Academic literature on the topic 'Phronetic research'

In the past 30 years there has been a steady and growing appreciation in the literature of the importance and value of teachers' practical wisdom (TPW) - or phronesis as it is also known - to further an understanding of classroom practice and of the need to find ways to help teachers generate and share their perspectives with others. Nevertheless, the potential of this kind of knowledge (understood by Aristotle to be both practical and moral in its orientation) to contribute valuable insights to educational debates has still to be realised. Rather, educational decisions about policy and practice in many contexts (whether at a national or institutional level) are still largely driven by theoretical and technical knowledge perspectives and teacher practical wisdom perspectives are still often under-valued and remain under-represented in educational literature. One of the main reasons for this put forward in this thesis is the tendency in much of the literature to see this form of knowledge as classroom bound rather than to realise the ways in which it can inform broader pedagogical discussions. Bearing all of the above in mind, the aim of the study reported in this thesis into the TPW of 14 experienced expatriate English as a foreign language teachers (EEEFLTs) working in English language centres (ELCs) across the Kingdom of Saudi Arabia (KSA) is threefold. Its first aim is to provide a platform for the EEEFLTs to demonstrate the contribution their TPW can potentially make in addressing syllabus related issues in the KSA ELCs they have worked and, in doing so, show how the use of TPW is not confined to the classroom. Its second aim is to increase the visibility of the participants' TPW and thus raise awareness of the importance of research into TPW and to provide a model for how this can be conducted. The study's final aim is to provide a deeper understanding of the nature of TPW. Located in the interpretive paradigm, this study uses a TPW-friendly methodology to investigate TPW: interpretive phronetic educational research (IPER), which approaches and conducts educational research through a moral and practical problem-driven lens. This understanding drives the study's methodology and all stages of its data collection and analysis and the methods used in both. The goal of such methods is an epistemological one to generate TPW whilst empowering it also by highlighting its validity and how it is easily articulated - and thus captured - and not confined to the classroom. To assist with its articulation and capture, the study employs a process defined as Problematisation: a four-stage process consisting of reflection, problematisation, deliberation and articulation which drives and shapes the semi-structured interviews the study employs and the secondary research questions that inform the primary research question. The study concludes that the EEEFLTs use their TPW as a lens (that has 12 qualities) through which to view KSA ELC syllabi and, in doing so, identify many problems with the syllabi and subsequent consequences and suggest solutions to address both. These problems, consequences and solutions have been organised under six prominent categories that represent six main problem areas to emerge from the data that suggest the syllabi are teacher, textbook and test-centred, top-down, teacher-proof and time-driven. These categories represent six problem areas that in turn reflect the problematic, negative and disempowering context from which the data informing such categories and themes have been drawn. In this study, TPW is considered disempowered knowledge as a result of the disempowering context within which it has been acquired and is used. Previous TPW studies have been conducted in more positive settings and have perhaps for this reason not focused on TPW's disempowerment. In contrast, this study takes on a much more political role as it explores TPW's disempowerment in the KSA ELC context as well as in the broader context of academia and the literature. TPW's lack of visibility in TESOL and education has several implications because unless TPW achieves greater visibility, it may fade into extinction and its potential may never be realised. This study has been conducted in an attempt to prevent this happening.

Philosophiae Doctor - PhD<br>Ocean Governance in South Africa has gained momentum over the last decade with the publication of the Green and White Papers on the National Environmental Management of the Ocean in 2012 and 2014, and the promulgation of the Marine Spatial Planning Act in 2019. Parallel to this South Africa developed and implemented the Operation Phakisa Ocean Economy Development Programme and declared a network of twenty Marine Protected Areas. The timing of this study over the last five years allowed the opportunity to undertake a detailed study of the Ocean Governance Policy Development and Implementation as the formulation of the policy and its early implementation unfolded. The Study is primarily based on interpretation of the Green and White Papers as the primary and directed ocean governance policies produced by the Government of South African and the National Department of Environmental Affairs. It places these most recent specific ocean environmental policies in the context of the many other environmental policies that exits in the country.

Mitt första möte med en tiggande föranledde mig att under fem år undersöka den nya situationen för tiggeriet och giveriet i Sverige. Förutsättningen är att vardagliga handlingar och reaktioner gentemot en annan människa kan synliggöras estetiskt med en etisk klangbotten. Min undersökning utspelar sig i första hand i gaturummet och i medierna. Det är hela tiden bilderna som är utgångspunkten för resonemangen och de gestaltande verken. Bilder som både separerar och länkar samman kroppar. Vilka bilder är i spel i tiggeriets och giveriets sociala koreografi? Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Tiggandet är en uppmaning till social interaktion, och vare sig givaren socialt interagerar eller inte med den tiggande människan på gatan så involveras givaren i det europeiska samfundets asymmetriska värdesystem. I min första gestaltning anlitas en professionell marknadsundersökare för att ta reda på hur en tiggare i Sverige skulle kunna göra för att bli framgångsrik. Det blir en film som jag sedan visar mittemot en film där tiggande pratar om hur givare ger. Ur detta verk följer så en rad gestaltningar och en interdisciplinär teoretisk diskussion med bland andra Judith Butler, Sara Ahmed och Hannah Arendt, samt med en rad konstnärers arbeten, kring hur bilder – och kroppsliga handlingar – är kopplade till samhällsbilden och samhällskroppen? Körernas uppställning i gestaltningen Tiggandets kör och Givandets kör anger ett utrymme för social interaktion och demonstrerar därmed en annan ordning som kräver andra insatser, i språk, rörelse och attityd gentemot varandra. Det är en social koreografi: när körerna tränade och sjöng tillsammans uppstod en politisk form. Min förhoppning är att estetiskt synliggöra ett politiskt handlingsutrymme mellan tiggandet och givandet som kan utnyttjas för fortsatta etiska förhandlingar, och nya gestaltningar.<br>My first encounter with a begging person led me to spend five years investigating the new situation regarding begging and giving in Sweden. The premise is that every-day actions and reactions to another person can be made visible through aesthetics with ethical underpinnings. My investigation takes place mainly in the urban landscape and in the media. The images always constitute the point of departure for the reasoning and for the staged works. Images that separate as well as connect bodies. Which images are at play in the social choreography of begging and giving? In this context, how can images be activated in new ways? How can new images be generated? Begging is a call to social interaction, and regardless of whether the giver interacts socially with the begging person on the street, the giver is implicated in the asymmetrical value systems of the European Union. In my first staged work I hire a professional market researcher to find out how a beggar in Sweden should behave to be successful. This becomes a film that I then show opposite another film in which begging people talk about how givers give. This is followed by a number of staged works and an interdisciplinary theoretical discussion involving, among others, Judith Butler, Sara Ahmed, and Hannah Arendt, as well as a number of artistic works concerning how images – and bodily actions – are linked to the social image and the body politics. The arrangement of the choirs in the staged work The Chorus of Begging and The Chorus of Giving, indicates a space for social interaction and thus demonstrates a different order that demands different actions in terms of language, movement, and attitude toward each other. It’s a social choreography: when the choirs rehearsed and sung together a political form emerged. My hope is to make visible a space for action between the begging and the giving that can be used for continued ethical negotiations and new staged works.<br><p>Föreliggande doktorsarbete har genomförts och handletts i forskarutbildningen i Fri konst vid Konsthögskolan, Umeå universitet. Doktorsarbetet läggs fram vid Lunds universitet inom ramen för samverkansavtalet mellan Konstnärliga fakulteten vid Lunds universitet och Konsthögskolan Umeå angående utbildning på forskarnivå i ämnet Fri konst inom ramen för Konstnärliga forskarskolan.</p><p>This dissertation has been carried out and supervised within the graduate programme in Fine Arts at Umeå Academy of Fine Arts, Umeå University. The dissertation is presented at Lund University in the framework of the cooperation agreement between the Malmö Faculty of Fine and Performing Arts, Lund University, and Umeå Academy of Fine Arts regarding doctoral education in the subject Fine Arts in the context of Konstnärliga forskarskolan.</p><p>Avhandlingen är även utgiven i serien: Malmö Faculty of Fine and Performing Arts, Lund University: Doctoral Studies and Research in Fine and Performing Arts, 14. ISSN: 1653-8617</p>

abstract: This project draws on sociocognitive rhetoric to ask, How, in complex situations not of our making, do we determine what needs to be done and how to leverage available means for the health of our communities and institutions? The project pulls together rhetorical concepts of the stochastic arts (those that demand the most precise, careful planning in the least predictable places) and techne (problem-solving tools that transform limits and barriers into possibilities) to forward a stochastic techne that grounds contemplative social action at the intersection of invention and intervention and mastery and failure in real time, under constraints we can't control and outcomes we can't predict. Based on 18 months of fieldwork with the Sudanese refugee diaspora in Phoenix, I offer a method for engaging in postmodern phronesis with community partners in four ways: 1) Explanations and examples of public listening and situational mapping 2) Narratives that elucidate the stochastic techne, a heuristic for determining and testing wise rhetorical action 3) Principles for constructing mutually collaborative, mutually beneficial community-university/ community-school partnerships for jointly addressing real-world issues that matter in the places where we live 4) Descriptions and explanations that ground the hard rhetorical work of inventing new paths and destinations as some of the Sudanese women construct hybridized identities and models of social entrepreneurship that resist aid-to-Africa discourse based on American paternalism and humanitarianism and re-cast themselves as micro-financers of innovative work here and in Southern Sudan. Finally, the project pulls back from the Sudanese to consider implications for re-figuring secondary English education around phronesis. Here, I offer a framework for teachers to engage in the real work of problem-posing that aims - as Django Paris calls us - to get something done by confronting the issues that confront our communities. Grounded in classroom instruction, the chapter provides tools for scaffolding public listening, multi-voiced inquiries, and phronesis with and for local publics. I conclude by calling for English education to abandon all pretense of being a predictive science and to instead embrace productive knowledge-making and the rhetorical work of phronesis as the heart of secondary English studies.<br>Dissertation/Thesis<br>Ph.D. Curriculum and Instruction 2012

O projeto de investigação “Criatividade, filosofia e emaravilhamento” foi desenvolvido com um grupo de crianças do ensino pré-primário e duas turmas do 1º ciclo de escolaridade. A investigação decorreu em Comunidades de Investigação Filosófica, através da aplicação da metodologia de Filosofia Para Crianças, de Mathew Lipman. Sendo a matriz deste projeto holística, a dimensão cognitiva integrou a corporalidade e fê-la dialogar dialeticamente com os conceitos de sensibilidade estética (aisthésis) e razão prática (phronésis), através de uma poiésis orientada para o desenvolvimento cognitivo, ético e estético. O recurso às técnicas de criatividade de David Prado Diez, nomeadamente a Analogia Inusual, o Torvelinho de Ideias e o Relaxamento Criativo, permitiu estabelecer o diálogo entre a imaginação, a cinestesia, a criatividade e o discurso argumentativo. A cooperação, a intersubjetividade, a comunicação autêntica, a vivência imagética da beleza, da harmonia e da paz, visaram a formação de um ethos comum e de uma consciência em simbiosinergia com as comunidades bióticas e com o cosmos.<br>The research project "Creativity, philosophy and Amazement" was developed with a group of preschool children and two classes of the 1st cycle: from the 1st and the 2nd year, respectively. The research took place in communities of Philosophical Research, through the application of the methodology laid out in Philosophy for Children, by Matthew Lipman. The matrix of this project was holistic, and thus the cognitive dimension included corporeality aspects, in conjunction with the concepts of aesthetic sensitivity (aisthésis) and practical reason (phronésis) through a poiésis oriented towards a cognitive, ethical and aesthetic development. The use of the creative techniques of David Prado Diez, notably the Unusual Analogy, the Whirlwind of Ideas and Creative Relaxation, allowed for a dialogue between imagination, kinesthesia, creativity and argumentative discourse. Cooperation, intersubjectivity, authentic communication, the visual experience of beauty, harmony and peace, aimed at the formation of a common ethos and a conscience in symbiosynergy with the biotic communities and with the cosmos.