Academic literature on the topic 'Teacher-producer'

Catechetic is the coaching of children, youth and adults in the faith, which is specific to the delivery of the Christian movement, which is basically given organically and systematically, The Catholic Religion teacher deeply embraces her duties and mission through her work at school. This work is the duty and mission that comes from God himself. The Catholic Religion teacher is expected to earnestly live his vocation as a religious teacher. A Catholic teacher is an educator as well as a journalist. An educator or reporter will be able to carry out his duties well if he has a clear and correct understanding of what is actually the purpose of teaching Catholicism as a means of preaching the love of Jesus. A Religion Teacher is a person whose job is to teach another person or an emulated and imitated person. It means that the word is imitated and imitated by faith and deeds by dodging the Christian life.
 STKIP Widya Yuwana is an institution owned by the diocese of Surabaya aimed at educating prospective catechists and religious teachers. The institute was originally founded by Paul Janssen, CM under the name AKI (Indonesian Catechetical Academy) which aims to produce a militant and powerful catechist. According to the times, AKI has changed into STKIP Widya Yuwana. As the name implies, this institution is then identified as a producer of religious teachers, and even the impression that this institution no longer exists on the path of Jansen's romance as a catechist producer, and turned into a producer of Catholic religious teachers.
 This research is needed to photograph what really happened to the students. Is it true that the outward impression that graduates and students are more likely to be teachers? If so, what is the motivation behind it? Is it really a catechist profession is not promising, or indeed STKIP Widya Yuwana who had already lost the spirit of the founder of its predecessor?

When Dora Mavor Moore founded the New Play Society in Toronto in 1946, she was already close to sixty years old and had been working in the theatre as actress, director, producer and teacher for almost forty years. During those years, Canada had virtually no indigenous professional theatre; it was the amateur stage that kept Canadian theatre alive. Her work from 1906 to 1946 serves as evidence not only of what forms Canadian theatrical activity took, but also of what it meant to make one's living in the theatre then.

In recent years the profession of teaching has reached a maturity to the point of being considered a producer of own knowledge necessary to the practice. The teacher is no longer seen as a technician, but as an intellectual actor and the specialized literature advocates teaching as a profession, and it recognizes that the teacher has “knowledge base”, a set of skills that are developed during his teaching activity. The Pedagogical Content Knowledge (PCK) is a concept that seeks to represent the teachers’ professional knowledge and it has been widely used in the literature about teachers' knowledge. It has proved a fruitful model for investigations aimed to document the knowledge that makes one a good teacher. Despite the relevance that the PCK is, the consensus on what is the PCK is still far from being achieved and many researches propose different models and concepts for the PCK, sometimes conflicting. Many works brings the PCK and speak of it as if it were a clear concept and do not clarify which model / conception are using, which makes investigations on the PCK difficult and ends up attracting a lot of criticism. Thus, this study aims to look critically at the various models proposed in the literature most used and point differences and similarities so that an overview can be built with more insight and analyze their use and validity. The study will also present some ways to have access to PCK and the relation between PCK and teacher education is also discussed. Key words: knowledge base of teaching; pedagogical content knowledge; professional knowledge; teachers’ education; teachers’ knowledge.

The Ashmolean Latin Inscriptions Project (AshLI) is a three-year collaboration between the universities of Warwick and Oxford, and the Ashmolean Museum. Its remit comprises, aside from photographing, cataloguing and translating the Museum's collection of more than 350 Latin-inscribed objects, a wide-ranging programme of public- and schools-engagement: as well as the epigraphers (inscriptions specialists), imaging experts and digital encoders, Professor Alison Cooley's team also includes a PGCE-qualified Classics teacher and blogger, and a trained podcast producer. Their aim is to tell stories of Roman life, using inscriptions as a starting point, through INSET days, free teaching resources, short films and regular podcasts made available through the project's blog ‘Reading, Writing, Romans’. In 2015, the team organised the first in a series of large-scale, direct public engagement events, when it staged a Roman funeral procession in the Ashmolean Museum.

Abstract If a picture was not seen to be art when it was made, can we imagine that its producer may have designed the work to be read elsewhere in time or space? Or, perhaps, that the eyes that have been trained upon the work have rarely been those that were able to see and describe its value? This piece (also available on Instagram @cendrillondefes) tries to dramatize the gains that come to history through a process of learning to read a text whose significance was not seen in the moment in which it was made. It aims at a discrete form of upending, in reevaluating the work of an important artist and the culture from which they came, while aspiring to be a more of a beginning than an ending in its more general goals. These humbler aspirations depend upon seeing its subject as a teacher, rather than simply as an object of study.

AbstractIntroduction: This research aims to determine the humour behaviours of school administrators according to teacher perception and to reveal the relationship between humour behaviours and school climate.Methods: The research was carried out in a survey model. The data of the study were obtained from 221 primary school teachers working in Ankara and Aksaray provinces via a questionnaire created online. Regression analysis technique was used to determine the relationship between variables.Results: According to the results of the research, school administrators showed relatively more positive humour (producer-social humour and affirmative humour) behaviours. In terms of climate, it is seen that the perception of a positive school climate (supportive and intimacy based school climate) is higher than the negative ones. When the relationships between the variables were examined, it was seen that there was a definite increase in the school climate with the school administrator using humour positively. With the rise in the use of refusing or sarcastic humour, there was an adverse increase in school climate.Discussion: According to these results, it can be argued that humour behaviours of school administrators are an essential determinant in the context of creating a positive school climate in schools.Limitations: Data from the sample of the study were collected through online questionnaires. Therefore, this research has no claim of generalisability.Conclusions: Therefore, it is necessary to increase the knowledge and sensitivity of school administrators on how to use and manage humour.

Abstract Introduction: This research aims to determine the humour behaviours of school administrators according to teacher perception and to reveal the relationship between humour behaviours and school climate. Methods: The research was carried out in a survey model. The data of the study were obtained from 221 primary school teachers working in Ankara and Aksaray provinces via a questionnaire created online. Regression analysis technique was used to determine the relationship between variables. Results: According to the results of the research, school administrators showed relatively more positive humour (producer-social humour and affirmative humour) behaviours. In terms of climate, it is seen that the perception of a positive school climate (supportive and intimacy based school climate) is higher than the negative ones. When the relationships between the variables were examined, it was seen that there was a definite increase in the school climate with the school administrator using humour positively. With the rise in the use of refusing or sarcastic humour, there was an adverse increase in school climate. Discussion: According to these results, it can be argued that humour behaviours of school administrators are an essential determinant in the context of creating a positive school climate in schools. Limitations: Data from the sample of the study were collected through online questionnaires. Therefore, this research has no claim of generalisability. Conclusions: Therefore, it is necessary to increase the knowledge and sensitivity of school administrators on how to use and manage humour.

Death not only robbed Anthony Pople of more than two decades from his three score years and ten; it robbed a community dedicated to the study and promotion of western classical music, especially twentieth-century music, of one of its leading lights. Pople was a prolific thinker and doer, and quite a bit of his legacy is in the form of influence, as a teacher, of course, but also as an imaginative person of action who gave of his time and expertise in all sorts of ways – on committees, as an editor, examiner, adviser, studio producer – and, let us not forget, as a most gifted composer and performer of music. There is also the black-line legacy. His writings show, consistently, his rare talent for both clarity and depth of thought. I think he was one of those authors who wanted every piece to be special, shunning the routine as well as the speculative: and if that sentiment might remind us of the composer Alban Berg, it is no accident.

In her debut book Dolore minimo, Giovanna Cristina Vivinetto engages in a reflection on motherhood to recount an autobiographical story of gender self-determination and male to female transition. This article explores Vivinetto’s poetry as the retelling of transformative moments in two mother–daughter relationships, which generate a reshaping of life and language. In the book, these two storylines intersect, blur, and even overlap, creating a poetic discourse in which the maternal acts simultaneously as powerful catalyzer and producer of meanings. In discussing how, in Dolore minimo, the relationship of two atypical mothers becomes the creative site of a new possible symbolic order, my analysis engages an atypical approach: it reads Vivinetto’s queer representation of motherhood via the theorization developed by the women of Diotima—including, in particular, Luisa Muraro, Chiara Zamboni, Diana Sartori, and Ida Dominijanni. These feminist thinkers have been generally criticized for reinforcing binary understandings of sex and gender, based on an essentialist view of the category of woman. Yet, what if the feminism forwarded by Diotima, by positioning the feminine as a creative producer and first-person narrator of change, could still offer a productive avenue for dialogue? The article begins with a discussion of Diotima’s key theorizations, which lays the groundwork for interpreting the maternal poetics of Dolore minimo. The subsequent sections examine in more depth how Vivinetto’s poetry has reinvented the figure of the mother as a teacher and learner of new words, and how, through this reinvention, she has crafted a maternal language that knits together new relations of contiguity and change. Ultimately, by redeploying the figure of the mother beyond cisgender norms, Vivinetto’s poetry is revealing the inexhaustible vitality of this character.

Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut.<br>This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-08T14:31:32Z No. of bitstreams: 9 Maria Lidia Mattos parte 9.pdf: 6347763 bytes, checksum: badcb80379a5204d3b5ff4bba941a2f1 (MD5) Maria Lidia Mattos parte 8.pdf: 5592957 bytes, checksum: ee4275c6cb391aa589f25383e58f4b8e (MD5) Maria Lidia Mattos parte 7.pdf: 4174952 bytes, checksum: 559ec37a781860f159971e8876ea97f4 (MD5) Maria Lidia Mattos parte 6.pdf: 4768764 bytes, checksum: 62273f59654fc45c1899548a91dfd857 (MD5) Maria Lidia Mattos parte 5.pdf: 3610053 bytes, checksum: b96fd29708013e5277c27341e465fa15 (MD5) Maria Lidia Mattos parte 4.pdf: 5535691 bytes, checksum: d6615e5c0b0a5a32e86076243c76fd82 (MD5) Maria Lidia Mattos parte 3.pdf: 2969381 bytes, checksum: 328d9c21481e101b9ee839a47bfdb21a (MD5) Maria Lidia Mattos parte 2.pdf: 5631116 bytes, checksum: 10f9f1fbfca074362d0dfd36cdb54d8c (MD5) Maria Lidia Mattos parte 1.pdf: 4146618 bytes, checksum: 89df828cf4c7f6aeacb72c0fad7b3dd0 (MD5)<br>Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-05-16T17:41:22Z (GMT) No. of bitstreams: 9 Maria Lidia Mattos parte 9.pdf: 6347763 bytes, checksum: badcb80379a5204d3b5ff4bba941a2f1 (MD5) Maria Lidia Mattos parte 8.pdf: 5592957 bytes, checksum: ee4275c6cb391aa589f25383e58f4b8e (MD5) Maria Lidia Mattos parte 7.pdf: 4174952 bytes, checksum: 559ec37a781860f159971e8876ea97f4 (MD5) Maria Lidia Mattos parte 6.pdf: 4768764 bytes, checksum: 62273f59654fc45c1899548a91dfd857 (MD5) Maria Lidia Mattos parte 5.pdf: 3610053 bytes, checksum: b96fd29708013e5277c27341e465fa15 (MD5) Maria Lidia Mattos parte 4.pdf: 5535691 bytes, checksum: d6615e5c0b0a5a32e86076243c76fd82 (MD5) Maria Lidia Mattos parte 3.pdf: 2969381 bytes, checksum: 328d9c21481e101b9ee839a47bfdb21a (MD5) Maria Lidia Mattos parte 2.pdf: 5631116 bytes, checksum: 10f9f1fbfca074362d0dfd36cdb54d8c (MD5) Maria Lidia Mattos parte 1.pdf: 4146618 bytes, checksum: 89df828cf4c7f6aeacb72c0fad7b3dd0 (MD5)<br>Made available in DSpace on 2013-05-16T17:41:22Z (GMT). No. of bitstreams: 9 Maria Lidia Mattos parte 9.pdf: 6347763 bytes, checksum: badcb80379a5204d3b5ff4bba941a2f1 (MD5) Maria Lidia Mattos parte 8.pdf: 5592957 bytes, checksum: ee4275c6cb391aa589f25383e58f4b8e (MD5) Maria Lidia Mattos parte 7.pdf: 4174952 bytes, checksum: 559ec37a781860f159971e8876ea97f4 (MD5) Maria Lidia Mattos parte 6.pdf: 4768764 bytes, checksum: 62273f59654fc45c1899548a91dfd857 (MD5) Maria Lidia Mattos parte 5.pdf: 3610053 bytes, checksum: b96fd29708013e5277c27341e465fa15 (MD5) Maria Lidia Mattos parte 4.pdf: 5535691 bytes, checksum: d6615e5c0b0a5a32e86076243c76fd82 (MD5) Maria Lidia Mattos parte 3.pdf: 2969381 bytes, checksum: 328d9c21481e101b9ee839a47bfdb21a (MD5) Maria Lidia Mattos parte 2.pdf: 5631116 bytes, checksum: 10f9f1fbfca074362d0dfd36cdb54d8c (MD5) Maria Lidia Mattos parte 1.pdf: 4146618 bytes, checksum: 89df828cf4c7f6aeacb72c0fad7b3dd0 (MD5) Previous issue date: 2008<br>Os professores em suas formações básicas são capazes de produção para a educação à distância, porém torna-se necessário a (in)formação para isso. Na expectativa de analisar os espaços e processos de (in)formação e aprendizagem de professor-produtor na área de educação à distância, especialmente aqueles relacionados aos diferentes modos de organização e produção de conhecimento, organizou-se este trabalho para estudar os encontros numa caminhada. Nessa jornada encontramos sujeitos teóricos, sujeitos que se tornaram autores e atores desse processo, encontramos obstáculos, pedras, mas também perspectivas para a análise. A compreensão da crase na expressão - educação à distância - constituiu-se de fundamental importância para a definição das categorias estudadas e assim entendeu-se que não é a distância que determina a educação, mas a educação que determina a distância. O entendimento da crase torna-se relevante para a definição da educação à distância. O caminho escolhido foi da análise contrastiva das falas dos sujeitos da pesquisa. Para dar seqüência à caminhada planejada, foi necessário o estabelecimento de outros passos, já que a análise supracitada só é possível com: compreensão da (in)formação dos professores em suas atribuições pedagógicas na produção de material em diferentes suportes tecnológicos – analógicos e digitais, assim compreendido como histórias de vida tecnológica; identificação dos processos de (in)formação e aprendizagem do professor-produtor de educação à distância relacionados aos aspectos de produção de material didático apropriadas à interação em ambientes informacionais de base digital; verificação, através de análise de entrevistas, de que modo os professores-produtores estão utilizando ferramentas de comunicação nas produções que realizam; compreensão de distância como espaço de (in)formação e aprendizagem entre os sujeitos que trabalham com a educação à distância. A interação é estudada e analisada como espaço de (in)formação e aprendizagem entre os sujeitos, assim como as diversas semânticas da distância em suas bases de significação. Conclui-se a respeito da distância e da interação como espaços de (in)formação e aprendizagem desses professores-produtores, além da construção das histórias de vida tecnológicas dos sujeitos da pesquisa, como também aponta-se para a possibilidade de (in)formação do professor-produtor, quando produz para educação à distância.<br>Salvador

The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.