In Lesotho the policy regarding language learning and teaching is spelt out in the syllabus. Inspired by the constitution and resulting from broad consultations the policy requires the active involvement of learners through a learner-centred mode of delivery. This study investigates the use of learner-centred approach in the teaching of English and Sesotho languages in Lesotho secondary schools. The researcher describes the learner-centred approach to teaching as it can be observed in the context of Lesotho; examines skills acquired through the learner-centred approach; inquires into the learning that is experienced in learner-centred classrooms; and considers how the approach can be improved. The findings, based on learners’ and teachers’ questionnaires, observations and focus group discussions, indicate that certain learner-centred strategies suggested in the syllabus as well as other methods are used; and certain skills and content knowledge are acquired from each learner-centred strategy simultaneously. Past experience is crucial in assisting learners to form and build new knowledge. Moreover, it is apparent that learners and teachers consider working alone (not always considered a learner-centred strategy) to be important in building confidence and independence skills. Suggestions are also forwarded as to how to improve and maximise the teaching of languages using the learner-centred approach.

This thesis focuses on the fact that although David Williamson’s popular appeal is attested to by his continuing commercial success in a career of over thirty-five years, a consistent stream of adverse criticism has nevertheless been levelled at his work on the basis of perceived superficiality and glibness. The term 'sugared placebos' was employed to describe the truncation of characterisation and treatment of ideas in Williamson’s work (Fitzpatrick 'Styles of Love: New Directions in David Williamson' 416). In examining and explaining the presence of satire and farce in his plays, this thesis interrogated the nature of both satire and farce to establish the accuracy of the term ‘sugared placebos’ when applied to Williamson’s work, and suggests that instead what is produced is a valuable curative. The thesis involved examining the concept of superficiality as a basis of criticism in a postmodern world and sought to connect this perceived superficiality with the presence of satire and farce in Williamson’s work. The naturalist text of Henrik Ibsen’s Ghosts was evaluated to establish the validity of stereotypes and genre-blending in a foundational naturalistic text. Using Ghosts as a paradigm against which to compare Williamson’s work, it was established that through a confluence of satire, farce, and irony Williamson creates his unique interpretation of “naturalism” by reflecting the patterns of behaviour of certain individuals in social situations. The study found that like Ibsen before him, Williamson also contends that individuals are strongly conditioned by their society and the enduring and universal emotions they carry from their deep past are endemic of all cultures at all times. A further outcome from the study revealed that far from being 'superficial' Williamson’s use of satire and farce renders his naturalism ironic, while at the same time providing a deep and profound social commentary. In addition, it was found that Williamson’s characters, although robustly Australian and located in the history of their times have, become iconic representations of universal verities that present audiences with deeper truths about their humanity.

English is a vehicle for international communication. In order to meet the demands of modern society, English teachers need to pay more attention to the development of learners’ competence and focus on a more effective and successful method. However traditional approaches to English language teaching still dominate Thai classrooms. Language teachers should not focus on reciting but should teach from their own understanding of language learning and help learners gain more competence with confidence. This study is a collaborative action research investigation to develop pronunciation training and communicative competence for Thai students studying English in Thailand. This study investigated pronunciation training and language learning strategies, how they influenced the learning behaviour of Thai students studying English and improved their speaking confidence. The purpose of the training was to improve students’ pronunciation and spoken intelligibility. It drew upon data collected in pronunciation training in one school in Thailand using language learning strategies and evaluated improvement after being trained in developing speaking confidence. The project contained two cycles, the first of which was to train five teachers using pronunciation training and language learning strategies. We evaluated their improvement in correct speech and in developing speaking confidence. In the second cycle, these teachers in turn taught a group of four students each and similar improvements were observed. The action phases showed the implications of the importance of pronunciation training in the Thai context and the usefulness of dictionary usage to help learners to improve their competence and to have more confidence to speak English. The project resulted in a change of policy by the school to include pronunciation teaching and to allocate English classes to teachers who understood that process. The pronunciation learning strategies in this study and those of other researchers were presented to formulate strategies as a contribution for teachers to include teaching pronunciation in their classroom instruction. The researcher intends that the data will be useful for language teachers to help them further their understanding of their students’ learning behaviour to achieve improved pronunciation. In addition, the phonetic symbol system used in the training was chiefly inspired from the symbols of the International Phonetic Association (IPA) to be standardized and easy to apply.

Since the disintegration in the eighteenth century of their once-mighty ‘Kingdom’ of Lan Xang, the ethnic Lao have maintained a struggle for political and cultural independence against waves of foreign dominance. Over the centuries, the Lao have faced the cultural hegemony of their linguistic cousins the Siamese, the territorial ambitions of the Vietnamese, the ethnocentrism of French colonialists, and the cataclysmic anti-communist imperialism of the United States of America. In this more peaceful era, Lao articulation of their worldview remains constrained by powerful external forces. Engaging in debates within critical development studies and applied linguistics, and drawing on understandings from sociology, this inter-disciplinary study examines how the cultural hegemony of the past is perpetuated in the dominant development discourse and, in turn, enacted at project level. With a particular development assistance project serving as a lens for viewing broader development issues, the study ultimately presents a glimpse of an alternative development possibility. The study thus adds to the voices of those who argue against the exclusive Eurocentric view of modernity, and for the possibility of what Tu Wei-ming (1999) refers to as ‘multiple modernities’. Beginning with an examination of the Buddhist-legitimated socio-political organisation of the pre-colonial Lao, based primarily on the work of Martin Stuart- Fox (1998), the study argues that the pre-colonial worldview has continued to inform the values and actions of the ethnic Lao throughout their history of foreign domination, and despite the more recent political embracing of Marxism-Leninism. Drawing on the work of critical development theorists such as Escobar (1984; 1995a; 1995b), Tucker (1997a; 1999) and Munck and O’Hearn (1999), and illustrated with Lao examples, the study then examines the disjunctions between these values and those of the dominant development discourse with its roots in the Eurocentric notion of modernity, and its current neo-liberal economic agenda. The theme of disjunction features throughout this study, which centres on an AusAID-funded project in the Lao PDR aimed at implementing a competency-based English language curriculum for Lao government officials. As well as the disjunction between Lao values and those of the dominant development discourse, the thesis includes a practitioner’s first-hand insight into the disjunctions between Lao values and the curriculum model, and between the project design and Lao social reality. However, a major aim of this ethnographic study is to give voice to Lao stakeholders at policy, management and classroom levels. Their voices are woven into a series of narratives through which we are afforded insights into the disjunctions between Lao and donor priorities. As a result of these disjunctions, as the three-year AusAID project drew to a close the Lao demonstrated a commitment to the program but revealed a range of political, cultural and pedagogical factors which threatened its stability and ultimate sustainability. These Lao stories, together with those articulating the unfolding of events over the ensuing eighteen months, exemplify the conflict inherent in development assistance. On the one hand the accounts reveal how the unequal balance of power works to stifle the articulation of worldviews other than that of the dominant West, and how development workers inadvertently perpetuate the discourse’s ‘regime of truth’ (Foucault, 1980) that holds the Lao worldview irrelevant in a ‘modern’ world. On the other hand, we hear through the Lao voices how the agency of local stakeholders subverts the imposition of values, so that the English language program better reflects Lao priorities. As the thesis demonstrates, the subversion is in the form of a Buddhist-infused ‘middle way solution’ to the culturally problematic values underpinning the competency-based curriculum, which effectively restructures the approach to fit within acceptable, albeit modified, socio-cultural boundaries. The solution provides a tool for the analysis of the appropriateness of the curriculum model, the project design and, ultimately, the dominant development discourse for the Lao context. Standing as a metaphor for diverse possibilities, the Middle Way Solution suggests the need for development donors and practitioners to engage reflexively in our own practice, and offers a distinctly Lao alternative to the dominant discourse.

This study investigated students’ attitudes towards language learning, especially speaking, at King Mongkut’s Institute of Technology, North Bangkok, Thailand. One of the important factors needing change in Thai education is the improvement of language teaching, especially speaking. The aims of the research are to improve Thai students’ motivation to speak English through a range of materials and activities used for promoting students’ confidence in speaking English. Action research procedures (plan, act, observe, reflect and revise) were used to study the processes and participant Three English teachers took part in the project to assist in its implementation and to observe the outcomes. The study was conducted in two cycles: the first cycle involved teaching a program to a class of engineering students for one semester. The teacher used new student centred techniques to teach differently from traditional teaching using six activities as a tool to motivate students to speak. These were: Self- Introduction, an English Movie, a Popular Song, My Favourite Story, Foreigner Interview and a Coffee-break Discussion. The second cycle followed the reflection on the first cycle to further develop materials, activities, teaching techniques and teacher’s roles. It involved a further semester teaching the six activities to a new class Data from Cycle I were analysed and used to make improvements for Cycle II. Observers played a role in evaluating, suggesting and revising the program. Data from Cycle II were presented to show the final outcomes and changes. Data were collected through the teacher’s journal, observers’ sheets, students’ worksheets, students’ diaries and self-rating scales. The data are presented through narrative and through interpretation of students’ responses. Data were also used to construct a model for promoting students’ confidence in speaking English for King Mongkut’s Institute of Technology, North Bangkok. The results of the research indicated that students’ increased confidence in speaking English was influenced by teaching learning strategies, using authentic materials and presenting the activity in non-threatening terms. Student centred approaches including pair and group work, cooperative learning, giving the opportunity to practise, time to rehearse and promoting positive attitudes towards language learning also contributed to improve outcomes. Further factors included a general interactive approach to teaching and teacher roles, using communication strategies, promoting positive attitudes and a positive atmosphere. Finally, the action research process itself helped students and teachers to reflect on their successes and failures in teaching and learning.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

Thesis (M.Ed.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Bibliography: leaves 199-205.