successful innovations introduced past few years. According to the creator of Waldorf pedagogic, Rudolph Steiner, education should be considered as a kind of art, based on knowledge of human psychology. According to him, any kind of education or schooling should be based on stimulation of creativity and artistic taste, ability to feel and understand the inner self as well as people and surroundings around, also on the knowledge of surrounding nature. In the system of Waldorf pedagogic ideal pupil becomes the one that is able of thinking and creating, at the same time improving his or her knowledge of surroundings and inner self and adjusting to quickly changing circumstances. That means a person able to adopt innovations and to use them in everyday professional activities. Object of survey Peculiarities of the second – fourth forms pupils’ creativity at Waldorf School and traditional school. There have only been few researches conducted in Lithuania to investigate influence of Waldorf pedagogic on creativity of children. Most of researches just mention this pedagogic system along with few facts of how it works or stimulates pupils’ creativity. Conventionally there are only two ways of education considered – either constant schooling or free exploring of surroundings, thus gaining necessary experience on your... [to full text]

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Thomson, Andrew. "The creation and use of video-for-learning in higher education: Pedagogies and capabilities." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/130743/1/Andrew_Thomson_Thesis.pdf.

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This research highlights the educational affordances of video-for-learning, and video production models, in a Higher Education context. Theories of screen media were combined with theories of learning and teaching to assist University staff to develop their professional practice through the design, production and use of video. This challenged a number of normalised processes for creating video in Higher Education settings. The findings deepen understandings of the effectiveness of video for learning, and of the support structures required for video production and use in Higher Education.

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Jansson, Kerstin. "Lyrik i skolan : Hur lyrik i skolan kan utveckla barns kreativa skrivande." Thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-405.

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When I was a child my mother and I wrote a lot of poems, but in school we didn´t write poems at all. As a teacher I want to show the children the joy and happiness of writing poems, stories and fairy tales.

The purpose of this report was to investigate the work with poetry and creative writing in my class and how the pupils experienced their own work/writing. I began with asking the pupils in my class a few and simple questions about poetry, then we made a diffrent kinds of poetry writing and a finally I repeated the interviews with the children. The poetry writing took place during six weeks under the spring semester.

I found that as a teacher it is possible to work with creative writing and poetry in diffrent ways. The pupils enjoyed the writing and their opinions were that they had increased their skills in rhyming, writing and spelling, that they had learnt new words and to use their fantasy and that they had learnt a great deal of how to cooperate.

Keywords

Creative writing, fantasy, poems.

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Tang, Cecilia Han-Lian McDonald Scott P. "Creating a problem-based learning unit how curriculum development affects science teachers' understandings of reform-based pedagogies /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-31/index.html.

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Lambert, Michèle. "La creativite : utopie ou realite sociale?" Paris 7, 1988. http://www.theses.fr/1988PA070013.

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Le vocable "creativite" a fait irruption dans une civilisation hyper-technicisee en mutations constantes ou sa notion est alors apparue comme reponse a de multiples exigences politiques, economiques, techniques, et comme revendication sociale et culturelle. D'abord objet de recherches des psychologues americains qui furent a l'origine de la parution de ce terme, la creativite a ete ensuite introduite en europe vingt ans plus tard et notamment en france ou sa notion, vulgarisee, a ete confondue avec invention, decouverte, creation, imagination, et dont il est primordial de la dissocier afin qu'elle recouvre sa signification concrete dans la conjoncture sociale. Les definitions europeennes influencees par les travaux americains soulignent l'idee de restructuration, de reorganisation des donnees sous une forme nouvelle, l'idee de divergence, d'originalite et la mise en jeu de processus combinatoires et associatifs. L'etude de savants et d'artistes fait apparaitre des traits fondamentaux (aptitudes, attitudes et comportements) et des motivations a l'origine des manifestations creatives et creatrices, communs a tous les individus creatifs mais en intensites variables selon la personnalite de l'individu et les circonstances socio-culturelles dans lesquelles il evolue, ces differentes intensites conduisant a des degres de creativite inegaux. Outre l'heritage genetique, les facteurs de l'environnement familial, culturel, social et physique, agissant en interaction sur la formation de la personnalite tout entiere, conditionnent l'eveil des potentialites creatives ainsi que les experiences creatives et creatrices. Compte-tenu de ce qu'integre la notion de creativite, ont ete elaborees des techniques d'incitation a la creativite en groupe et des methodes pedagogiques experimentales dont l'objectif est de solliciter des aptitudes et des processus mentaux specifiques. Mais, au sein de la contradiction fondamentale d'une societe dans laquelle, d'une part, se dessinent des valeurs nouvelles comprenant la creativite comme atout capital, d'autre part se maintiennent les valeurs issues de systemes traditionalistes, la creativite, sans etre utopie, n'est pas une realite sociale
The term "creativity" has emerged in a hyper-technicalized society under constant changes. This notion thus appeared as an answer to multiple political, economic and technical requirements as well as a social and cultural demand. Creativity was first studied by the american psychologists who invented this term. It was introduced twenty years later in europe, and more particularly in france, where its meaning has been confused with invention, discovery, creation, imagination ; it is, in fact, fundamental to define its precise sense to give it back its concrete meaning in the social context. The european definitions, influenced by american research, underline the concepts of divergence, originality and combinatory and associative process. The study of scientists and artists (aptitudes, attitudes and behavior) has shown the existence of fundamental features and motivations leading to creative expression, all of them to be found in creative individuals in various proportions according to their personalities and the socio-cultural context, and generating unequal creativity levels. Apart from the genetic inheritance, the family, cultural, social and physical environment factors interacting upon the personality development, condition the rise of creative potentialities and experiences. Taking into account the field covered by the notion of creativity, creativityprompting group techniques and experimental pedagogical methods have been set up. Their aim is to prompt specific aptitudes and mental processes. However, in the midst of the basic contradiction of a society in which, on the one hand, new values -including creativity- are emerging, and on the other hand, the values belonging to traditional systems are being maintained, creativity, without being an utopia, does not appear to be a social factor

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Severinsson, Johanna. "Transformation från A till B : Vad sker i processen mellan förväntningar och insikt? En studie i musikalisk kreativ transformation." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2855.

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The purpose of the essay is to find an understanding of people's experiences of musical creation. How do we experience creative creation? What is happening in the process? Who decides what is music? Through observations and interviews I have analyzed the concepts that emerge when my informants talk about a creative process. Based on hermaneutical assumptions that a process is interpretable and leads from one point to another, I have wanted to get a deeper understanding of what is interpretable in the informants' experiences of the process. The starting point is that the truth changes a bit for each time a new experience takes place. A so-called transformation. In order to address the essence (the "truth") in my question I have used qualitative research and tried to embrace a phenomenological perspective. I have applied a deductive approach to the analysis of the empirical material. The results show that many of my assumptions are confirmed as regards the transformation as requested. A problem identified in the study is that the creative processes are difficult to measure and assess. In a time driven by economic concerns, they are also not as valued as mathematics, engineering, or physics.
Syftet med uppsatsen är att utforska upplevelsen av musikaliskt skapande. Hur upplever vi ett kreativt skapande? Vad är det som sker i processen? Vem är det som bestämmer vad som är musik? Genom observationer och intervjuer har jag analyserat vilka begrepp som kommer fram när mina informanter pratar om en kreativ process. Utifrån hermaneutiska antaganden om att en process är tolkningsbar och leder från en punkt till en annan har jag önskat få en djupare förståelse för vad som är tolkningsbart i informanternas upplevelser av processen. Utgångspunkten är att sanningen förändras lite för var gång en ny erfarenhet äger rum. En så kallad transformation. För att få fatt på essensen (”sanningen”) i mina frågeställningar har jag använt mig av kvalitativ forskning och försökt att inta ett fenomenologiskt perspektiv. Med deduktiv ansats har jag förhållit mig till den data jag har fått fram. Resultatet visar på att många av mina antaganden bekräftas vad gäller den transformation som efterfrågades. En problematik som framkommit i studien är den att kreativa processer är svåra att mäta och bedöma. De är inte heller lika värderade i en ekonomistyrd samtid som matematik, teknik eller fysik.

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Mathias, Michel. "Pedagogies de la redaction et probleme de la creativite - les conditions fondamentales d'un modele d'apprentissage de la langue ecrite." Université Louis Pasteur (Strasbourg) (1971-2008), 1990. http://www.theses.fr/1990STR10018.

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L'enseignement de la "redaction" connait depuis l'origine des difficultes considerables et l'on n'a pas encore apporte de solution efficace pour les resoudre. Il importe donc d'en rechercher les causes et l'on ne peut ecarter les modalites memes de l'apprentissage, telles qu'elles sont definies par des instructions officielles qui n'ont jamais su avoir de coherence et eviter les contradictions. Profitant des avantages de la creativite, est esquissee ici une analyse qui en fait un proces et non plus un etat. Elle se trouve donc separee de l'inspiration que nous devons au romantisme. On etablit alors le moyen privilegie d'y acceder : le rythme dont la langue connait une forme-source : le vers. Il importe cependant de l'epurer jusqu'a parvenir au "modele du vers" duquel deriveront des exemples d'execution. Sa mise en oeuvre, resultat d'un apprentissage strict, offre la possibilite d'ameliorer singulierement les performances des eleves, tant en vers proprement dit qu'en prose courante. Un profil d'evolution est trace qui mene du vers regulier au vers libre. On s'interroge aussi sur les raisons de cette efficacite et les causes de son absence dans l'arsenal pedagogique. Tout un courant de polemique est exhume et les fondements ideologiques mis a jour. Le parcours de la pedagogie officiel est dessine depuis le debut du siecle, ou les espoirs sont franchement affirmes, jusqu'a nos jours ou ne restent plus que desillusion et agressivite. . .
Is it possible to teach pupils the constraints of written expression ? how can we manage this ? the art and practice of essay writing has always tried answering part of these questions, the solution of which is the pre-requisite of mastering language in secondary schools. This habit has been imposed by reasoning from a point of reference and by the precedent of a model to which the pupils have previously been initiated. The first model referred to the literary language and had recourse to its imitiation. The working language was latin. The pupils - or at least some of them - were eventually supposed to be able to write a play in latin verses and a latin speech. The second model which is still ours since it constitutes the base of official pedagogy, such as it has been codified in "official instructions", has chosen the french language and built up a whole methodology which has known - and still knows - nothing but failure. This is the crisis faced by french, denounced since the beginning of this century and for which a solution is being sought in vain. The after- 1968 spirit has popularised a model known under the name of creativity. It claims to be successful and has quickly become part of the official pedagogy. Two fundamental procedures have sprung from these models: - an analytical one which has benefited from the pre-eminence of sciences. It certainly produced excellent results in description and was particularly well adapted to

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Wretman, Åsa. "Är "fint" fint? : Om pedagogers förhållningssätt gentemot barns bildskapande." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-46474.

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The purpose of this essay, with the title “Is “fine” fine? About educator’s approach towards tothe visual creative activities of preschool children”, is to analyze how us preschool educator’s approach to the visual creative activities of preschool children and why we relate to them in acertain way or why we use a certain linguistic expression, when we comment on children’s visual creative activities. Part of the purpose is also to reflect about how this controls the occupation. That is why I take the starting point in discourse theory. I ask the questions what discources form the educator’s ideas and what ideas form the educator’s respective discourses and what is the background to the usage or avoiding of a specific linguistic expression. As both play and learning are prominent in the preschool world and also can be related to visual creative activities, I also relate to theory of play in this essay. As a background in the text andas a help to understand the reason in different views of art or creative activities, I also refer to certain theories of art. From this I try to distinguish tendencies in the approach amongst educators. I reached the conclusion that there is an ambivalence around different approaches and also that the curriculum is ambiguous, which according to my opinion with advantage could lead to an increased collegial reflection regarding linguistic expressions and the irmeaning. From the interviews and my observations, there is a consciousness surrounding accepted expressions and treatment but no deeper reflection around why it is accepted or not accepted to express oneself in one way or another.
Syftet med denna essä, som bär titeln ”Är ”fint” fint? Om pedagogers förhållningssätt gentemot barns bildskapande”, är att undersöka hur vi pedagoger i förskolan förhåller oss till förskolebarns bildskapande och varför vi intar en viss hållning eller använder ett visst språkligt uttryck, när vi kommenterar barns bildskapande. En del av syftet är även att reflektera kring hur detta styr verksamheten, varför jag tar avstamp i diskursteori. Jag ställer frågorna, vilka diskurser som formar pedagogers föreställningar och vilka föreställningar som formar pedagogers respektive diskurser samt vad som är bakgrunden till bruket eller undvikandet av ett specifikt språkligt uttryck. Eftersom både leken och lärandet är framträdande i förskolans värld och även kan förknippas med bildskapande, förhåller jag mig i den här texten även till lekteori. Som en bakgrund i texten och som hjälp att förstå orsaken till sätt att se på bildskapande och konst på olika sätt, berör jag även vissa konstteorier. Jag försöker utifrån detta samt diskursteorin, intervjuer med informanter samt gestaltningar av egna erfarenheter, urskilja tendenser i förhållningssättet hos pedagoger. Jag kom fram till att det finns en ambivalens kring olika förhållningssätt samt att läroplanen är mångtydig, vilket enligt min mening med fördel skulle kunna leda till ökad kollegial reflektion kring språkliga uttryck och dess innebörder. Det råder, utifrån intervjuerna och mina iakttagelser, en medvetenhet kring vilka uttryck eller bemötanden som är gångbara men inte djuparereflektion kring varför det är accepterat, respektive inte accepterat att uttrycka sig på det ena eller det andra sättet.

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Santos, Lívia Maria Natália de Souza. "A pedagogia da ausência e outras ensinanças: Judith Grossmann e a cena da escrita." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2004. http://www.repositorio.ufba.br/ri/handle/ri/10815.

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A dissertação intitulada A pedagogia da ausência e outras ensinanças: Judith Grossmann e a cena da escrita busca, através da leitura analítica de depoimentos, entrevistas, textos de crítica, teoria da literatura, romances e contos de Judith Grossmann, observar como se dão os trânsitos de cenas e idéias entre estes textos e a sua ligação com a prática acadêmica da autora. Este trânsito ilustra aquilo que chamamos de “Pedagogia da ausência”, que é a discussão de temas e questões pertencentes à Teoria da Literatura nos textos literários. Desta maneira, acreditamos que Judith Grossmann faz do seu texto de lavra criativa cena de discussão e debate de teorias da literatura que, comumente, encontram o seu local de reflexão nas salas de aula e mesas de congressos. Assim, a literatura se converte em sala de aula, fazendo com que a professora Judith Grossmann não deixe jamais de formar novos alunos e discípulos sem que o texto perca o apuro estético indispensável à obra de arte.
Salvador

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Petersson, Kerstin. "Vad sjunger pedagogen? : En studie om genus i den svenska vistraditionen." Thesis, Södertörns högskola, Lärarutbildningen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-14534.

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The purpose of this thesis is to find out how gender roles are described in musical lyrics written for children. I used gender theories that describe how stereotypical gender roles are displayed in music and these theories were later compared with the songbooks I studied. The thesis is a qualitative study to detect masculine and feminine related differences in the texts. After having read, analyzed and compared over 200 songs I found that the stereotype notions of masculinity and femininity is reflected in songs. Society has transferred in this way normative values on to the children through the songs that teachers choose to sing in schools.
Syftet med denna studie var att ta reda på hur könsroller beskrivs i musiken och visorna för barn. Jag använde genusteorier som beskriver hur stereotypa genusroller uppstår och genom att pröva dessa teorier i relation med sångböckerna, försöka finna svar på mina frågor. Studien är en kvalitativ studie för att upptäcka skillnader mellan maskulinitet och femininitet i text. Efter att ha läst, analyserat och jämfört över 200 sånger fann jag att stereotypa föreställningar om vad som är manligt och kvinnligt återspeglas i visorna. De normativa värderingar som samhället har idag överföras på detta sätt vidare till barn genom de sånger vi väljer att sjunga i skolan.

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Contepomi, Gustavo Adolfo E. "El país fértil. Notas para una pedagogia del proyecto." Doctoral thesis, Universitat Politècnica de Catalunya, 2009. http://hdl.handle.net/10803/6566.

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El País Fértil es una investigación que aborda el significado del proceso creativo específico de la arquitectura mediante su comparación con otras disciplinas artísticas. Esta premisa metodológica implica el reconocimiento del carácter artístico de la arquitectura. Insistir en la pertenencia de la arquitectura al campo del arte, algo que nadie cuestionaba, se vuelve hoy imprescindible en un contexto social y universitario que potencia excesivamente el peso del factor tecnológico en detrimento del artístico/humanístico. La idea del medio expresivo -el que diferencia a las artes- permite acercarse de modo original al concepto de "proporción", el principio proyectual abstracto con que la arquitectura construye su arte. Enseñar a diseñar arquitectura significa transmitir los mecanismos de la práxis arquitectónica, la esencia misma del proceso creativo -que todas las artes comparten-. Enseñar a diseñar, enseñar a proyectar, o enseñar a crear son diferentes expresiones de la materia que está en el origen de esta investigación. El proceso de proyecto que es necesario transmitir a los estudiantes de arquitectura es el conjunto de estrategias que permiten trabajar la imaginación -como actividad no acotada y sin límites- para que se convierta en productiva. De esta forma se reivindica una vez más el rol del dibujo de arquitectura como uno de los hilos conductores que permiten desplegar las infinitas posibilidades de una imaginación así concebida.
Siguiendo un proceso abierto, análogo al del proyecto arquitectónico, este trabajo descubre un campo fértil susceptible de evolucionar hacia nuevas y diferentes propuestas. Esa y no otra es su utilidad: sugerir otros paisajes para el área siempre experimental de la pedagogía de la arquitectura.

La relación entre el dibujo y el proyecto en las escuelas de arquitectura, suele guardar importantes similitudes con el proceso real de diseño que desarrollan los arquitectos. Para explorar esa hipótesis se concertaron una serie de conversaciones con destacados arquitectos y diseñadores que reflexionan sobre la relación entre experiencia docente y actividad profesional. Una selección de esas conversaciones integra el anexo que acompaña la tesis. En ellas se habla esencialmente del proceso de diseño, del proceso creativo. Un proceso común a todas las disciplinas de las cuales se espera que resuelvan problemas o necesidades, inventando algo nuevo, apoyadas en la singular potencia constructiva de la imaginación.

Cada capítulo va precedido por una "perspectiva", las reflexiones de un autor sobre su particular proceso creativo. Se trata de la recuperación de una serie de textos clásicos de la modernidad, algunos olvidados, pero todos completamente actuales, que ofrecen una visión particular sobre la relaciones entre diferentes artes y sus procesos de creación, en completa sintonía con las preocupaciones que dieron origen a esta investigación.
El País Fértil is an investigation focused in the specific meaning of the architectural creative process through comparison to other artistic disciplines. This research methodology is based on the premise that conceives architecture as an art. It is today essential to emphasize Architecture belonging to the realm of the fine arts, in a social context where technology has been converted in the main value against the artistic and humanities factors. The idea of the expressive medium -what differentiate arts- allows an original approach to the concept of "proportion", the abstract project principle architecture builds his art with. Teaching architectural design means transmitting the architectonic praxis, which is the essence of the creative progression shared by all arts. Teaching design, teaching project, or teaching to create are different expressions of the same subject which is on the root of this research. The project mechanism that needs to be transmitted to architecture students is the compendium of strategies that makes possible imagination works in the more productive way. Once again, architectural drawing is claimed the main driver to develop the unlimited possibilities of the power of imagination.
Following an open evolution, like in the architectural project, this study finds a fertile ground to evolve into new and unexpected proposals. Nothing would be more useful to suggest other landscapes for the always experimental area of architecture pedagogy.
The relationship between drawing and project has many affinities in architecture schools with the real design routines that architects use in their work. In order to explore this hypothesis a series of conversations with leading architects and designers were organized reflecting on both their teaching experience and professional activity. All of them talk mainly about the creative procedure, a common method to all disciplines expected to resolve problems or needs, inventing something new, supported by the unique imagination's constructive power.

Every chapter is preceded by a "perspective": the thinking of an artist on his personal creative way. This is the recovery of a series of beautiful modern classical texts, some forgotten, but even at the forefront nowadays. These documents can help to illuminate the search for answers to the concerns that gave rise to this investigation.

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Costa, Maria Liliana Miranda da. "Processo de criação e percursos metodológicos: itinerários e territórios da Companhia da Arte Andanças." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-17052013-163434/.

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O presente trabalho consiste no estudo histórico-descritivo (pesquisa teórica e de campo) sobre o trabalho da Companhia da Arte Andanças (Fortaleza-Ceará), apresentando algumas metodologias utilizadas em processos de aula e criação cênica, com o intuito de contribuir para a discussão e ressignificação de modos de fazer e conceber a práxis do ator-bailarino-performer. Proponho um olhar sobre o processo de criação do espetáculo O Tempo da Paixão ou o Desejo é um Lago Azul, livremente inspirado na obra do artista plástico cearense José Leonilson (1957-1993). Num primeiro momento descrevo o percurso e as atividades da Cia., bem como alguns de seus modos operacionais; na segunda parte exponho princípios e métodos de trabalho; no terceiro capítulo adentro no processo de montagem do supracitado espetáculo, pontuando aspectos de sua singularidade; e, por fim, teço uma breve reflexão sobre a relação entre técnica, criação e pessoalidade, cujos entrelaçamentos, suponho, tensionam uma composição dramatúrgico-afetiva.
This work consists of a historic-descriptive study, based on theoretical and field research, of the work of Companhia da Arte Andanças, in Fortaleza, Brazil, presenting some methodologies employed throughout processes in class of scenic creation in order to contribute to the discussion and the \"resignification\" of different ways of making and understanding the praxis of the actor/dancer/performer. I propose a new look at the creation process of the play \"O Tempo da Paixão ou O Desejo é um Lago Azul\", which was liberally inspired by the work of the visual artist, José Leonilson (1957-1993), from Ceará, Brazil. In the first part, I describe the trajectory and the activities of the company, along with some of its modes of operation. In the second part, I focus the discussion on the principles and methods of its work. In the third part, I immerse myself in the process of assemblage of the afore mentioned play, sampling aspects of its uniqueness. Finally, I present a brief reflection of the relation between technique, creation, and personality, whose connections are supposed to tense a dramaturgical-affective composition.

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Holst, Mathilda. "Creative Mode : En undersökning om vilka effekter Minecraft liksom andra fritidsintressen kan ha på elevers motivation." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7676.

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Tankar om den nationella ämnesutvärderingen i bild, som menar att pojkar presterar sämre och att elever har en snäv syn på vad bild kan vara, och Wery och Thomsons Motivationsstrategier användes för att formulera syften och frågeställningar. Det första syftet med undersökningen är att sätta strategier för ökad elevmotivation i en bildspecifik och bildpedagogisk kontext. Detta ledde till en teoretisk positionering i Wery och Thomsons Motivationsstrategier, som handlar om att förhålla sig till en problemformulering inom pedagogik, nämligen den om motivationsstrategier och hur sådana kan förmå elever att genomföra bilduppgifter. Det andra syftet är att undersöka om elever kan få ökad motivation i bildämnet genom implementering av elevintressen i undervisningen, med Minecraft som exempel. Intervjusvar från två pojkar i 18-årsåldern analyseras och kategoriseras med Wery och Thomsons Motivationsstrategier för att svara på frågeställningarna: - Vilka effekter kan elevers egna intressen i undervisningen ha på motivationen? - Hur kan Minecraft användas för att öka elevers motivation? Svaret på den första frågeställningen blir att intressen kan vara till stor hjälp. En uppgift behöver kännas relevant både i nutid och för framtiden för att vara motiverande. För att uppgiften ska vara relevant behöver den tydligt kunna kopplas till elevers intressen, nutid och framtid. Svaret på den andra frågeställningen blir att Minecraft kan användas för att göra en uppgift relevant, då spelet kopplas till eleversintressen, men också till digitala tekniker de kan komma att arbeta med i framtiden. Elevers yttre värld består av deras intressen och jag som lärare kan inte göra min undervisning relevant om jag inte har kännedom vad de gör på fritiden.

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Oliveira, Marcos da Rocha. "Método de dramatização da aula : o que é a pedagogia, a didática, o currículo?" reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/94750.

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Texto de um pensamento da diferença em Educação, esta Tese escreve a tese de que a pedagogia pode ser afirmada como uma atividade de criação. Define o que é ter uma ideia pedagógica; afirma a didática enquanto criação em um plano pedagógico; e o currículo como atualização de uma ideia em pedagogia. Escrita com o método de dramatização de Gilles Deleuze, ela enfatiza o drama e não o logos. E dramatiza: o Currículo de Licenciatura em Pedagogia da UFRGS; uma linhagem de pedagogos que inclui, entre outros, Osman Lins, Roland Barthes, Haroldo de Campos; e a aula como espaço-tempo de criação. Texto de um pedagogo, didata e curriculista, a Tese escreve: planos e dramas de aulas; didáticas escriturais, de transcriação e neobarrocas; retratos pedagógicos; modos de deslocamento por planos pedagógicos; e dramas curriculares. Esta Tese funciona como dramatização de uma ideia em pedagogia, que consiste em afirmar tal atividade como criadora de didáticas, que se atualizam em currículos. E enquanto texto pedagógico deseja que a sua leitura funcione como um objeto de aprendizagem.
As a text about a thought of difference in Education, this dissertation writes the thesis that pedagogy can be asserted as a creation activity. It defines what it is to have a pedagogical idea; it braces didatics as creation in an educational plan, and the curriculum as an update of an idea in pedagogy. It has been written under Gilles Deleuze’s method of dramatization, it emphasizes the drama and not the logos. And it also dramatizes: the Curriculum of UFRGS’s Pedagogy undergraduate course, a lineage of pedagogues that includes, among others, Osman Lins, Roland Barthes, Haroldo de Campos; and the classroom as a space-time setting of creation. As a text of a pedagogue, a teacher and a curriculist individual, the dissertation writes: plans and dramas of classes; trans-creation and neo-baroque scriptural didactics; pedagogical representations; dislocation modes by educational plans; and curricular dramas. This dissertation works as a dramatization of an idea in pedagogy, which consists in affirming such activity as didactic creator, which is updated in curricula. And as a pedagogic text which wishes its reading to work as a learning object.

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Backes, Laura Beatriz. "Voz & emoção : provocações a partir de Wolfsohn, Roy Hart e Pantheatre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26996.

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Esta dissertação se propõe a discutir princípios e identificar alguns procedimentos técnicos que provoquem a descoberta, particularmente por atores e bailarinos, de novos territórios de vocalidade, que contribuam para enriquecer a construção da poética cênica. Considerando a emoção como elemento fundamental na descoberta de possibilidades para a voz, o estudo parte das pesquisas pioneiras de Alfred Wolfsohn (1896-1962) e de seu aluno Roy Hart (1926-1975) para se concentrar nas práticas pedagógicas do Pantheatre, companhia fundada na França por Enrique Pardo junto a outros integrantes originais do Roy Hart Theatre (1962-1986). Além da pesquisa bibliográfica, a reflexão fundamentou-se na observação participante de dois workshops intensivos, ministrados por integrantes do Pantheatre, em entrevistas realizadas com o próprio Enrique Pardo e, ainda, na transposição de algumas das práticas pedagógicas então vivenciadas naqueles workshops ao treinamento do Grupo Experimental de Dança e do Grupo Experimental de Teatro da Secretaria Municipal da Cultura de Porto Alegre (SMC-PMPA). A base teórica centra-se nos referenciais do próprio Pantheatre, mas vale-se também de um olhar transdisciplinar ao encontrar auxílio em reflexões advindas da filosofia, da psicologia e das neurociências.
This paper aims at discussing principles and identifying some technical procedures to give support, particulary for actors and dancers to find alternatives vocal territorier in order to enrich the scenic poetic construction. Considering the emotion as a fundamental element in the exploring new possibilities of the voice, this study start on the pioneering researches by Alfred Wolfsohn (1896-1962) an his pupil Roy Hart (1926-1975) to end focusing on the pedagogical practices by Pantheatre, a company founded in France by Enrique Pardo and some other original members from the Roy Hart Theatre (1962-1986). Our research is based on the bibliographical research and also on our participative observation at two intensive workshops conducted by Pantheatre members, as well as on interviews carried out with Enrique Pardo himself, but mainly on the transposition of some pedagogical practices from those workshops to the training of experimental dancing and drama groups at the Cultural Dept./Secretariat of Porto Alegre City (“Secretaria Municipal da Cultura/SMC-POA”). The theoretical basis is centered in the own Pantheatre´s references, but it has also been provided with a transversal look as it takes some recent debates in Philosophy, Psychology and Neurosciences into consideration, required by the complexity of our object.

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Mellor, Judith Elizabeth. "An Action Research investigation into the innovation of a creative pedagogic approach within a secondary school Building Schools for the Future project." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37506.

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This study focuses on the opportunities presented by a Building Schools for the Future school rebuild and the associated move towards a personalised learning agenda, to facilitate innovation of learning environments which would allow a vision for enquiry learning to be realised. The study identifies that, historically, education has failed to utilise the opportunities available when developing new learning environments and so a proposal for the key features of effective educational innovation is presented. Against a reconnaissance of pre-existing learning spaces and pedagogies, an action research approach facilitates a series of varied interventions in pursuit of this educational vision. This process of pedagogic innovation is therefore analysed against the core features of innovation, concluded from literature to be a number of change agents with personal mastery working in collaboration, to complete a strategic and reflective journey towards a shared and self-sustaining pedagogic vision. These key features of innovation are also considered against literature identifying the factors critical to creating a Community of Practice which engender such innovation. Finally, the theoretical framework of Professional Capital is considered as a necessary underpinning for creating the empowered individuals necessary for effective innovation. This study concludes that it is only when holistic attention is paid to all these aspects that innovation in education can be fully realised; a less holistic approach results instead only in change, with removal of one or more of these factors giving only a more transient, less embedded outcome. As a result of these considered innovations, it is also demonstrated that, whilst not a completely limiting factor, the provision of appropriate spaces for learning is a significant factor in being able to realise the original vision for the personalisation of learning and in the effective realisation of the Building Schools for the Future vision.

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Karlsson, Johanna, and Arukovic Barbara Rozajac. "Tillgänglighet av skapandematerial i förskolan : En kvalitativ studie om pedagogisk miljö och estetiska lärprocesser." Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48580.

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Syftet med den här studien är att få förståelse för och bidra med kunskap kring tillgängligheten av skapandematerial i förskolans pedagogiska inomhusmiljö. Samt hur barns utveckling och lärande kan påverkas utifrån förskolans pedagogiska idé kring miljöns utformning. Frågeställningarna som vi har utgått ifrån handlar bland annat om vad som tillhör en pedagogisk miljö och vad förskollärarens roll är i skapandet av den pedagogiska miljön? Vilken syn förskollärarna i verksamheten har på tillgängligheten av skapandematerial för barn och vilka pedagogiska idéer det finns gällande tillgången? Samt hur barns utveckling och lärande kan påverkas av tillgängligheten av skapandematerial i förskolan? Det här är en kvalitativ studie. Den utgår från ett sociokulturellt perspektiv samt har en fenomenografisk analysmetod. Den använda metoden för att samla in källdatan är intervjuer. Dessa har genomförts med fyra förskollärare från fyra olika förskolor i södra Sverige. Intervjuerna spelades in med ljudinspelning och transkriberades därefter till text. Det i sin tur användes till att presentera resultat och analysen i studien. Studiens resultat visar på att de fyra förskolorna ser väldigt olika ut när det kommer till den pedagogiska miljön och tillgängligheten av skapandematerial. Både skillnader och likheter har dock framkommit i resultatet. Alla förskollärare berättar om sina möjligheter att påverka den pedagogiska miljön och alla förskollärare anser att de hela tiden har någon form av skapandematerial tillgängligt för barnen. Vad tillgängligt skapandematerial innebär råder det dock olika meningar kring.

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Hallgren, Caroline, and Johanna Stigson. "Pedagogers syn med mötet med barn inom bild- och formskapande : en jämförelse mellan Montessori och Reggio Emilia." Thesis, University of Gävle, Department of Education and Psychology, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-6067.

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Syftet med denna uppsats har varit att undersöka hur pedagoger på två förskolor med olika pedagogisk inriktning ser på mötet med barn inom bild- och formskapande. Frågeställningarna behandlar hur pedagoger arbetar och vill arbeta med skapande, om och hur synen på barn och barns utveckling skiljer sig samt hur pedagoger uppfattar att barn upplever skapande.

Intervjuer med sju pedagoger är gjorda på en Montessoriförskola och en Reggio Emilia-inspirerad förskola. Intervjuerna är inspelade på band och samtidigt gjordes även anteckningar. Intervjuerna är sedan transkriberade, tolkade och analyserade. I samband med intervjuerna är även fotografier tagna på förskolornas bild- och formskapande utrymmen.

Resultatet visade att synen på barn inte skiljer sig nämnvärt mellan Montessoriförskolan och den Reggio Emilia-inspirerade förskolan. Samtliga pedagoger på båda förskolorna ser barn som kompetenta och upplever att barn utvecklas genom, och är positiva, till bild- och formskapande. Den Reggio Emilia-inspirerade förskolan arbetar dock i högre omfattning med planerad bild- och formskapande verksamhet i jämförelse med Montessoriförskolan. På Montessoriförskolan önskar pedagogerna att de hade mer tid och resurser till bild- och formskapande verksamhet, i nuläget arbetar de enbart spontant med skapande.

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Karlsson, Evelina, and Sofia Larsson. ""Drama har tappat lite status. Men jag tycker drama är viktigt." : Pedagogers perspektiv på förutsättningar för arbete med drama." Thesis, Linnéuniversitetet, Institutionen för utbildningsvetenskap (UV), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-48521.

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Förskolan har en läroplan att utgå ifrån vad gäller innehåll och målsättning i det pedagogiska arbetet. Läroplanen har omarbetats och reviderats och detta har lett till konsekvenser i förskolan som verksamhet. Ett ämne som påverkats är drama som är ett av de estetiska uttrycksformerna där även t.ex. musik, bild och rörelse ingår. Den här studiens syfte är att undersöka vilka möjligheter pedagogerna i förskolan har att arbeta med drama utifrån läroplanen och andra kringliggande ramfaktorer. Genom att analysera både avverkade och aktuella styrdokument för förskolan, samt intervjua yrkesaktiva pedagoger på olika verksamheter framkom det tydligt att handling påverkar konsekvens. Resultatet visar att pedagoger upplever sig styrda av läroplanen, trots läroplanens utveckling från vad som skulle kunna kallas en handbok till ett dokument öppet för egna tolkningar. Drama som ämne kan anses ha låg status där det bortprioriteras, inte av ointresse men på grund av att andra ämnen prioriteras högre. Ramar som tid, kompetens och den politiska styrningen påverkar också det konkreta pedagogiska arbetet. Vilka ramar som pedagogerna själva upplever påverkar dem är ramarna i verskamhetens direkta närhet. Faktorer utifrån var för pedagogerna inte lika synliga.
Swedish preschools have their own curriculum to base their educational content and ambitions on. The curriculum has been revisited and revised resulting in implications for the preschool as an institution. Drama is a subject that has remained an integral part from the beginning regulatory documents began to apply, and is one of the forms of expression where music, picture and movement are other examples of it. The purpose of this study is to look into the likelihoods for educators to work with drama based on the intentions of the curriculum and other affecting factors. By examining both old and current regulatory documents, as well as analysing empirical data, acquired through interviews with professionally active preschool educators. It became clear that actions leads to consequences. The result shows that preschool educators feels controlled by the revised curriculum despite the fact that the document has become more open for interpretation than it was before the revision. As a subject drama may be considered to have low status and is cast aside in favor of other subjects. This is not always by choice but it stems from the prioritizing of other subjects and other factors such as time constraints, competence and the political management which affects the educational work. The framework the educators experience affect them the most are the factors closest to the institution itself. Framework and factors that stem from outside the institution were not as obvious to the educators themselves.

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Westerberg, Ida Maria Isaksdotter. "Värdet av skapande i förskolan : En studie om pedagogers förhållande till skapande verksamhet i Stockholm och i Tornedalen." Thesis, Stockholms universitet, Institutionen för barn- och ungdomsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-55451.

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The purpose of this study was to investigate how preschool pedagogues in Stockholm and in Tornedalen speak about and relate to creative activities. By qualitative interviews in two geographically distant areas, one minority culture and one majority culture, I have collected information from six pedagogues, three in each area. Values in, and the significance of culture in creative activities have been the main focus. From this study I conclude that all pedagogues agreed upon the creative activity having an extensive role in the preschool work. The role of the individual pedagogue within the creative activity is multiple and dependent on where, when and how the activity is carried out. The focus in creative activities varied; while the pedagogues in Stockholm mostly spoke about creativity as a phenomenon of art, the pedagogues in Tornedalen spoke about creativity in a wider sense and often connected to practical problems. Another important factor relevant to creative activities was the environment like the preschool, the home, the nature and the society. The way the pedagogues used these environments differed remarkably; in Tornedalen they spoke more about the family and different professions in the society while the pedagogues in Stockholm spoke about the nature and exhibitions. My opinion, after this study, is that it is difficult to discriminate the creative activities from other preschool work, since creativity is permeated with playing and vice versa. Creativity is also a natural part of children exploring and if you like creative activities can permeate everything a pedagogue attends to.

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Ansari, Komal. "The pedagogical praxis of creativity : an investigation into the incipience of creative writing in USJP." Thesis, University of Bedfordshire, 2015. http://hdl.handle.net/10547/595705.

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Creative Writing as a teachable artistic practice, and reinforcing its identity with an appropriate pedagogical approach, has been a vibrant research area for some years now. Yet, despite a strong increase in writing courses all over the globe, there has been little research into how creative practitioners can actually contribute to facilitate the process of skill development in higher education learners, especially in the public sector universities across Sindh, Pakistan. In an effort to introduce Creative Writing as an academic discipline to government universities in Sindh, the present research sought to observe the impact of a training programme on English fiction on a sample of native learners. A total of thirteen students volunteered for this project. The research sample was selected from a population of second year undergraduates, enrolled in literature courses at the Institute of English Language and Literature (IELL) in the University of Sindh, Jamshoro, Pakistan (USJP); wherein Creative Writing had hitherto been a non-existent area of studies. Students were offered a twenty-nine session modular-workshop, aimed at exploring and expediting their artistic abilities in the short time span of a single semester. To ensure the trustworthiness of findings, the entire procedure was documented under the guidance of the researcher’s supervisory team. A post-workshop evaluation survey was also used for attaining student feedback. The setup of assessment items and analysis constructs of students’ narrative portfolios were adapted from validated sources and aligned with the context of this study. However, neither the feedback nor the assessment of students’ work was counted as the findings of this research. Unlike non-artistic inquiries, the post-training creative output gathered from project participants was interpreted as the final research outcome. Methodologically, this process was conducted following a matrix of three practice-oriented research paradigms; whereas “performative research” was selected as the principle data creation and presentation strategy. The resulting research insight has exhibited an in-depth understanding of approaches that could facilitate fiction composition abilities of learners from different language backgrounds, while writing in English. It also allows practitioners to consider non-typical methods of research to contribute holistically to the existing body of knowledge in the field.

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Bouckaert-den, Draak Marina. "Teachers' development of critically reflective practice through the creation of classroom materials." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/teachers’-development-of-critically-reflective-practice-through-the-creation-of-classroom-materials(5a936812-cc24-475e-a408-289099f249b4).html.

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The research presented in this dissertation explores the interaction between English as a Foreign Language (EFL) teachers and the classroom materials they develop. It aims to illuminate the potential value of this creative process for teachers’ development of critically reflective practice (CRP). For many EFL teachers, materials are an essential part of their pedagogy. Despite the widespread availability of publications for this compulsory subject in Dutch secondary education, many teachers choose to supplement the coursebook with their own materials. A premise of this research is that the materials teachers develop embody their personal theories of action regarding EFL teaching and learning. These theories, consisting of espoused principles and principles-in-use, are conceptualised as the teachers’ pedagogic principles. Critical reflection may help teachers uncover their espoused and tacit principles with the aim to align them, and improve their teaching practice. The central question is: In what ways does classroom materials development offer teachers of English a tool for CRP? The research questions are addressed through a qualitative, exploratory, embedded multiple-case study approach. Four Dutch EFL teachers are considered as individual cases. The components of each case are analysed to present an encompassing view of the materials development process: reflective logs (creation), the materials themselves (product), and lesson observations (use) are supplemented with pre- and post-lesson interviews to complete data collection. Data are analysed through deductive and inductive within-case analysis and cross-case synthesis. Findings suggest that teachers’ pedagogic principles are multifarious, informed by practical and pragmatic considerations, and revealed at several points and in a variety of ways during the materials development process. Yet it is only when teachers engage in dialogue about them that increased awareness of these principles ensues. CRP may thus be stimulated by a critical friend, and the materials development process can provide an impetus for discussion and dialogue.

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Nordenberg, Cathrine. "Pedagogers syn på skapande material i förskolan : En studie om förskollärares upplevelser och erfarenheter om skapande verksamet." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-62919.

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Detta examensarbete handlar om att få ökad förståelse om hur pedagoger ser på skapande material i verksamheten och närmare bestämt om pedagogerna har något didaktisk tanke när de låter barnen arbeta med play doh deg.Genom kvalitativa intervjuer med pedagoger på olika förskolor har jag undersökt hur de arbetar med skapande material på förskolan och hur de tänker kring barnens lärande i skapande. För att få bredare förståelse valde jag pedagoger som arbetar både med de minsta barnen och de något äldre barnen.Resultatet visar att pedagogerna är mycket positiva till skapande material och ser det som brett område som kan vara användbart till mycket. De upplever play doh som ett billigt och bra material som man lätt kan fixa själv på förskolan. De upplever att barnen tycker att det är roligt att dega, det infinner sig ett lugn hos dem och de ser även att kräver koncentration och sätter igång fantasin hos barnen. Alla barn kan vara med och utforska degen på sitt sätt oavsett ålder, vilket bidrar till att det är ett demokratiskt material. Det bidrar till ett stort lärande hos barnen både genom språket, matematiken och tekniken, samt utvecklar samarbetsförmågan.
This study examines how working educators understand and use creative material and if they have any didactic thoughts when they let children use a material such as Play Doh.By using qualitative interviews with teachers from different pre-schools I have examined how they use creative material in pre-school and their conceptions of children´s learning during creative activities. In order to get a wider perspective and understanding I have chosen to conduct interviews with pre-school teachers working with both toddlers and older children.The result shows that the working educators have a very positive experience of creative material and see creative work as a useful tool for learning in many ways. They also view the material as a cheap and easy way to get children to express themselves. From the working educators' point of view, the children find it very amusing and become calm, concentrated and use their imagination to the edge. Despite age, every child is able to explore and use the material, which makes it a democratic material. This contributes to a large amount of learning both regarding language, math and technique and also develops an ability to work together with other children.

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CALABRIA, CATERINA. "INSEGNAMENTO SOCIALE DELLA CHIESA E RIFLESSIONE PEDAGOGICA. LE NOZIONI DI SVILUPPO UMANO INTEGRALE E CUSTODIA DEL CREATO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1671.

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La ricerca concerne l’attualità del dibattito sulle tematiche educativo-ambientali in connessione con la rilevanza delle sollecitazioni euristiche provenienti dall'insegnamento sociale in riferimento alla pastorale e alla teologia della creazione. L'obiettivo generale è mostrare la pertinenza del concetto di sviluppo umano integrale con la riflessione pedagogica, sondare le condizioni di dialogo tra pedagogia dell’ambiente e dottrina sociale della Chiesa, individua prospettive teoretiche e approfondisce alcuni emblematici studi di caso. La disamina interpella i valori della progettazione educativa sostenibile in relazione a categorie quali solidarietà, sussidiarietà, sobrietà e fraternità.
The research pertains to current debate on the educational-environmental themes in connection with the relevance of the heuristic solicitude, coming from social teaching in reference to pastoral and theology of creation. The general purpose is to show the pertinence to integral human development with pedagogical thinking, to explore the conditions for dialogue between environmental pedagogy and the social doctrine of the church, identifies theoretical perspectives and analysis some case study. The examination interpellates the values of educational planning sustainable in relation to categories such as solidarity, subsidiarity, sobriety and fraternity.

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Lima, Felipe Alves. "A arte da fala: um percurso da palavra para a pedagogia do teatro?" Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-07112017-150734/.

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Esta dissertação analisa aspectos do processo de criação teatral a partir da Arte da Fala - idealizada por Rudolf Steiner (1861-1925) e sua esposa Marie Steiner -, conforme o programa curricular da Escola Waldorf Micael de São Paulo, de modo a demarcar o campo de questões que configuram, para o professor e o aluno, as relações possíveis entre pedagogia, trabalho prático da voz/fala e processos de criação. Mostra um caminho prático para uma fala artística, por meio da qual se manifestam as forças formadoras da palavra encontrando, na própria linguagem, a essência deste trabalho. A partir dessa prerrogativa, levanta questões no campo pedagógico teatral que abarcam a diversidade e o número de alunos de um grupo escolar e que visam o desenvolvimento da fala, uma vez que na pedagogia Waldorf o trabalho artístico é o condutor de todo o percurso escolar. Segundo Steiner, este percurso pedagógico traz uma sensibilização para o aluno e se reflete nas relações do dizer em cada setênio de sua vida escolar, abrindo um campo de pesquisa da fala que abrange também as outras áreas artísticas desenvolvidas na escola.
This dissertation analyses aspects of the process of theatrical creation from the standpoint of Art of Speech - designed by Rudolf Steiner (1861-1925) and his wife Marie Steiner - according to the curriculum of the Waldorf Micael School of São Paulo, in order to demarcate the field of questions that configure, for the teacher and the student, the possible relationships between pedagogy, practical work of voice/speech and creation process. It shows a practical way to an artistic speech, through which the forming forces of the word are revealed, finding in the language itself the essence of this work. Based on this prerogative, it raises questions in the field of Pedagogical theatre that encompass the diversity and the number of students of a school group and that aim at the development of speech, since in Waldorf pedagogy the artistic work is the driver of the entire school journey. According to Steiner, this pedagogical trajectory brings sensitization to the student and it is reflected on the relationships of saying in each septennium of his/her school life, opening a field of speech research that also covers others artistic areas developed in the school.

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Gavhed, Kristina. "Using the New to get hold of the Old : self-representation, visual representation, and identity creation through new media." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3303.

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My BA-thesis deals with the matter of identity, and how the use of convergent and new media construct a prerequisite for identity construction. In what ways are socio-cultural exchangesvisible within these media? How do convergent and contemporary media help with representation of self and self-expression? I wanted to investigate how online social networks such as Facebook and blogs affect identity and if it changes the conditions under which identity is created. Through denotations and connotations others absorb this information and appropriate it before they in turn share it. I have performed interviews with four main sources who‟ve all revealed how they interact online. In an anonymous online survey five informants offered responses on their social networking habits as well, confirming that most people do not randomly search for information but are instead given information through already established contacts.The artistic presentation of my work began as a series of portraits of myself in various outfits.I then altered this to a brief film, where I copied my face onto bodies of models, similar to paper dolls – a way to represent the idea that by altering clothes my identity changes in the eyes of others, while on the inside I remain the same as I ever was. I then made two short films, about 5-6 minutes in length where I give two lessons: one on how to do a Victory Roll hairstyle, and one on how to put on a 1940‟s inspired make-up, similar to the tutorials one can find on Youtube.com. I then turned all three movies into a DVD, which I showed at the Konstfack Spring Exhibition. I created a small dressing room with the intent of having visitors try on clothes they might not otherwise wear. During the process of writing this essay I have come to the conclusion that we are constantly affected by input from sources around us. We are all part of a network, online and away from the keyboard, of a never ending flow of information. However, with the ever expanding availability of social media our sources increase and even a person who never leaves his or her city has many more options of broadening their horizons, of finding information possibly not available to them before. In regards to how this affects students and teachers it offers more freedom but also responsibility. Teachers must stay on top of new developments, as well as be up to date on new findings. Students now have the freedom to search for information outside the classroom, as well as outside their social cultural setting. Also, as contemporary and convergent media is largely image based even those who are illiterate can with the help of friends, or on their own, find many image sources and via this visual medium be part of the chain of information and expand their knowledge.

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Mokou, Goitsione. "By which tools?: A critical comparative analysis of pedagogic discourse for the creative arts in formal and informal classrooms in a working class post-apartheid context." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25460.

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This research study was motivated by a research project which observed differences in achievement levels within the creative arts classroom between working class schools and middle class schools. These achievement gaps were largely attributed to inadequate pedagogue skills and content knowledge and the lack of adequate materials in working class schools. The research project sought a way to address this problem by initiating a 2-year pilot extracurricular project at one working class school by introducing a methodology, freespace, which sought to simultaneously bring in facilitators and practitioners who work in the creative arts and also to provide the resources needed. Freespace is described as an informal educational tool which draws its principles from popular education discourse. The purpose of this research study was to conduct a comparative analysis of the transmission of pedagogic discourse between the informal classroom (freespace) and the formal classroom; with a particular emphasis on the regulative discourse inherent to both practices. Furthermore, this research study sought to understand the sort of contribution that informal pedagogic practice might make to the formal creative arts classroom. In order to conduct this study I employed Bernstein's model of the pedagogic device to set out my research design. I also used his methodology of developing an external language of description for coding my data. I conducted interviews with pedagogues and classroom observation to collect my data. The interview data were coded using Maton's development of Bernstein's code theory, namely Legitimation Code Theory (Specialisation) using epistemic and social relations, to allow me to capture the values and intentions of the pedagogues (the intended curriculum). To capture the enacted curriculum, I used Bernstein's framing dimensions to code the data from the classroom observations. The findings of this research study suggest that the pedagogic discourse(s) of both the formal and informal context and their inherent regulative discourses privilege an ideal learner-knower. In conclusion, this research study seeks to suggest that while the cultivated gaze has proven beneficial with respect to inculcating learners into a given dominant discourse, particularly within the creative arts; that an argument can also be made for adopting a social gaze in this particular context (working class school) in order to a) allow learners to be adequately socialised into art practise and b) allow for a plurality of the epistemic in order that both the dominant gaze and notions of achievement and effective pedagogy might be disrupted.

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Kamla, Renata Ferreira. "Um olhar por meio de - máscaras, uma possibilidade pedagógica." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-22092015-112003/.

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Esta pesquisa investigou a possibilidade da utilização de máscaras como um caminho pedagógico, facilitador e fomentador para o processo criativo do ator, propiciando a percepção do seu próprio processo de criação e os caminhos metodológicos adquiridos. Os estudos se apoiaram nas pesquisas pedagógicas de Constantin Stanislavski, Jacques Copeau, Jacques Lecoq e Armando Sérgio da Silva, estabelecendo identificações e fusões, ressignificando e ampliando - tudo o que pudesse vir a ser máscaras. Utilizando-se do jogo entre as \"máscaras\", a presente pesquisa teve como intuito promover improvisações e descobertas, que pudessem contribuir com a maneira de compreender e utilizar a ideia de \"máscaras\" na pedagogia teatral contemporânea. Além de amplificar e ressignificar o conceito de \"máscara\", também apresenta a ideia de se institucionalizar esses procedimentos como ferramenta pedagógica para qualquer prática teatral - seja ela o treinamento do ator, a construção de personagens ou a criação de um espetáculo teatral -, tanto para o autoconhecimento e evolução artística, como para a expansão da visão de mundo.
This research has investigated the possibility of the use of masks as a pedagogical, facilitator and stimulating way, for the actor\'s creative process, providing the perception of his own process of creation and the methodological approaches acquired. The studies were supported in pedagogical researches developed by Constantin Stanislavski, Jacques Copeau, Jacques Lecoq and Armando Sérgio da Silva, establishing identifications and mergers, resignifying and expanding - everything that could turn out to be a mask. Using the play provided by the \"masks\", the present study was aimed to promote improvisation and discoveries that could contribute with the way of understanding and using the idea of \"masks\" in contemporary theater pedagogy. In addition to amplify and resignify the concept of \"mask\", this research also presents the idea of institutionalizing these procedures as a pedagogical tool for any theatrical practice - be it for the actor´s training, characters\' building or creation of theatrical performance -, to self and artistic evolution and for the expansion of world view.

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Schmidt, Vita. "Genusskapande under fri lek i grundskolan." Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-363116.

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The study seeks an in-depth understanding of how gender is being constructed in elementary school. More specifically, the essay aims at investigating the creation of gender during free play at the breaks in primary school. On the basis of this purpose, the essay sets the following questions: How is gender created during free play? How are boundaries between male and female / boy and girl established? What scopes are there for violations and breach of the gender contract? The questions are answered based on socio-cultural perspectives and gender theory. A central aspect emphasized by Hirdman is the gender contract. This theory assumes that social contexts are gender coded and governed by invisible “gender contracts” that govern how men and women should think and behave. The study is based on observations throughout the schoolyard made for a total of five days. The focus is on children in one class, from grade 1 to 3. The results confirm that children's play is gender coded and governed by norms for how men and women should behave. Boundaries between male and female / boy and girl are established both through the choice of games, and through how the children act in the different games. An interesting detail here is the way in which teachers at school changed the conditions for children's play by scheduling football games so girls and boys can play separately on certain days of the week. As regards the issue of infringements, the survey has shown that there is both an overrun of the gender contract through "interspersed gender interactions" and an enhancement of the gender contract by children themselves marking when others exceed limits and norms.

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Svensson, Carl. "Kreativa processer inom organisationer : ur ett sociokulturellt perspektiv." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-42516.

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In the current fast paced and competitive environment organizations are existing in, it is crucial so be innovative and creative. This empirical research addresses how organizations can stimulate creativity and innovation by understanding underlying factors and mechanisms. The research sample consisted of seven open interviews from seven different firms which could be described as creative. In analysis of the empirical material a model called meaning concentration have been used. Results have been analysed with support of sociocultural theory. The findings suggest that time, a structured process, gaining new perspectives and experiences by constant input and an open communication are keys to support innovation. The study also indicates that creative organizations uses informal learning systematically as a strategy in projects and developing the co-workers craftsmanship. Informal learning is used to gain knowledge about customers, social arenas and the surrounding world. New perspectives are considered to be crucial in creating innovation. The underlying factors of creative processes found in the empirical material are being discussed and how it connects to a social context and group dynamics.
I en föränderlig och konkurrensutsatt värld är det essentiellt att organisationer utvecklas. Den här studien syftade till att utforska hur organisationer kan stimulera kreativa processer och innovation, genom att förstå dess underliggande faktorer. Det insamlade materialet bestod av sju öppna intervjuer från sju olika kreativa organisationer. Empirin analyserades med hjälp av meningskoncentrering och ur ett sociokulturellt perspektiv. Resultatet visade att kreativa organisationer använder sig av informellt lärande som en medveten strategi i syfte att tillägna sig nya kunskaper. De nya kunskaperna om kunder, sociala arenor och omvärlden anses av organisationerna avgörande för att lyckas skapa kreativa produkter. Organisationerna skapade avsiktligt situationer och möten där delandet av nya perspektiv och associationer ledde till ny kunskap genom diskussioner och intryck. Organisationer är enligt resultatet beroende av att inhämta nya perspektiv och kunskaper för att lyckas med innovationsprocesser. De underliggande faktorerna i de kreativa processerna diskuteras med koppling till den sociala kontext organisationerna verkar inom.

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Beltrão, Milena Ferreira Mariz. "Genética teatral na escola : o livro de encenação como elemento formativo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/128915.

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Esta dissertação trata sobre o potencial formativo dos registros durante o processo criativo da encenação em sala de aula. O trabalho parte dos estudos da crítica genética literária, por meio do pensamento de Cecília Almeida Salles, e da Genética Teatral, a partir do pensamento de Josette Féral e Almuth Grésillon sobre a problemática lançada de como fazer os registros em teatro. Esta pesquisa problematiza a efemeridade da encenação diante do processo de registro. A partir disso, é utilizado o processo de montagem do espetáculo A História Secreta da Lua, de autoria da pesquisadora, releitura do mito judaico-cristão da criação humana, com uma turma de treze alunos do ensino médio do Colégio de Aplicação da UFRGS. A pesquisa buscou alternativas para conceber o livro de encenação e refletir sobre a prática do teatro performativo como pedagogia teatral. Buscou-se estabelecer relações entre o processo de criação e o processo de aprendizagem em teatro. A pesquisa baseia-se nos Estudos da Performance para apontar indicadores de pesquisa dentro do campo da Genética Teatral que possibilitem a fabricação dos registros presentes no livro de encenação e as consequências dessa busca no caminho de aprendizagem dos alunos-atores em situação colaborativa de criação. Por intermédio de registros em grupo fechado, colhidos da rede social Facebook, bem como fotografias e registros retirados de gravações em vídeo e diário de trabalho, busca analisar os principais caminhos percorridos para os registros produzidos. Durante esse percurso, os registros colhidos foram selecionados e reunidos na materialidade do livro de encenação, que é resultado do processo, revela quando a qualidade performativa dos registros e contribuindo para o processo de aprendizagem dos alunos-atores por intermédio da indissociabilidade entre os processos criativo e pedagógico. Essa indissociabilidade demonstrou que há uma ampliação do aprendizado para outras referências artísticas além do território do teatro. Os registros quanto ao seu elemento formativo demonstraram ser hábeis em revelar qualidades como: o nível de envolvimento dos alunos no processo criativo e o fortalecimento da identidade de grupo, além de atuar como concretude de uma prática docente que pode ser consultada como referencial mnemônico do processo e mais especificamente dos elementos da encenação. Os registros mostram pela materialidade do livro igualmente, possibilidades de desdobramento na esfera artística e pedagógica o que reforça a constatação da performatividade dos mesmos.
This dissertation deals with the formative potential of the records during the creative staging process in the classroom. The work is based from the genetic literary criticism studies from the thoughts of Cecilia Almeida Salles and of the Theatrical Genetics from the thoughts of Josette Féral and Almuth Grésillon about the issue launched on how to make the records in theater. This research discusses the ephemerality of the staging facing the registration process. From this on, it is used the assembly process of the show The Secret History of the Moon, written by the researcher, reinterpretation of the Jewish-Christian myth of the human creation, with a group of thirteen high school students of the UFRGS Application High School. The research sought for alternatives to conceive the staging book and reflect about the practice of the performative theater as theatrical pedagogy. It attempted to establish relationships between the process of creation and the learning process in theater. The research is based on the Performance Studies to point indicators of the research within the Theatrical Genetics field which enable the production of the records presented in the staging book and the consequences of this quest in the path of the learning of the students- actors in the collaborative situation of the creation . Through the records in closed group picked from the Facebook social network, as well as photographs and records taken from video recordings and daily work, seeks to analyze the main paths taken for the records produced. Along the way the selected records were chosen and gathered in the materiality of the staging book, which is the result of the process, revealing the performative quality of the records and contributing to the learning process of the students-actors through the inseparability between the creative and pedagogical processes. This inseparability demonstrated that there is an extension of the learning for the other artistic references beyond the territory of the theatre. The records regarding to their formative element proved to be skillful in revealing qualities such as: the level of the involvement of the students in the creative process and the strengthening of the group identity, besides acting as a concreteness of a teaching practice that can be consulted as a mnemonic reference of the process and more specifically of the staging elements. The records show by the materiality of the book also the possibilities of the deployment in the artistic and pedagogical spheres which reinforces the finding of the performativity of thereof.

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Leminen, Vilma. "Mer än papper : Ett research-creation projekt om papper i bildundervisningen." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6923.

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I denna uppsats utforskas hur vi kan förstå och arbeta med materialet papper i gymnasieskolans bildämne på ett sätt som lyfter fram papprets materiella egenskaper, tillverkning, återvinning och hållbarhet. Med hjälp av research-creation som forskningsmetod organiseras sammanlagt nio forskningshändelser som vill öppna upp för olika praktiker och sätt att förstå papper i bildämnet. Forskningshändelserna analyseras med hjälp av en nymaterialistisk tolkningsram och med begreppen response-ability och materiell litteracitet. I studien synliggörs hur användningen av papper i bildundervisningen innefattas av en variation av olika slags papper, konstnärliga uttryckssätt och tekniker. I studien framkommer att förståelsen för papprets tillverkning, återvinning och hållbarhet försvåras då bildämnets genomgripande kursplan inte nämner eller tar upp dessa begrepp. Bildlärare och elevers intresse för papper kan dock skapa rum och förutsättningar för att moment som berör papprets tillverkning, återvinning och hållbarhet tas upp i bildundervisningen. Med hjälp av en nymaterialistisk ingång till en praktik med papper framträder hur olika substanser, kroppar och material samverkar i papprets materiella egenskaper och tillverkningsprocess. I denna praktik och förståelse synliggörs hur papper som material är process-baserad och relationell. I denna förståelse öppnas möjligheterna till att förstå och se kontakter och bindningar som finns mellan papper, material, växter och miljöer. Med hjälp av begreppet response-ability aktualiseras också etiska och moraliska frågor kopplade till praktiker med material och papper.

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Gustafsson-Brown, Annika, and Lindahl Catarina Jonsson. "Livsviktigt : -en undersökning om pedagogiskt drama." Thesis, Jönköping University, School of Education and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-981.

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Syftet med studien är att utvärdera och undersöka pedagogers inställningen till det pedagogiska dramat utifrån materialet Livsviktigt. Från syftet har vi formulerat följande frågeställningar:- I vilka situationer används pedagogiskt drama?- Hur anser pedagogerna att eleven utvecklas i samband med det pedagogiska dramat?- Vilken inställning har pedagogerna till pedagogiskt drama?För att besvara frågeställningarna har vi använt oss av en undersökande enkät med både öppna och fasta svarsalternativ. Enkäten besvarades av 102 pedagoger från Värnamo kommuns grundskolor.Resultatet av studien visar att pedagogiskt drama i undervisningen styrker barns självkänsla. Den visar också på en positiv inställning av pedagogerna till det pedagogiska dramat.

The objective of this study is to evaluate the attitude of a teacher in regard to creative drama related to material referred to as Livsviktigt. (The importance of life).

The following questions have been formulated from the result of the study:

- What are the situations in which creative drama can be used?

- How does the teacher consider the development of a student in relation to creative drama?

- What is the attitude of a teacher in regard to creative drama?

A questionnaire that invited both specific and non-specific answers has been used as a means of considering the formulation of the listed questions. The questionnaires have been completed by a total of 102 teachers representing all of the Elementary Schools in the Värnamo area.

The result of the study provides a clear indication that the inclusion of drama in the education of children serves to strengthen their self confidence. There is also an indication that a teacher will develop a more positive attitude toward creative drama.

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Fahrer, Lucienne Guedes. "Luís Alberto de Abreu - a experiência pedagógica e os processos criativos na construção da dramaturgia." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13032013-112654/.

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Luís Alberto de Abreu é um importante dramaturgo contemporâneo brasileiro. Para além de seus textos teatrais, seu interesse e suas experiências no ensino de dramaturgia tem sido uma grande influência em toda a geração contemporânea de dramaturgos, artistas e estudantes de teatro. Este presente trabalho se pesquisa contempla três experiências pedagógicas de Luís Alberto de Abreu, considerando o conteúdo, encaminhamentos e atitudes pedagógicas. As experiências são bastante diferentes entre si, na medida em que se desenvolveram em grupos específicos: a primeira com a Cia. dos Dramaturgos, um grupo formado somente por dramaturgos, em seu projeto Escrita Aberta, de 2005-2006; a segunda com a Cia. Livre, um importante grupo de teatro de São Paulo - SP, cujo interesse foi convidar Abreu para falar sobre dramaturgia para o ator, no projeto África-Brasil, iniciado em 2010; e a terceira com um grupo de narradores, os Narradores de Passagem, em Santo André - SP, formado por iniciativa do próprio Abreu. O corpo da pesquisa se deve à documentação realizada em vídeo das três experiências, assim como entrevistas, estudos teóricos e anotações próprias e de outras pessoas relacionadas às experiências. Ao levantar as experiências pedagógicas de Luís Alberto de Abreu, o presente trabalho conclui que sua postura pedagógica, escolha de conteúdos e interesse estão diretamente ligados à inquietação do artista-pedagogo diante de um mundo saturado, no qual a linguagem teatral, em sua opinião, determina apenas um pequeno território de ação.
Luís Alberto de Abreu is an important modern brazilian playwright. Besides his theater texts, his interests as well as his experiences in teaching acting have been influencing a whole generation of modern playwrights, artists and theater students. This study contemplates three of his educational experiences, focusing on their contents, direction and educational attitude. These experiences are very distinct one from the other because they have been performed in specific groups. The first one took place with a group called Cia. dos Dramaturgos in its project called Escrita Aberta (2005-2006). This group is totally formed by playwrights. The second one was performed with Cia. Livre, an important theater group from São Paulo, whose interest was to invite Abreu to talk to actors about dramaturgy in a project started in 2010, named África-Brasil. The third one happened with a group of narrators from Santo André - São Paulo, named Narradores de Passagem. This group was formed by Abreu\'s own iniciative. This study is based on the video documentation of these three pedagogical experiences as well as interviews, theoretical studies and notes provided by me and by other people related to the experiences. Analysing his pedagogical experiences, this study concluded that Abreu\'s pedagogical approach, his content choices and interests are directly linked with the educator-actor\'s restlessness towards a saturated world where, according to him, theatrical language determines only a small action territory.

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Lundin, Lova. "Dramapedagogens roll i en medskapande process med barn : En reflekterande studie om pedagogens roll i barns delaktighet i ett skapande teaterprojekt." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-191181.

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This study is based on a theatre project which was carried through in spring 2020. The purpose of the study is to examine the role of the pedagogue in making the children co-creators in the production of the performance. The study is made in a drama pedagogical context, based on the art pedagogical perspective. The background answers to the inquiry about what a drama teacher is and does. Previous research describes various role functions that pedagogues, teachers and adults can take on in an artistic process together with children. The theoretical framework is based on Hart's theory of participation. The researcher in this study was also the pedagogue in the project being investigated and therefore conducts the study as a reflective practitioner. The analysis is performed according to the method of grounded theory. The result presents three parallel creative processes; Create for the group + Creative with the help of techniques/tools and Receptive listening + Creative through experience and Create with consideration + Indirect creating. It appears that the pedagogue works to create conditions for the children to become co-creators. She reflects on being transparent and on her own role. The children become particularly co-creative through the play that they themselves initiate in gaps that arise when the pedagogue backs away. Through play, they were able to develop their characters and stories. It was also through play that the children made a selection of the material that then became the basis for the show. In the last part of the project, the pedagogue stages the play with two professional actors without the children that in the end receives the performance as an actualization of their own work. The pedagogue and the actors create with consideration and the children become involved through an indirect creation. The study discusses pedagogy as an offer as well as new ways of working further with and highlighting the drama teacher's competence in creative processes.

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Matos, Débora de. "A formação do palhaço: técnica e pedagogia no trabalho de Ângela de Castro, Esio Magalhães e Fernando Cavarozzi." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1339.

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Made available in DSpace on 2016-12-08T16:52:07Z (GMT). No. of bitstreams: 1 debora.pdf: 906847 bytes, checksum: 5ae7f5c8f982fd575f75b745592ed524 (MD5) Previous issue date: 2009-12-11
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The research aims to investigate the clown formation process, recognizing the technical principles and pedagogic procedure used in the clown/apprentice formation. The study of how to operationalize the practice of teaching/learning the clown art shows a group of knowledge that can be used by young artists to help them in practice. This investigation analyzes the trajectory of three professional artists: Ângela de Castro, Esio Magalhães and Fernando Cavarozzi. The study, in qualitative terms, presents initially a literature review seeking to investigate codes that define this artistic expression. Afterwards, it is analyzed the professional life of the three artists. This is made by the observation of their shows, workshops, courses and by interviewing them. The presentation of the procedure used by them regularly, far from reduce it to spreadsheets and unchangeable schemes, intends to point out a group of good advices to assist young artists to build their own artistic and professional life
A pesquisa objetiva investigar o processo de formação do palhaço, (re)conhecer princípios técnicos e procedimentos pedagógicos utilizados na formação do palhaço/aprendiz. O estudo dos modos de operacionalizar a prática de ensino/aprendizagem na arte da palhaçaria evidencia um conjunto de saberes que podem instrumentalizar a prática de jovens artistas. Esta investigação analisa a trajetória de três artistas profissionais. São eles: Ângela De Castro, Esio Magalhães e Fernando Cavarozzi. O estudo, de caráter qualitativo, apresenta inicialmente uma revisão da bibliografia na busca de investigar códigos que definem esta linguagem artística. Posteriormente, desenvolve-se uma análise dos percursos dos três artistas. Tal análise se efetua por meio da observação de espetáculos, oficinas, cursos e com a realização de entrevistas. A apresentação dos procedimentos recorrentes por eles utilizados, longe de reduzi-los a planilhas e esquemas imutáveis, pretende apontar um conjunto de bons conselhos para auxiliar jovens artistas na construção de seus próprios caminhos profissionais e artísticos

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Wedin, Ann-Sofi. "Lärares arbete och kunskapsbildning : Utmaningar och inviter i den vardagliga praktiken." Doctoral thesis, Linköpings universitet, Institutionen för utbildningsvetenskap, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11231.

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The aim of this study is to enlarge knowledge concerning teachers´ knowledge creation in their everyday practices. Of central importance are questions concerned with what a teacher’s daily work looks like, to what areas does the knowledge a teacher develops in her/his daily work belong and what is their content. The major area of interest involves how the day-to-day knowledge is created as well as which type of teaching that dominates. The study is based on ethnographic fieldwork. That implies the use of a wide range of data from different sources, in my case, participating observations, different kinds of interviews and informal conversations. I followed two senior level teachers over time, one for half a year and the other for almost a whole year. Teachers´ work. The results show that teachers’ work is immediate, unpredictable, intensive and oriented by action. The relational character of the work is in focus however. Teacher’s work on building relationships with their pupils is continuously ongoing the whole time and everywhere. Relationships are created and upheld. The teaching, which is the teachers’ main task, does not take the pure form that one could assume but in many respects consists of relationships, even if at a first glance this does not appear to be the case. I have found that beyond a teacher’s actions there is often a relationship-based explanation. Yet another task that takes another form than that one could imagine and that is continually present in the everyday work is that which I call work related to grade-setting. Teachers´ knowledge. I have discovered a number of dimensions of teachers’ practical knowledge that can be considered as ”new”. These originate principally from two main areas: Pupils and teaching. The pupil-related knowledge consists of four categories: individual knowledge, “reading” knowledge, relational knowledge and care knowledge. The teaching-related categories of knowledge are: tactical didactic knowledge, subject-didactic knowledge, meta-knowledge and survival knowledge. I regard all these forms of knowledge as contextual. They are also personal as they are created by the teacher in a unique environment. My impression is that the forms of knowledge are also use-oriented and that most of them comprise a social dimension. Teachers´ knowledge creation. My findings show that teachers´ knowledge creation in everyday practice takes place within three areas, relational work, practical didactic improvement and work related to grade-setting. What I mostly find in the teachers is knowledge creation of an extremely refined manner. They test, adapt, change and improve both for their own sake and for the pupils. I use the term refinement learning for this process. Most of the knowledge creation in teachers takes place through interaction foremost with individuals, but even with texts and objects. This is explained by the profession’s relational character. The situations the teachers are involved in are never exactly the same but demand modifications to strategies previously used. Learning is here seen as invite-initiated and is best understood from a situated perspective. The interplay processes alone however cannot explain the knowledge creation that occurs. The teachers’ reflections about their teaching, which lead to new lesson elements is one example. The creation of knowledge can then best be explained from a constructivist perspective even if it also has its origin in interactive situations. Here, learning is more self-initiated. Knowledge creation can be regarded as necessary, as all the situations the teacher is involved in require solutions. They can also be regarded as natural situations as the teacher is obliged to promote both the pupils’ learning and development. This forces them to formulate explanations in all possible ways and means so that the pupils understand, as well as their creating a favourable environment so that both learning and development are encouraged. Thus teachers’ knowledge creation arises when they are working. They must learn in order to be able to handle the job itself.

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Almeida, Patricia Ribeiro de. "O mundo é redondo como a rosa: imaginação poética e criação pedagógica." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-11022014-115335/.

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Esta dissertação apresenta uma reflexão sobre a natureza criadora do trabalho dos professores de arte. Entendido como ação de importância fundamental na função docente, o processo de criação pedagógica direcionado ao ensino e à aprendizagem artística é o tema central desta pesquisa. A imaginação poética compõe este tema na medida em que a compreendemos como a potência humana que gera e organiza a capacidade criadora. Por considerarmos a amplitude de sua abordagem, nos debruçamos sobre a obra noturna do filósofo francês Gaston Bachelard e é por meio dela que abordaremos o conceito de imaginação. Neste trabalho, também investigamos os aspectos capazes de aproximar ou até mesmo de afastar os professores de arte desta potência criadora, transformando-os em meros instrumentos de reprodução. Neste sentido, apresentamos a análise de uma sequência de atividades práticas que buscou seguir um caminho significativo de criação pedagógica, orientado pela potência poética da imaginação.
This dissertation introduce a reflection about the natural creativeness in the art´s teachers work. Understanding how fundamental and important is the action in to instructor function, the pedagogic creation process directed for artistic learning and teaching in the central subjetct in this research. The poetic imagination composes this theme as we can understand how the human Power generate and organize the creator capacity. By consider the amplitude of his approach base for our analysis regarding the imagination concept. We also investigate aspect able to make closer or even put away the art´s teachers of this creative power, transforming them in simple reproducers instruments. For that we analyse a sequence of practice´s activities that have tested the significant way of pedagogic creativeness, oriented by the poetic imagination power.

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Christensen, Jonas. "Företagsekonomi och ekonomiska studier i Litauen - Om ett universitetsämnes konstituering." Licentiate thesis, Malmö högskola, Skolutveckling och ledarskap (SOL), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-7629.

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Studier av omständigheterna kring ett ämnes framväxt och utveckling är en del av pedagogisk forskning. Uppsatsen belyser ekonomisk utbildning i Litauen utifrån de förändringar som frigörelsen från forna Sovjetunionen inneburit och studiens syfte är att ge en bild av hur företagsekonomi som universitetsämne formats i Litauen 1988-1997. Utgångspunkten i studien är individen och individens närkontext. Den teoretiska referensramen utgörs av en modifierad modell av Bronfenbrenners utvecklingsekologi, kompletterad med Bergs nivåmodell. Insamling av data har primärt skett genom intervjusamtal med universitetslärare vid litauiska universitet och högskolor. Utöver dessa intervjusamtal har styrdokument i form av litteraturlistor, kursplaner och centrala dokument insamlats och studerats. Ett av studiens grundläggande antagande är att verkligheten är socialt konstruerad. Fokus i analysen ligger i individens uppfattningar utifrån tre huvudtema; omprogrammering, kursplaner och kurs-litteratur samt attityder och intresse. Studien visar att konstituering av företagsekonomi i Litauen formats av politiska/ideologiska, ekonomiska, institutionella och individuella faktorer. Bakom dessa villkor finns beslut fattade på olika nivåer såväl nationell (makro), lokal/institutionell (exonivå) som kollegial (meso) nivå samt på individ (mikro)-nivå. Internationella influenser har haft stor betydelse, och dessa influenser kan sägas representera en ytterligare nivå – en exmakronivå. En ytterligare faktor utgörs av mötet mellan en tidigare doktrinär, rigid föreställning till en ny sådan, som inte var doktrinär utan istället innebar en akademisk frihetsgrad, ett frirum som tidigare inte fanns, åtminstone inte i retoriken. En tredje faktor utgörs av det som konsekvenser, influenser och frirum fick på det konkreta ämnesinnehållet och undervisningen.
Studies of the circumstances surrounding the creation and development of a university discipline are a part of pedagogical research. This thesis highlights the development of management and economic education against the background of changes caused by the Lithuania’s emancipation from the Soviet Union and aims to present a picture of how management as a university discipline has been created in Lithuania between the period 1988-1997. The nexus of this study is individuals and individuals in context. The theoretical frame of reference is provided by a modified model of Bronfenbrenners developmental ecology, complimented by Bergs tier (level) model. Data collection has primarily been in the form of interviews with university staff from Lithuanian institutions for higher education. In addition to the interviews, literature lists, course schedules and other key documents have been collected and analysed. One of the studies primary foundations is that reality is a social construct. The analysis focuses on individual’s conceptualisation of three main areas: re-programming, course schedules and literature lists, alongside their attitudes and interests. The study demonstrates how the creation of management and economics as a university discipline in Lithuania has been formed by a combination of political/ideological, economic, institutional and individual factors. Behind these factors are decisions taken at a variety of different levels, including national level (macro), local/institutional level (exo), collegial level (meso) and individual level (micro). International influences have also played an important role and their effects represent an additional level, the so-called exmacro level. A further factor comes into play in the meeting between the previously rigid doctrine and the new doctrine, which isn’t so much a doctrine but rather more of an academic freedom; a freedom that didn’t exist previously, at least not one that was acknowledged. A final factor in the study is the impact that the consequences of change, the various influences described above and this new-found freedom, have had on the subject’s content and method of teaching. One of the study’s main contributions is to highlight the significance of the concept of academic freedom and to focus on the paradox, where constraint under the old system is replaced by another form of constraint. In this case, where the rigidity of the old Soviet doctrine is replaced by a new freedom; but instead of being given greater opportunities to influence and change the subject, the academic staff are forced into a position where, once again they are subjugated to the influences of outside (international) sources.

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Jarl, Agnes. "Här och nu : en undersökning om närvaro och motivation." Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7013.

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Att elever inte alltid kommer i tid till en lektion är nog ett problem som de flestagymnasieskolor i Sverige har. Utifrån sen ankomst som bakgrund och diskussion med eleverom skolans riktlinjer kring sen ankomst, utvecklades intresset för att utforska eleversmotivation för skolnärvaro. Jag har bett elever i årskurs två på gymnasiet att kommunicerasina erfarenheter om motivation, närvaro och sen ankomst. Genom a/r/tography somförhållningssätt har syftet varit att undersöka min egen ämnesdidaktik för att kunna skapaförutsättningar kring elevers motivation och närvaro i bildämnet och i klassrummet. Detövergripande syftet med undersökningen är att undersöka gymnasieelevers motivation ibildämnet samt att medvetandegöra eleven genom skapande, om sin egen plats och närvarorent fysiskt och psykiskt. Studien utgår från frågeställningen, Hur formulerar och gestaltargymnasieeleverna sin upplevelse kring motivation och närvaro. Vad synliggörs när jagundersöker skolfrånvaro genom den bildpedagogiska praktiken tillsammans med eleverna?I undersökningen består en del av empirin av kakelplattor i lera skapat av eleverna därde kommunicerar erfarenheter och tankar kring motivation och närvaro. Resultatet visar hurelevernas motivation för skolarbetet ofta ligger utanför den specifika pedagogiska praktiken.Många anger CSN som motivation, då deras studiestöd vid frånvaro riskerar att dras in. Andratänker mer långsiktigt på närvaron som nödvändig för goda skolresultat och framtidaarbete. Även skolan som en plats att träffa vänner är motiverande för skolnärvaro. Genomeget skapande undersöker även jag dessa frågor parallellt med eleverna i denna undersökningoch som en medskapare av bilder. Elevernas kakel har satts samman till en vägg likaså harmina kakelplattor bildat en vägg. Utöver att dessa kakelplattor analyseras enskilt iuppsatsen, så visas också den praktiska och konstnärliga undersökningens resultat påKonstfacks vårutställning.Mitt arbete och mina slutsatser pekar mot att eleverna också motiveras av att arbetatillsammans, med en utställning som mål. I analysen har jag kommit fram till och förståttderas tidigare erfarenheter om skolan som en plats där motivation att komma till skolan i rätttid präglas av förväntningar av omgivning lika mycket som motivationen av att vilja ha enljus framtid och en utbildning för sin egen skull.

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Bonatto, Mônica Torres. "Juntou deu nisso : percursos entre arte contemporanea e processos de criação cênica na escola." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16457.

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Juntoudeunisso investiga possíveis relações entre práticas cênicas desenvolvidas no ambiente escolar e procedimentos da produção artística contemporânea, mediante a reflexão sobre um projeto pedagógico realizado pela pesquisadora junto a crianças de quarta série do Ensino Fundamental, numa Instituição Educacional da Rede Privada de Porto Alegre. A análise entretece descrições de uma performance do artista Elcio Rossini e de duas intervenções urbanas elaboradas pelos alunos, depoimentos concedidos por algumas das crianças participantes e teorizações a partir de autores como Lehmann, Pupo e Desgranges, para citar alguns. Como marcas do trabalho, destacam-se: o caráter processual, a reflexão sobre o processo criativo, a radicalização da experiência de criar coletivamente, as aproximações com elementos presentes na denominada cena pós-dramática, o trânsito entre diferentes formas de expressão artística e a preocupação com o “lugar” do espectador na cena contemporânea. Ao refletir sobre questões motivadoras do projeto realizado, traçando relações entre propostas desenvolvidas na escola e conceitos presentes em investigações cênicas contemporâneas, o texto insere-se no debate sobre a presença do fazer teatral nas instituições escolares em geral.
Juntoudeunisso examines possible connections between scenic practices developed at the school environment and contemporary artistic productions by pondering over a pedagogical project developed by the researcher in a fourth grade group of a private elementary school in Porto Alegre. The analysis proposed by this research interweaves descriptions of an Elcio Rossini’s performance and two city interventions designed by the students, some students’ testimonials and theory based on Lehmann, Pupo, Desgranges, among others. Some highlighted features of this research are: the emphasis in the process, the radicalization of the collective creation experience, the connective tissue of postdramatic scene elements, the concern with the spectator’s role in the contemporary scene, the transition among different ways of artistic expression and the creative process reflection. This research is inserted in the debate about the presence of contemporary scenic investigations of the scenic practices in schools through reflection about some triggering questions of the project analyzed and through relating activities developed in school to concepts found in contemporary theatrical investigations.

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Brito, Luciana. "Beckett-we : em busca de uma poética do vazio." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/156626.

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Em Busca de uma Poética do Vazio é uma pesquisa teórico-prática fomentada no Núcleo de Pesquisa Beckett-we – espaço de criação, desconstrução e de transbordamentos criativos a partir do universo de Samuel Beckett. Criado no ano de 2012 em Canoas/RS, o Núcleo dá voz aos aqui chamados esgotados, sujeitos contemporâneos que encontram em Beckett uma possibilidade de diálogo e caos. Os participantes não são atores, nem bailarinos, nem pesquisadores, são PIM: massa de corpos que não aguentam mais, unidos por uma pequena vida – extrato de existência em comum, que transcende as referências culturais, geográficas, étnicas ou históricas – PIM é plural. Este escrito é composto pelas vozes de esgotados, de Beckett, por minha voz, por fluxos de pensamento que me atravessaram durante a pesquisa e pela voz de referências significativas neste estudo: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, dentre outros tantos. São analisadas performances criadas durante três anos do Núcleo, a partir dos textos: Todos os que Caem (Beckett - 1957) que se transformou em Eu, Ser Pulsante e Semivivo (2013) e Eleutheria (Beckett - 1947) metamorfoseado em sobre.vida (2015), Ensaio sobre a Liberdade (2014) e inspiração (2014). Buscando fazer um paralelo estrutural com a obra Como É (Beckett, 1961), que se passa em um buraco enlameado, no qual um personagem procura seu parceiro – PIM -, esta pesquisa se propõe a investigar os caminhos que foram inventados durante as práticas, visando se aproximar de uma possível metodologia que se encontra no vazio, buscando constantemente a instabilidade – seja através da tentativa de esvaziamento de referências, no diálogo com os esgotados que são desconhecedores de Beckett ou na renovação constante de PIM. No ato de esvaziar-se e se deixar atravessar pelas vozes e impulsos dos envolvidos, alimentados pelo universo beckettiano, esta dissertação sugere a figura do cartógrafo, desenvolvida por Rolnik, como um possível caminho para a prática criativa no vazio.
In Search of a Poetic of Emptiness is a theoretical-practical research fomented in the Núcleo de Pesquisa Beckett-we (Research Group Beckett-we) - space of creation, deconstruction and creative overflows based on the universe of Samuel Beckett. Created in the year of 2012 in Canoas/RS, the group gives voice to the ones here called the exhausted , contemporary subjects that find in Beckett a possibility of dialogue and chaos. The participants are not actors, nor dancers, nor researchers, they are PIM: a mass of bodies that cannot bear anymore, united by a little life - extract of a common existence, that transcends the cultural, geographical, ethnic or historical references - PIM is plural. This writing is composed by the voices of the exhausted, Beckett’s voice, my own voice, by flows of thoughts that crossed me while researching and by the voice of significative references in this study: Gilles Deleuze, Suely Rolnik, Peter Pál Pelbart, among so many others. Here we analyse performances created during the three years of the group, based on the texts: All that fall (Beckett - 1957) that became Eu, ser pulsante e semivivo [Me, pulsing being and halfalive (2013) and Eleutheria (Beckett - 1947) metamorphosed in sobre.vida [about.life] (2015), Ensaio sobre a Liberdade [Essay about Freedom] (2014) and inspiração [inspiration] (2014). Aiming to create a structural parallel with the work How it is (Beckett - 1961), that passes in a muddy hole, in which one character looks for his partner - PIM -, this research proposes itself to investigate the paths that were invented during the practices, aiming to approach a possible methodology found in the emptiness, searching constantly the instability - be it through the attempt of emptying references, in the dialogue with the exhausted who are unfamiliar with Beckett or in the constant renovation of PIM. In the act of emptying itself and letting it be crossed by the voices and impulses of the involved, fed by the beckettian universe, this dissertation suggests the figure of the cartographer, developed by Rolnik, as a possible path for the creative practice in the emptiness.

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Dissertations / Theses on the topic 'Creative pedagogies'

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