Journal articles on the topic 'Master – apprentice teaching'

The technical treatises on painting are rich in teaching, whether to learn to make colors or to learn how to draw. We tried to make the portrait of the apprentice, in his relationship with his master. And this, whether by the behavior of the first or the gifts of the second. As for drawing, various techniques are used according to the stage of learning where the pupil is. From simple straight lines, through the master copy, to the technique of ink brush or strokes to the pen, you have to draw every day to improve.

Instrumental tuition has predominantly been conceptualized in terms of a master–apprentice model that facilitates the transmission of skills, knowledge and cultural intellect through teaching and learning. Research suggests the one-to-one tuition model needs to evolve and adapt to meet the demands of the 21st century musician. Within the jazz/improvisation lesson, the learning and teaching of improvisory ability is a complex activity where developing improvisers hone motor-specific skills, audiative ability, imaginative and creative impulses that connect and respond to strategic individual and collaborative catalysts. Observing the negotiation of learning and teaching in three lessons in improvisation between expert practitioner-educators and their students, this study reveals a cognitive apprenticeship model that can provide a framework for teachers to develop students’ cognitive and meta-cognitive abilities, and understandings of expert practice. Case studies of three teacher-practitioners and their advanced students explore the “in the moment” teacher–student interactions and teaching techniques that expert improviser-educators utilize in developing mastery and expertise in their students. Teaching to an advanced improvisation student is a dynamic, fluid and reflexive interplay of pedagogical applications of modelling, scaffolding, coaching, and reflective processes. The holistic imparting of knowledge can be understood as a cognitive apprenticeship. Careful guidance by a teacher/mentor can offer the student an immersive environment that brings thinking, action and reflection to the forefront of learning. Implications are identified for more effective, collaborative and inventive ways of assisting learning and inculcating deeper understandings of factual, conceptual and problem-solving concepts that draw students into a culture of expert practice.

The main purpose of this study is to explore the impact of the cognitive apprenticeship teaching approach in food and beverage (F&B) service training courses on learning satisfaction. This study is a quasi-experimental research design conducted using pretest–post-test nonequivalent groups. Its research subjects are primarily new employees from the F&B departments of well-known five-star, high-end hotels in Taiwan who must undergo education and training. The new employees are divided into an experimental group and a control group for the eight-week teaching practicum. This study concludes that learning satisfaction achieved through the cognitive apprenticeship teaching approach during the F&B training course is superior to that achieved through the conventional teaching approach of lecturing. An innovative finding of the current research is that regardless of whether cognitive apprenticeship teaching is adopted, the master–apprentice relationship is the most important factor in the five-facet measurement of learning satisfaction. This point also explains why the cognitive apprenticeship approach is a suitable teaching and training strategy. The greatest contribution of this study is that it provides a direction for the application and sustainable development of hotel staff training and offers references for the improvement of future hotel training programs.

In the debate concerning the education of nurses that is currently taking place in Denmark, two widely differing views are apparent regarding the best way of training nurses such that the ethical aspect of their work is adequately considered. The first of these is based on the premise that practical care is fundamental to and justified by theories on nursing, care and ethics, which is why the theoretical part of nurse education deserves a higher priority. The second view is based on the premise that social care cannot be taught by means of theories, but can be learnt only through practice. The master-apprentice principle of ancient Greece is stressed in connection with this as being a viable alternative to the theoretical model of education. These two very different views can be traced back to Plato’s and Aristotle’s ideas on ethics and teaching respectively; indeed, those engaged in the debate make specific reference to these philosophers. In Denmark, a third fundamental viewpoint exists, known as ‘ontological ethics’. Phenomenologist KE Løgstrup is one of the best-known representatives of this view. Basing the line of argument on Løgstrup’s ethics and the view of education associated with this, this article questions the relevance of ancient Greek thought to today’s world by illustrating a number of problems that are connected with the theoretical model of nurse education and with the master-apprentice principle. Løgstrup associates ethics with the aesthetic principle that ‘the useless is the most useful’ in human life and with the view we also see in Kierkegaard’s and NFS Grundtvig’s writings that ethics can be imparted only by indirect means. Løgstrup bases his understanding of ethics on the Judaeo-Christian concept of Genesis and the view that human beings were created with an ethical potential that is best nourished by aesthetic impressions.

This article offers a review of 25 empirical studies to identify the areas and findings of professional development initiatives for in-service English teachers in Colombia. The reviewed studies suggest that language teacher professional development has focused on six major areas: language proficiency, research skills and reflective practice, teachers’ beliefs and identities, an integrated approach to teacher professional development, pedagogical skills and teaching approaches, and emerging technologies. Results suggest that there is a need to move from traditional master-apprentice, content-oriented, teacher-centered models of professional development towards initiatives that allow teachers to critically analyze their particular context and needs, and devise their own local alternatives so that they can become more active agents of their own process of change. Issues that constitute possible alternatives for future research in the professional development of English language teachers are discussed.

In this paper, I analyse the educational and teaching systems developed for boys joining Vilnius craft workshops. The boys worked (participating in production) and prepared themselves for their future profession. In my paper, I present the educational and teaching paths leading to an apprentice assuming the status of a fellow. It is interesting how the students operated in the structures of the guild workshops and what skills they possessed. The research does not encompass the sons of master craftsmen and out-of-guild craftsmen who would come to Vilnius and attempt to join the craft guilds. These issues require a separate analysis. It was not my intention to provide a holistic study of the issue; rather, I revised and supplemented Józef Morzy’s research in which he partly analysed craft guilds in Vilnius with respect to the essential work skills. In my analysis, I made use of the statutes of the craft guilds operating in Vilnius, one of the biggest cities in the Polish-Lithuanian Commonwealth, in the early modern period.

Surgical education continues to evolve from the master-apprentice model. Newer methods of the process need to be used to manage the dual challenges of educating while providing safe surgical care. This requires integrating adult learning concepts into delivery of practical training and education in busy clinical environments. A narrative review aimed at outlining and integrating adult learning and surgical education theory was undertaken. Additionally, this information was used to relate the practical delivery of surgical training and education in day-to-day surgical practice. Concepts were sourced from reference material. Additional material was found using a PubMed search of the words: ‘surgical education theory’ and ‘adult learning theory medical’. This yielded 1351 abstracts, of which 43 articles with a focus on key concepts in adult education theory were used. Key papers were used to formulate structure and additional cross-referenced papers were included where appropriate. Current concepts within adult learning have a lot to offer when considering how to better deliver surgical education and training. Better integration of adult learning theory can be fruitful. Individual teaching surgical units need to rethink their paradigms and consider how each individual can contribute to the education experience. Up skilling courses for trainers can do much to improve the delivery of surgical education. Understanding adult learning concepts and integrating these into day-to-day teaching can be valuable.

Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.

Context: The processes of acquiring education in jewellery in Ghana has been dominated by the informal apprenticeship system and it forms the backbone of the workforce of the jewellery industry in Ghana. However, the patronage of informal jewellery apprenticeship in Ghana in recent times has been on decline even though it has the potential of training human resources to transform Ghana’s precious mineral resources sector.This is based on the belief that jewellery trade and its training are shrouded in secrecy, in other words, the jewellery trade is considered to be a sacred profession where information on its operating systems are not allowed to be shared easily. It is believed to be associated with cult and magic, hence the reluctant to admit people who are from outside the family of particular jewellery enterprise. This study is sought to bring to fore the understanding nature, processes and challenges of the informal jewellery apprenticeship in Ghana. Approach: The study adopted the descriptive and phenomenology research designs (qualitative research methods). Jewellers who own a jewellery business and who are training other people through apprenticeships as well as people who are trained are observed and interviewed. A sample size was selected through purposive and convenience sampling techniques from four jewellery enterprises in Accra, Ghana. A thematic analysis plan was adopted to generate fndings of the study. Findings: The results show that for a person to train as a jeweller, s/he has to enrol by going through induction, futhremore fees (money and perishable items) are to be paid. The training content is driven by orders received by the master jeweller, thereby making it unstructured and lacking criteria for assessing the performance and progress of apprentice jewellers. Teaching and learning methods are usually on-the-job training that rely on demonstrations and observation.Conclusion: Informal jewellery apprenticeship in Ghana uses a fexible, cost-efective approach for transferring jewellery making skills from masters to apprentice jewellers, and it has substantial potential for improving skills training in the country. Sometimes the reluctant of some jeweller to train others is to keep the trade to family members only.

A group of faculty at Penn State's Department of Landscape Architecture observed that the traditional master/apprentice model of studio instruction fosters greater student dependence on faculty for decision-making guidance than the faculty considers desirable. They contend that this traditional model promotes a studio dynamic that encourages students to look to the professor for design ideas and wait for faculty approval before making design decisions. The faculty considered this decision-making dependency to be in conflict with the need for students to develop the critical-thinking skills required to address the complex and ill-structured problems that are common in architecture and landscape architecture. In response to their concern this faculty team developed a studio teaching method they termed “independent design decision-making.” They speculated that by transferring the responsibility for design decisions from professor to the student, students could improve their critical thinking and gain confidence in design decision-making. The faculty conceived a set of strategies to implement in a 3rd year team-taught site planning and design studio that presents a range of complex design issues and scales. In collaboration with Penn State's Schreyer Institute for Teaching Excellence, the faculty researchers developed a 2-year comparative study to test this new teaching method in the same design studio with two consecutive student groups-evaluating the strategies implemented in the first year, refining methods, then applying and re-evaluating the results in the next year's class. These new strategies included ways students receive information to inspire their designs (“input strategies”) and ways to receive critique on their design ideas (“feedback strategies”). Two evaluation instruments were chosen to assess this method of studio teaching: 1) the Group Embedded Figures Test (GEFT), and 2) Student Assessment of Learning Gains (SALG). This paper presents this teaching/learning method and reports on the results of the comparative study.

<p>Design and construction of a temporary bamboo structure provided the vehicle to explore live and interactive design-led research, extending collaborative partnerships and forging new relationships. Designed for two events of contrasting scale as part of the Dark Mofo annual arts festival hosted by the Museum of Old and New Art (MONA) in Hobart, Tasmania, the project drew on an extensive portfolio of research into traditional and contemporary bamboo structures complied by Sydney-based architecture practice, Cave Urban. It extended Cave Urban’s previous partnerships with Taiwanese artist, Wang Wen Chih, and involved collaboration between Cave Urban and students from the University of Tasmania (UTAS) School of Architecture &amp; Design and Tasmanian College of the Arts (TCotA), and on-site assistance from the MONA events construction team.<br />Construction over a three-week process involved design research that provided new knowledge into bamboo structures and developed new process of Learning By Making as a form of collaborative research-based teaching. Interaction between the team of 25 people shifted between modes of open/closed and flat/hierarchical collaboration, in a dynamic process that lent new definition to the idea of ‘live’ projects. Design-led research provided the opportunity for an equal number of students and expert collaborators, facilitating an opportunity to explore a master/apprentice model, to expanded practical and theoretical knowledge and expertise through the design and construction of a temporary civic event space.</p>

Abstract This article discusses the embodiment of making and wearing clothing through a close analysis of the weaving and production practices of a contemporary Maya weaver, Lidia López. The first author lived in San Antonio Aguas Calientes, Sacatepéquez, Guatemala where she studied the back strap loom under the instruction of master weaver, Lidia López, while the second author served as an advisor on the research project and assisted with interpretation of fieldwork data. Anthropologist Daniel Miller has encouraged a research approach that thoroughly integrates the practice of making, arguing that 'the things people make, make people'. When a person weaves cloth using centuries-old techniques and tools passed down across generations, the cloth embodies identities that transcend time and materializes networks of social relations. This brings new possibilities to ethnographic research about processes of making. If we are what we make, as Miller argued, then what are we when we make cloth? In this article we explore the production of cloth as embodied practice: weaving on the back strap loom, bringing goods to market, the practice of teaching weaving, and all of the social relationships and realities that contribute to the production of clothing. The title of this article, 'Her eyes, my body', refers to the relationship between the primary ethnographic interlocutor, Lidia Amanda López de López, and the first author as ethnographer and weaving apprentice. By teaching weaving on the back strap loom in the tradition of her antepasados (ancestors), Lidia facilitated ways of knowing ‐ from the kitchen table to the loom, from her home to the market. Entangled and woven together through dialectics of time and space, private and public, past and present. Warp and weft are woven into cloth, culture and identities.

A steward of the discipline was originally defined as “someone who will creatively generate new knowledge, critically conserve valuable and useful ideas, and responsibly transform those understandings through writing, teaching, and application”. This construct was articulated to support and strengthen doctoral education. The purpose of this paper is to expand the construct of stewardship so that it can be applied to both scholars and non-academic practitioners, and can be initiated earlier than doctoral education. To accomplish and justify this, we describe a general developmental trajectory supporting cross-curriculum teaching for stewardship of a discipline as well as of a profession. We argue that the most important features of stewardship, comprising the public trust for the future of their discipline or profession, are obtainable by all practitioners, and are not limited to those who have completed doctoral training. The developmental trajectory is defined using the Mastery Rubric construct, which requires articulating the knowledge, skills, and abilities (KSAs) to be targeted with a curriculum; recognizable stages of performance of these KSAs; and performance level descriptors of each KSA at each stage. Concrete KSAs of stewardship that can be taught and practiced throughout the career (professional or scholarly) were derived directly from the original definition. We used the European guild structure’s stages of Novice, Apprentice, Journeyman, and Master for the trajectory, and through a consensus-based standard setting exercise, created performance level descriptors featuring development of Bloom’s taxonometric cognitive abilities (see Appendix A) for each KSA. Together, these create the Mastery Rubric for Stewardship (MR-S). The MR-S articulates how stewardly behavior can be cultivated and documented for individuals in any disciplinary curriculum, whether research-intensive (preparing “scholars”) or professional (preparing members of a profession or more generally for the work force). We qualitatively assess the validity of the MR-S by examining its applicability to, and concordance with professional practice standards in three diverse disciplinary examples: (1) History; (2) Statistics and Data Science; and (3) Neurosciences. These domains differ dramatically in terms of content and methodologies, but students in each discipline could either continue on to doctoral training and scholarship, or utilize doctoral or pre-doctoral training in other professions. The MR-S is highly aligned with the practice standards of all three of these domains, suggesting that stewardship can be meaningfully cultivated and utilized by those working in or outside of academia, supporting the initiation of stewardship prior to doctoral training and for all students, not only those who will earn PhDs or be scholars first and foremost. The MR-S can be used for curriculum development or revision in order to purposefully promote stewardship at all levels of higher education and beyond. The MR-S renders features of professional stewardship accessible to all practitioners, enabling formal and informal, as well as self-directed, development and refinement of a professional identity.

In the early Middle Ages, future doctors were not students; they were apprentices. Teaching consisted of knowledge about herbs and surgical skills, “taught” by older, experienced peers. In monasteries, monks occupied themselves copying classic texts in the scriptorium. These sources, however, were not consulted by apprentices at the time. In convents and nurseries, manuals of medical botany, especially the ones about herbs of their local orchards, were preferable reading. The first record on medical training in literature is attributed to Charaka, a Hindu physician who in 500 BC referred to the distinctive idea of a “master” from whom one could learn the art and medical practice. In the tenth century, in a somewhat pre-academic teaching style developed in Salerno and later in the Alexandrian model, Mentors were respected celebrities, authorized and of great powers. Shortly afterwards, Constantin came to Monte Cassino to translate Arabic medical writings into Greek (internationalizing medicine) and the University of Bologna was founded on September 18, 1088, by and for students.

Repetition or interpretation in art is based on very old times. Much earlier repetition than mechanical copying was often done for master-apprentice teaching or for eye-training purposes. Copying in the mechanical way allows the production of similarities, while copying in digital mode allowed more circulation and access of similarities. From the 20th century, the work of art has become more accessible. The artworks exhibited in various parts of the world, in museums and galleries, reach other artisans or art buyers who are miles away from them, or they are welcomed in their living spaces. The original was now in distribution with copies. A similar situation is both faster and more common today in the Internet age. A similar situation is both faster and more common today in the Internet age. Warhol, on the other hand, puts a consumption object in the art world, which does not deny mechanic reproduction, but already has a graphic design and copies with it. A soup box with thousands of copies is exhibited alone or with copies of it. It shows that art and life are intertwined or that he don’t reject the popular culture-consumption conception in their society in the age of living. The graphic design of soup boxes with thousands of copies has been repeated by Warhol and won the original with his signature in the art. These paintings are reproduced both by his contemporaries and by artists today. An artwork that is actually a copy, can it give the same effect when it is repeated? How do original, unique, copy, reappear in Campbell's Soup Cans? Why and how has Campbell's Soup Cans been repeated in art? In this research, these questions were tried to be answered through the works of the artists who recreated Campbell's Soup Boxes. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Sanatta tekrar etme ya da yorumlama çok eskilere dayanmaktadır. Mekanik yolla kopyalamadan çok daha önce tekrarlama çoğunlukla usta-çırak öğretisi ya da gözü eğitme amacıyla gerçekleştirilirken; mekanik yolla kopyalama benzerlerin üretilmesine, dijital yolla kopyalama ise benzerlerin daha fazla dolaşımına ve erişimine olanak sağladı. 20. yüzyıldan itibaren sanat yapıtı daha kolay ulaşılır hale geldi. Dünyanın çeşitli yerlerinde, müze ve galerilerde sergilenen sanat yapıtları, onlardan kilometrelerce ötede olan başka sanatçılara ya da sanat alıcılarına ulaşabildi ya da yaşam alanlarında karşılarına çıktı. Orijinal, artık kopyaları ile birlikte dağılımdaydı. Benzer durum, internet çağındaki günümüzde hem daha hızlı hem de daha yaygındır. Ancak Warhol tüm bunların ötesinde, mekanik kopyalamayı yadsımadan, hali hazırda bir grafik tasarıma sahip ve kopyaları ile birlikte dolaşımda olan bir tüketim nesnesini, sanat dünyasına sokar. Binlerce kopyası olan bir çorba kutusunu tek başına ya da onun kopyaları ile birlikte sergiler. Sanat ve yaşamı iç içe geçirir ya da yaşadığı çağda, kendi toplumundaki popüler kültür-tüketim anlayışını reddetmediğini gösterir. Binlerce kopyaya sahip olan çorba kutularının grafik tasarımı, Warhol tarafından tekrarlanarak, onun imzası ile orijinalik kazanmıştır. Onun çorba kutuları resimleri ise hem çağdaşları hem de günümüzdeki sanatçılarca tekrarlanmaktadır. Zaten kopya olan bir asıl, tekrarlandığında aynı etkiyi verebilir mi? Orijinallik, özgünlük, kopya, tekrar Campbell’s Çorba Kutuları’nda ne şekilde ortaya çıkar? Campbell’s Çorba Kutuları sanatta niçin ve ne şekilde tekrarlanmıştır? sorularına Warhol’un Campbell’s Çorba Kutuları adlı resmi ve bu resmi tekrarlayan sanatçıların yapıtları üzerinden cevap aranmaya çalışılmıştır.

It was at Warwick that I first met David. I was an MA student in Comparative British and American Labour and Social History during the academic year 1968–1969. David's genuinely honest, open, and down-to-earth approach to his students and teaching and learning in general appealed to many like myself who had been raised in solid, respectable, independent, and self-respecting working-class households. He treated me fairly and squarely, without any hint of those patronizing and condescending attitudes, which sometimes characterize middle-class academics in their treatment of working-class students. Montgomery, like Edward Thompson, expected us to work hard and would have no truck with those self-indulgent students who regarded political activism as a valid substitute for academic study. True to his 1950s past, David kept regular “factory” hours. He strongly disapproved of lateness or absence in the submission of work and attendance at lectures and seminars. As “apprentices,” we, the MA postgraduates, were to be rigorously instructed in the rules and methods of the trade by Montgomery and the other “master craftsmen” at Warwick. As part of our training, we were subjected to full critical gaze of these masters when we presented our papers and research findings to them at three-hour combined postgraduate and staff seminars on Friday afternoons. Escape and a mixture of relief and reward were found immediately afterward in the student bar.

This essay pretends to deep on how the process of making decisions in designing an ESP (English for Specific Purposes) course registered by three TESOL graduate students, structured by the author along with participants, a requirement of the Master of English Teaching for Speakers of Other Languages at University of Costa Rica (UCR).During the course the designers should help a group of UCR workers to communicate in English effectively with international students who want to study at UCR or those who were already participating in international programs. This study introduces data about the apprentices who benefit from this academic activity, tasks designed and taught, aswell as the evaluation and assessment used. Finally, it suggests some recommendations for those who may consider the option of designing an ESP course as an effective strategy to promote the use of the target language in a work context.

Developed over a century ago, the transsphenoidal approach to access lesions of the pituitary gland and sella turcica has transformed the field of neurosurgery, largely due to the work of Oskar Hirsch and Harvey Cushing. Furthermore, its use and modification in the early 1900s was perhaps one of Cushing's greatest legacies to skull base surgery. However, Cushing, who had worked relentlessly to improve the transsphenoidal route to the pituitary region, abandoned the approach by 1929 in his pursuit to master transcranial approaches to the suprasellar region. Hirsch and a few other surgeons continued to perform transsphenoidal operations, but they were unable to maintain the popularity of the approach among their peers. During a time when transsphenoidal surgery was on the brink of extinction, a critical lineage of 3 key surgeons—Norman Dott, Gerard Guiot, and Jules Hardy—would resurrect the art, each working to further improve the procedure. Dott, Cushing's apprentice from 1923 to 1924, brought his experiences with transsphenoidal surgery to Edinburgh, Scotland, and along the way, developed the lighted nasal speculum to provide better illumination in the narrow working area. Guiot, inspired by Dott, adopted his technique and used intraoperative radiofluoroscopic technique for image guidance. Hardy, a fellow of Guiot, from Montreal, Canada, revolutionized transsphenoidal microsurgery with the introduction of the binocular microscope and selective adenomectomy. The teachings of these pioneers have endured over time and are now widely used by neurosurgeons worldwide. In this paper, we review the lineage and contributions of Dott, Guiot, and Hardy who served as crucial players in the preservation of transsphenoidal surgery.

The article is devoted to the problem of art education formation in Ukraine, the territory of which in the XIX – early XX century belonged to two empires – Russia and AustriaHungary. The paper analyzes the leading trends in the professional training of future craftsmen in Ukraine in the XIX – early XX centuries. The author focuses on the organizational and pedagogical principles of training specialists in the field of artistic metalworking. It is stated that in order to meet the demands of the society of that time for the training of highly skilled workers in the field of artistic-industrial production, with the assistance of the governments of two empires – Russian and Austro-Hungarian (which included the lands of Ukraine in the period under study) – the schools, arts and crafts schools, complementary industrial schools, courses for masters, vocational schools, such as: art blacksmithing and metalwork, artistic metalwork and boilermaking, metal, etc. were founded. The urgency and timeliness of the study are noted, because the scientific substantiation of the formation and development of domestic art education, the study of positive historical and pedagogical experience of predecessors – artists, masters and artists-teachers are undoubtedly important in training modern specialists in visual and decorative arts. The methodological basis of the study are the laws and categories of scientific knowledge, the relationship and interdependence of phenomena, historicism, system, the relationship of historical and logical, the interaction of national and universal. It is stated that development of art education in Ukraine in the second half of the XIX – early XX century was accompanied by the expansion of the system of education institutions that provided special arts and crafts education. It is found out that the leading features of the system of arts and crafts of the outlined period were: the imitative nature of the students’ activities; use of demonstrative and explanatory method of teaching techniques of future masters-craftsmen; practical training in the workshops of the institution; predominance of practical classes over theoretical training of students; internship in production; fulfillment of orders by the apprentices; dependence of the level of the educational process on the conditions created in each individual crafts education institution; lack of consistency in the process of mastering the techniques of handicrafts.

O presente artigo é parte dos estudos realizados no campo da História da Educação no período colonial e tem como tema a aprendizagem de ofício mecânico por homens livres e cativos no século XVIII e início do XIX na Vila Real do Sabará, Capitania de Minas Gerais. Atualmente, as pesquisas em História da Educação no período colonial têm diversificado os seus objetos, não restringindo mais ao ambiente escolar, assim, buscando novos objetos de estudo como o ensino das artes e ofícios mecânicos. As fontes consultadas foram ampliadas devido às dificuldades encontradas, principalmente pela inexistência de corporações de ofícios e de se pautar em algo ligado ao costume e a oralidade. Ampliando o escopo documental para além do fundo da câmara da Vila de Sabará, descobrimos em testamentos, libelos, justificações como se dava aprendizagem de ofício por livres e escravos. O auto de contas de tutoria presentes nos inventários post-mortem é a principal fonte utilizada na pesquisa, que permitiu levantarmos aprendizes, sabermos suas idades, qualidades, condições e ofícios escolhidos, como também, suas obrigações para com seus Mestres. Como veremos, a prática de ensinar um ofício para órfãos e escravos era consoante com a preocupação das autoridades régias de combater e controlar a vadiagem dos negros, mestiços e forros.* * *This article is part of studies conducted in the field of the History of Education with theme the learning of a mechanical craft by free and slaves men in the XVIII and early XIX centuries in Vila Real do Sabará, Minas Gerais. Currently, researches in History of Education in the colonial period have diversified their objects, not restricting more to the school, thus seeking new objects of study such as the teaching of the arts and mechanical crafts. The documents consulted were amplified due to the difficulties encountered, mainly due to the inexistence of guilds. Expanding the documentary scope beyond the documentation of the town hall of Sabará, we discovered in testaments, libels and justifications about the learning by free and slaves. The tutors accounts in the inventories is the main source used in the research, which allowed us to raise apprentices, to know their ages, qualities, conditions and chosen crafts, as well as their obligations with Master. As we shall see, the practice of teaching a trade for orphans and slaves was consonant with the concern of the royal authorities to combat and control the vagrancy of blacks, mestizos, and freedmen.

Notre article se propose de documenter la recherche sur les liens pouvant exister entre des apprentissages formels, institutionnalisés et des apprentissages informels. Nous nous intéressons particulièrement aux possibilités de transfert des pratiques technologiques de la sphère privée vers la sphère pédagogique dans la formation des futurs enseignants de langues. Notre étude porte sur un public d'étudiants inscrits en master de didactique des langues et des cultures en situation d'exploiter un réseau social, Facebook, pour élaborer des scénarisations pédagogiques médiatisées par les technologies. Nous postulons qu'un outil comme Facebook peut constituer un "objet-pont" (Peraya et Bonfils, 2012), facilitateur de formation des enseignants de langues. Our study aims at reflecting on the possible relationship between formal, informal and institutionalized learning. We are particularly interested in the possibilities of technology practices of the private sphere expanding into the pedagogical sphere in terms of training prospective foreign language teachers. Our study focuses on students of master’s programs in language learning-teaching and cultures who use a social network service, Facebook and try to develop technology-driven pedagogical scenarios. We assume that a tool like Facebook can be an "object-bridge" (objet-pont) (Peraya et Bonfils, 2012), facilitating foreign language teacher training.

[Editors’ note: this lyric essay was presented as the keynote address at Edith Cowan University’s CREATEC symposium on the theme Catastrophe and Creativity in November 2012, and represents excerpts from the author’s publication Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Reproduced with the author’s permission].Essay and verse and anecdote are the ways I have chosen to apprentice myself to loss, grief, faith, memory, and the stories we use to tie and untie them. Cat’s cradle, Celtic lines, bends and hitches are familiar: however, when I write about loss, I find there are knots I cannot tie or release, challenging both my imagination and my craft. Over the last decade, I have been learning that writing poetry is also the art of tying together light and dark, grief and joy, of grasping and releasing. Language is a hinge that connects us with the flesh of our experience; it is also residue, the ash of memory and imagination. (Threading Light 7) ———Greek katastrophé overturning, sudden turn, from kata down + strophe ‘turning” from strephein to turn.Loss and catastrophe catapult us into the liminal, into a threshold space. We walk between land we have known and the open sea. ———Mnemosyne, the mother of the nine Muses, the personification of memory, makes anthropologists of us all. When Hermes picked up the lyre, it was to her—to Remembrance —that he sang the first song. Without remembrance, oral or written, we have no place to begin. Stone, amulet, photograph, charm bracelet, cufflink, fish story, house, facial expression, tape recorder, verse, or the same old traveling salesman joke—we have places and means to try to store memories. Memories ground us, even as we know they are fleeting and flawed constructions that slip through our consciousness; ghosts of ghosts. One cold winter, I stayed in a guest room in my mother’s apartment complex for three days. Because she had lost her sight, I sat at the table in her overheated and stuffy kitchen with the frozen slider window and tried to describe photographs as she tried to recall names and events. I emptied out the dusty closet she’d ignored since my father left, and we talked about knitting patterns, the cost of her mother’s milk glass bowl, the old clothes she could only know by rubbing the fabric through her fingers. I climbed on a chair to reach a serving dish she wanted me to have, and we laughed hysterically when I read aloud the handwritten note inside: save for Annette, in a script not hers. It’s okay, she said; I want all this gone. To all you kids. Take everything you can. When I pop off, I don’t want any belongings. Our family had moved frequently, and my belongings always fit in a single box; as a student, in the back of a car or inside a backpack. Now, in her ninth decade, my mother wanted to return to the simplicity she, too, recalled from her days on a small farm outside a small town. On her deathbed, she insisted on having her head shaved, and frequently the nursing staff came into the room to find she had stripped off her johnny shirt and her covers. The philosopher Simone Weil said that all we possess in the world is the power to say “I” (Gravity 119).Memory is a cracked bowl, and it fills endlessly as it empties. Memory is what we create out of what we have at hand—other people’s accounts, objects, flawed stories of our own creation, second-hand tales handed down like an old watch. Annie Dillard says as a life’s work, she’d remember everything–everything against loss, and go through life like a plankton net. I prefer the image of the bowl—its capacity to feed us, the humility it suggests, its enduring shape, its rich symbolism. Its hope. To write is to fashion a bowl, perhaps, but we know, finally, the bowl cannot hold everything. (Threading Light 78–80) ———Man is the sire of sorrow, sang Joni Mitchell. Like joy, sorrow begins at birth: we are born into both. The desert fathers believed—in fact, many of certain faiths continue to believe—that penthos is mourning for lost salvation. Penthus was the last god to be given his assignment from Zeus: he was to be responsible for grieving and loss. Eros, the son of Aphrodite, was the god of love and desire. The two can be seen in concert with one another, each mirroring the other’s extreme, each demanding of us the farthest reach of our being. Nietzsche, through Zarathustra, phrased it another way: “Did you ever say Yes to one joy? O my friends, then you have also said Yes to all Woe as well. All things are chained, entwined together, all things are in love.” (Threading Light 92) ———We are that brief crack of light, that cradle rocking. We can aspire to a heaven, or a state of forgiveness; we can ask for redemption and hope for freedom from suffering for ourselves and our loved ones; we may create children or works of art in the vague hope that we will leave something behind when we go. But regardless, we know that there is a wall or a dark curtain or a void against which we direct or redirect our lives. We hide from it, we embrace it; we taunt it; we flout it. We write macabre jokes, we play hide and seek, we walk with bated breath, scream in movies, or howl in the wilderness. We despair when we learn of premature or sudden death; we are reminded daily—an avalanche, an aneurysm, a shocking diagnosis, a child’s bicycle in the intersection—that our illusions of control, that youthful sense of invincibility we have clung to, our last-ditch religious conversions, our versions of Pascal’s bargain, nothing stops the carriage from stopping for us.We are fortunate if our awareness calls forth our humanity. We learn, as Aristotle reminded us, about our capacity for fear and pity. Seeing others as vulnerable in their pain or weakness, we see our own frailties. As I read the poetry of Donne or Rumi, or verse created by the translator of Holocaust stories, Lois Olena, or the work of poet Sharon Olds as she recounts the daily horror of her youth, I can become open to pity, or—to use the more contemporary word—compassion. The philosopher Martha Nussbaum argues that works of art are not only a primary means for an individual to express her humanity through catharsis, as Aristotle claimed, but, because of the attunement to others and to the world that creation invites, the process can sow the seeds of social justice. Art grounds our grief in form; it connects us to one another and to the world. And the more we acquaint ourselves with works of art—in music, painting, theatre, literature—the more we open ourselves to complex and nuanced understandings of our human capacities for grief. Why else do we turn to a stirring poem when we are mourning? Why else do we sing? When my parents died, I came home from the library with stacks of poetry and memoirs about loss. How does your story dovetail with mine? I wanted to know. How large is this room—this country—of grief and how might I see it, feel the texture on its walls, the ice of its waters? I was in a foreign land, knew so little of its language, and wanted to be present and raw and vulnerable in its climate and geography. Writing and reading were my way not to squander my hours of pain. While it was difficult to live inside that country, it was more difficult not to. In learning to know graveyards as places of comfort and perspective, Mnemosyne’s territory with her markers of memory guarded by crow, leaf, and human footfall, with storehouses of vast and deep tapestries of stories whispered, sung, or silent, I am cultivating the practice of walking on common ground. Our losses are really our winter-enduring foliage, Rilke writes. They are place and settlement, foundation and soil, and home. (Threading Light 86–88) ———The loseability of our small and larger worlds allows us to see their gifts, their preciousness.Loseability allows us to pay attention. ———“A faith-based life, a Trappistine nun said to me, aims for transformation of the soul through compunction—not only a state of regret and remorse for our inadequacies before God, but also living inside a deeper sorrow, a yearning for a union with the divine. Compunction, according to a Christian encyclopaedia, is constructive only if it leads to repentance, reconciliation, and sanctification. Would you consider this work you are doing, the Trappistine wrote, to be a spiritual journey?Initially, I ducked her question; it was a good one. Like Neruda, I don’t know where the poetry comes from, a winter or a river. But like many poets, I feel the inadequacy of language to translate pain and beauty, the yearning for an embodied understanding of phenomena that is assensitive and soul-jolting as the contacts of eye-to-eye and skin-to-skin. While I do not worship a god, I do long for an impossible union with the world—a way to acknowledge the gift that is my life. Resonance: a search for the divine in the everyday. And more so. Writing is a full-bodied, sensory, immersive activity that asks me to give myself over to phenomena, that calls forth deep joy and deep sorrow sometimes so profound that I am gutted by my inadequacy. I am pierced, dumbstruck. Lyric language is the crayon I use, and poetry is my secular compunction...Poets—indeed, all writers—are often humbled by what we cannot do, pierced as we are by—what? I suggest mystery, impossibility, wonder, reverence, grief, desire, joy, our simple gratitude and despair. I speak of the soul and seven people rise from their chairs and leave the room, writes Mary Oliver (4). Eros and penthos working in concert. We have to sign on for the whole package, and that’s what both empties us out, and fills us up. The practice of poetry is our inadequate means of seeking the gift of tears. We cultivate awe, wonder, the exquisite pain of seeing and knowing deeply the abundant and the fleeting in our lives. Yes, it is a spiritual path. It has to do with the soul, and the sacred—our venerating the world given to us. Whether we are inside a belief system that has or does not have a god makes no difference. Seven others lean forward to listen. (Threading Light 98–100)———The capacity to give one’s attention to a sufferer is a rare thing; it is almost a miracle; it is a miracle. – Simone Weil (169)I can look at the lines and shades on the page clipped to the easel, deer tracks in the snow, or flecks of light on a summer sidewalk. Or at the moon as it moves from new to full. Or I can read the poetry of Paul Celan.Celan’s poem “Tenebrae” takes its title from high Christian services in which lighting, usually from candles, is gradually extinguished so that by the end of the service, the church is in total darkness. Considering Celan’s—Antschel’s—history as a Romanian Jew whose parents were killed in the Nazi death camps, and his subsequent years tortured by the agony of his grief, we are not surprised to learn he chose German, his mother’s language, to create his poetry: it might have been his act of defiance, his way of using shadow and light against the other. The poet’s deep grief, his profound awareness of loss, looks unflinchingly at the past, at the piles of bodies. The language has become a prism, reflecting penetrating shafts of shadow: in the shine of blood, the darkest of the dark. Enlinked, enlaced, and enamoured. We don’t always have names for the shades of sorrows and joys we live inside, but we know that each defines and depends upon the other. Inside the core shadow of grief we recognise our shared mortality, and only in that recognition—we are not alone—can hope be engendered. In the exquisite pure spot of light we associate with love and joy, we may be temporarily blinded, but if we look beyond, and we draw on what we know, we feel the presence of the shadows that have intensified what appears to us as light. Light and dark—even in what we may think are their purest state—are transitory pauses in the shape of being. Decades ago my well-meaning mother, a nurse, gave me pills to dull the pain of losing my fiancé who had shot himself; now, years later, knowing so many deaths, and more imminent, I would choose the bittersweet tenderness of being fully inside grief—awake, raw, open—feeling its walls, its every rough surface, its every degree of light and dark. It is love/loss, light/dark, a fusion that brings me home to the world. (Threading Light 100–101) ———Loss can trigger and inspire creativity, not only at the individual level but at the public level, whether we are marching in Idle No More demonstrations, re-building a shelter, or re-building a life. We use art to weep, to howl, to reach for something that matters, something that means. And sometimes it may mean that all we learn from it is that nothing lasts. And then, what? What do we do then? ———The wisdom of Epictetus, the Stoic, can offer solace, but I know it will take time to catch up with him. Nothing can be taken from us, he claims, because there is nothing to lose: what we lose—lover, friend, hope, father, dream, keys, faith, mother—has merely been returned to where it (or they) came from. We live in samsara, Zen masters remind us, inside a cycle of suffering that results from a belief in the permanence of self and of others. Our perception of reality is narrow; we must broaden it to include all phenomena, to recognise the interdependence of lives, the planet, and beyond, into galaxies. A lot for a mortal to get her head around. And yet, as so many poets have wondered, is that not where imagination is born—in the struggle and practice of listening, attending, and putting ourselves inside the now that all phenomena share? Can I imagine the rush of air under the loon that passes over my house toward the ocean every morning at dawn? The hot dust under the cracked feet of that child on the outskirts of Darwin? The gut-hauling terror of an Afghan woman whose family’s blood is being spilled? Thich Nhat Hanh says that we are only alive when we live the sufferings and the joys of others. He writes: Having seen the reality of interdependence and entered deeply into its reality, nothing can oppress you any longer. You are liberated. Sit in the lotus position, observe your breath, and ask one who has died for others. (66)Our breath is a delicate thread, and it contains multitudes. I hear an echo, yes. The practice of poetry—my own spiritual and philosophical practice, my own sackcloth and candle—has allowed me a glimpse not only into the lives of others, sentient or not, here, afar, or long dead, but it has deepened and broadened my capacity for breath. Attention to breath grounds me and forces me to attend, pulls me into my body as flesh. When I see my flesh as part of the earth, as part of all flesh, as Morris Berman claims, I come to see myself as part of something larger. (Threading Light 134–135) ———We think of loss as a dark time, and yet it opens us, deepens us.Close attention to loss—our own and others’—cultivates compassion.As artists we’re already predisposed to look and listen closely. We taste things, we touch things, we smell them. We lie on the ground like Mary Oliver looking at that grasshopper. We fill our ears with music that not everyone slows down to hear. We fall in love with ideas, with people, with places, with beauty, with tragedy, and I think we desire some kind of fusion, a deeper connection than everyday allows us. We want to BE that grasshopper, enter that devastation, to honour it. We long, I think, to be present.When we are present, even in catastrophe, we are fully alive. It seems counter-intuitive, but the more fully we engage with our losses—the harder we look, the more we soften into compassion—the more we cultivate resilience. ———Resilience consists of three features—persistence, adaptability transformability—each interacting from local to global scales. – Carl FolkeResilent people and resilient systems find meaning and purpose in loss. We set aside our own egos and we try to learn to listen and to see, to open up. Resilience is fundamentally an act of optimism. This is not the same, however, as being naïve. Optimism is the difference between “why me?” and “why not me?” Optimism is present when we are learning to think larger than ourselves. Resilience asks us to keep moving. Sometimes with loss there is a moment or two—or a month, a year, who knows?—where we, as humans, believe that we are standing still, we’re stuck, we’re in stasis. But we aren’t. Everything is always moving and everything is always in relation. What we mistake for stasis in a system is the system taking stock, transforming, doing things underneath the surface, preparing to rebuild, create, recreate. Leonard Cohen reminded us there’s a crack in everything, and that’s how the light gets in. But what we often don’t realize is that it’s we—the human race, our own possibilities, our own creativity—who are that light. We are resilient when we have agency, support, community we can draw on. When we have hope. ———FortuneFeet to carry you past acres of grapevines, awnings that opento a hall of paperbarks. A dog to circle you, look behind, point ahead. A hip that bends, allows you to slidebetween wire and wooden bars of the fence. A twinge rides with that hip, and sometimes the remnant of a fall bloomsin your right foot. Hands to grip a stick for climbing, to rest your weight when you turn to look below. On your left hand,a story: others see it as a scar. On the other, a newer tale; a bone-white lump. Below, mist disappears; a nichein the world opens to its long green history. Hills furrow into their dark harbours. Horses, snatches of inhale and whiffle.Mutterings of men, a cow’s long bellow, soft thud of feet along the hill. You turn at the sound.The dog swallows a cry. Stays; shakes until the noise recedes. After a time, she walks on three legs,tests the paw of the fourth in the dust. You may never know how she was wounded. She remembers your bodyby scent, voice, perhaps the taste of contraband food at the door of the house. Story of human and dog, you begin—but the wordyour fingers make is god. What last year was her silken newborn fur is now sunbleached, basket dry. Feet, hips, hands, paws, lapwings,mockingbirds, quickening, longing: how eucalypts reach to give shade, and tiny tight grapes cling to vines that align on a slope as smoothlyas the moon follows you, as intention always leans toward good. To know bones of the earth are as true as a point of light: tendernesswhere you bend and press can whisper grace, sorrow’s last line, into all that might have been,so much that is. (Threading Light 115–116) Acknowledgments The author would like to thank Dr. Lekkie Hopkins and Dr. John Ryan for the opportunity to speak (via video) to the 2012 CREATEC Symposium Catastrophe and Creativity, to Dr. Hopkins for her eloquent and memorable paper in response to my work on creativity and research, and to Dr. Ryan for his support. The presentation was recorded and edited by Paul Poirier at Mount Saint Vincent University in Halifax, Nova Scotia. My thanks go to Edith Cowan and Mount Saint Vincent Universities. ReferencesBerman, Morris. Coming to Our Senses. New York: Bantam, 1990.Dillard, Annie. For the Time Being. New York: Vintage Books, 2000.Felstiner, John. Paul Celan: Poet, Survivor, Jew. New Haven, CT: Yale University Press, 2001.Folke, Carl. "On Resilience." Seed Magazine. 13 Dec. 2010. 22 Mar. 2013 ‹http://seedmagazine.com/content/article/on_resilience›.Franck, Frederick. Zen Seeing, Zen Drawing. New York: Bantam Books, 1993.Hanh, Thich Nhat. The Miracle of Mindfulness. Boston: Beacon Press, 1976.Hausherr, Irenee. Penthos: The Doctrine of Compunction in the Christian East. Kalamazoo, MI: Cistercian Publications, 1982.Neilsen Glenn, Lorri. Threading Light: Explorations in Loss and Poetry. Regina, SK: Hagios Press, 2011. Nietzsche, Frederick. Thus Spake Zarathustra. New York: Penguin, 1978. Nussbaum, Martha. Upheavals of Thought: The Intelligence of Emotions. New York: Cambridge University Press, 2001. Oliver, Mary. “The Word.” What Do We Know. Boston: DaCapo Press, 2002.Rilke, Rainer Maria. Duino Elegies and the Sonnets to Orpheus. (Tenth Elegy). Ed. Stephen Mitchell. New York: Random House/Vintage Editions, 2009.Weil, Simone. The Need for Roots. London: Taylor & Francis, 2005 (1952).Weil, Simone. Gravity and Grace. London: Routledge, 2004.Further ReadingChodron, Pema. Practicing Peace in Times of War. Boston: Shambhala, 2006.Cleary, Thomas (trans.) The Essential Tao: An Initiation into the Heart of Taoism through Tao de Ching and the Teachings of Chuang Tzu. Edison, NJ: Castle Books, 1993.Dalai Lama (H H the 14th) and Venerable Chan Master Sheng-yen. Meeting of Minds: A Dialogue on Tibetan and Chinese Buddhism. New York: Dharma Drum Publications, 1999. Hirshfield, Jane. "Language Wakes Up in the Morning: A Meander toward Writing." Alaska Quarterly Review. 21.1 (2003).Hirshfield, Jane. Nine Gates: Entering the Mind of Poetry. New York: HarperCollins, 1997. Lao Tzu. Tao Te Ching. Trans. Arthur Waley. Chatham: Wordsworth Editions, 1997. Neilsen, Lorri. "Lyric Inquiry." Handbook of the Arts in Qualitative Research. Eds. J. Gary Knowles and Ardra Cole. Thousand Oaks: Sage, 2008. 88–98. Ross, Maggie. The Fire and the Furnace: The Way of Tears and Fire. York: Paulist Press, 1987.