These learning strategies have presented a theoretical framework for applying brain-based learning to EFL teaching. The model is based on the holistic principles of brain based learning rather than memorization of skills and knowledge as has been previously employed in EFL instruction.

This dissertation follows the topic of media and visual communication with relations to art. The theoretical part explains the usage and influence of such medias in the past and present, the communication between people and their visual statements, their psychological effects in connection to the manipulation of the picture. The practial part on the other hand, further explains the precise catastrophical events in the news and their overall effect in connection to personal explenations of said catastrophy. The last, Didaktical part, goes into detail on the transformation of catastrophies and possibility of applicating the medial education into the general creative uprbringing. Key Words Media, communcation, visual statements, manipulation of picture, catastrophy, medial education Powered by TCPDF (www.tcpdf.org)

The aim of this thesis was to investigate the use of visual images in print texts produced for language teaching and learning. It tested the manner in which learners from different cultural contexts relate to selected visual images in language textbooks prepared for use in secondary schools. More specifically it aimed to gain clarity on how certain visual elements, relevant to the illustration of people, contribute to encouraging students to access their learning material. The research aimed to gain insight into the way in which visuals can be bridges or barriers to reading and thus also to learning in learner-centred language education in a multilingual/multicultural South African context.

Este trabalho se propõe a investigar como foi formulado, pelos agentes e agências que atuavam no campo dos museus no Brasil, o papel educativo dessas instituições, em especial no Museu Histórico Nacional. A pesquisa compreende as décadas entre 1930 e 1950, com demarcações temporais precisas em 1932, quando ocorreu a implementação do Curso de Museus no Brasil e, 1958, ano em que foi realizado no País o Seminário Regional da UNESCO sobre a Função Educativa dos Museus. O estudo situa-se na interseção entre a História da Educação e a História dos Museus, e fundamenta-se nos pressupostos da História Cultural. Considerei que as relações a serem investigadas articulavam-se em um campo dos museus e, para a proposta analítica, tomei de empréstimo o conceito de campo definido por Pierre Bourdieu. A pesquisa partiu do pressuposto de que um processo de maturação da função social dos museus desenvolveu-se ao longo do século XX e, nessa dinâmica, o tema educação em museus ganhou destaque. Ao deter-me em uma análise do corpus documental referente ao período investigado (matérias de jornais, documentos oficiais, livros, artigos, relatórios, depoimentos de antigos profissionais de museus, por exemplo), identifiquei uma operação teórico-metodológica por parte dos agentes e agências, que atuaram no campo dos museus, para sua legitimação como espaços de aprendizado. A defesa do aprimoramento do papel educativo dos museus era sustentada por três abordagens: educação visual; educação para o povo; projeto de nação assegurado pela instrução pública. O diálogo com os autores François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, entre outros, contribuiu para aprofundar os conceitos e modos de operação fundamentados nas abordagens evidenciadas. Uma imersão empírica foi realizada em propostas e experiências de caráter educativo identificadas no Museu Histórico Nacional, instituição federal que se comprometeu explicitamente com a educação cívica e, entre seus projetos, criou o Curso de Museus, formação que estimulou a entrada de um novo agente no campo reconhecido pela diplomação. A pesquisa ressaltou uma produção engajada de múltiplos profissionais de museus sobre o papel educativo a ser assumido por essas instituições, bem como uma intensa articulação entre esses profissionais e os agentes do campo da educação. / The present dissertation is aimed at investigating the formulation by actors and institutions in the field of museology in Brazil of the educational role of Brazilian museums, especially the National Historic Museum. The research focuses on the period between 1930 and 1950, with precise temporal demarcations in 10932, when the Brazilian course on Museology was created, and 1958, when UNESCO’s first Regional Seminary on the educational role of museums occurred. The study combines elements of History of Education and the History of Museums, and is mainly based on the premises of Cultural History. I have assumed that the relationships under investigation belonged to the field of museums and, for my analysis, I have borrowed the concept of defined field from the Works of Pierre Bourdieu. The research starts from the premise that the social function of museums has evolved over the 20th century in a way that gave increasing importance to education. It has become clear from the analysis of the available records (newspaper articles, official documents, books, articles, reports, interviews with old museum professionals, etc.) that actors and institutions have made a conscious theoretical-methodological effort to legitimize museums as learning spaces. The educational role of museums was increased through three means: visual education, education for the general public, a national project that required public instruction. The works of authors such as François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, among others, were instrumental for the development of this dissertation. Empirical research was done at the National History Museum, a federal institution explicitly committed to civic education. Among several projects, special attention has been given to the creation of a diploma giving program in museology, which has stimulated the entry of a new agent in the field. Finally, the research has identified an extensive body of work by committed museum professionals about the educational role that ought to be given to museums, as well as intense Exchange between these professionals and those in the field of education. / El presente trabajo pretende investigar cómo fue formulado, por los agentes y agencias que actuaban en el campo de los museos en Brasil, el papel educativo de estas instituciones, en especial el Museo Histórico Nacional. La investigación está situada entre las décadas de 1930 y 1950, con una fecha de inicio en 1932, cuando se implementó el Curso de Museos en Brasil, terminando el análisis en 1958, año en que fue realizado en el país el Seminario Regional de la UNESCO sobre la Función Educativa de los Museos. El estudio se sitúa en la intersección entre la Historia de la Educación y la Historia de los Museos, fundamentándose en los presupuestos de la Historia Cultural. Se considera que las relaciones a ser investigadas se articulan bajo el concepto de campo definido por Pierre Bourdieu, y particularmente, el campo de los museos. La investigación partió de la afirmación de que un proceso de madurez de la función social de los museos se desarrolló a lo largo del s. XX, y en esa misma dinámica, el tema educación en los museos ganó un lugar especial. Al detenerse en el análisis del corpus documental referente al período investigado (artículos de periódico, documentos oficiales, libros, artículos, actas, testimonios de antiguos profesionales de museos, por ejemplo), se identificó una operación teórico- metodológica por parte de los agentes y agencias, que actuaron en el campo de los museos, para su legitimación como espacios de aprendizaje. La prioridad del papel educativo de los museos fue sustentada por tres abordajes: educación visual, educación para el pueblo y un proyecto de nación asegurado por la instrucción pública. El diálogo con los autores François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, entre otros, contribuyó para profundizar conceptos y modos de operación fundamentados en los abordajes evidenciados. La inmersión empírica fue realizada en las propuestas y experiencias de carácter educativo identificadas en el Museo Histórico Nacional, institución federal que se comprometió de lleno con la educación cívica, y que, entre sus proyectos, inauguró el Curso de Museos, el cual estimuló la entrada de un nuevo agente en el campo reconocido por el título creado. La investigación resaltó una producción articulada de diferentes profesionales de museos sobre el papel educativo que sería asumido por esas instituciones, así como una intensa relación entre estos profesionales y los agentes del campo de la educación.

Although many science educators and researchers believe that emotion is an important part of the learning process, few researchers have dealt with the topic in a systematic fashion. The purpose of this study was to examine the role of emotion in the learning process, particularly in the learning of science content. My study utilized a dimensional perspective which defined emotion in terms of arousal and valence, and drew on research from the fields of psychology and neuroscience to examine how emotion affects different aspects of cognition such as attention and memory. On the basis of these findings, I developed and tested a path model to investigate the predicted relationships among emotional arousal, valence, attention, intrinsic motivation and short- and long-term learning outcomes. I conducted the study in two phases. The first phase took place in a psychology laboratory in which participants watched either an exciting or neutral nature video, read a factual article related to the video and were tested on their learning. The second phase took place at the Oregon Coast Aquarium in which participants watched a narrated otter or sea lion presentation and took a short posttest after the show. In both phases, participants' emotional arousal, valence, attention, and motivation levels were also measured for inclusion in the model. The results indicated that emotional arousal was an important predictor of short-term learning in both experiments although its effect was fully mediated by attention at the aquarium. In addition, negative valence (displeasure) and intrinsic motivation were strong predictors of short-term learning in the laboratory experiment. At the aquarium, the narrator of the animal presentation strongly affected both attention and short-term learning—visitors who listened to a non-scripted rather than a scripted narration paid more attention and had significantly better short-term learning outcomes. In the aquarium study, emotional arousal correlated strongly with several measures of long-term learning. In particular, those who felt more arousal during the animal presentation were able to describe their experience at greater length and with more detail and complexity two to three months after their visit. My findings suggest that emotional arousal is an important component of science learning both directly and through its relationship with attention. Therefore, science educators in both informal and formal learning institutions may be able to increase both attention and learning outcomes by designing emotionally arousing learning experiences around the science content they wish to teach. In addition, the importance of narrator quality in the aquarium study suggests that narrators and teachers should be trained to deliver information in such a way that supports short- and long-term science learning. / Graduation date: 2012

published_or_final_version / Architecture / Master / Master of Architecture

Education is considered as an essential tool for the long-term development of most countries. The provision of education to only part of a community or part of the world reinforces relative deprivation. To counteract such an effect, South Africa, a geographically large country, in which the population is scattered, where economic disparities are aligned to race, where qualified teachers and specialists in certain subject areas are scarce, and where there is an illiteracy rate of 29 percent, hope has been expressed that television broadcast based distance education may be a viable alternative to expanding formal education provision extensively and quickly. This study investigates the role of television broadcast-based distance education in South Africa as a possibility for extending the provision of formal education to large numbers of learners and how the South African Broadcasting Corporation (SABC) and the country 's Department of Education fulfils the promise of extending education. This objective was addressed by first giving a critique of conventional education systems and why distance education is an alternative option for provision of education. Further, the study traces a general picture of education in Africa and the educational situation in South Africa, highlighting the distance education scenario in South Africa , and investigates why distance education and particularly television broadcast-based distance education is crucial in the provision of education in developing countries in the face of the globalisation of mass communication and new information technologies. The study also investigates the complex issues involved in the production, distribution and consumption of Liberty Learning Channel Programme (a television programme which offers remedial support for matric (grade 12) and grade 10 to 11 students) by examining whether the producers and partners of the programme created a text which connects with the multi-cultural reality of teachers, learners and other viewers in South Africa; the role of the programme in the service of growth, reconstruction and development; why the programme is not popular among the youth; and what can be done to make it effective in enhancing teaching and learning; and the intertextuality, production and distribution of the programme. Information on the above aspects was gathered through the scannmg of relevant literature and by the use of ethnographic research procedures which included focus group interviews, in-depth interviews and participant observation. The study established that conventional systems of education and current educational practices have fallen short ofpreparing citizens with a strong foundation of general education. The study therefore offers distance education not only as an alternative to conventional education delivery at secondary and higher levels of education, but also as a low-cost alternative to expanding education. Constructivism is suggested as an alternative set of values that may significantly influence learning and that can help develop the kind of citizens who can be able to function successfully in real-word contexts. With regard to effectiveness of television broadcast-based distance education in teaching and learning, the study established that television is an effective means of achieving traditional educational goals, and that television broadcast-based distance education remains important especially in the developing countries in light of the need to increase access to education, redress the disparities caused by globalisation of mass communication and by lack of information and communication technologies. With regard to distance education in South Africa, the study found that there is both significant policy commitment and actual use of broadcast-based distance education in solving many of the country's education problems, but that there is an urgent need to improve the quality of that provision, particularly in formal education. On the complex issues involved in the production, distribution and the consumption of Liberty Learning Channel programme, the study found that the programme (aired live since 1993), is a production of Liberty Learning Channel, an independent company based in Johannesburg, in partnership with the Liberty Life Foundation, and that the SABC is not involved in the production but provided the airwaves. Each subject presenter prepares his or her own lessons, and therefore no services of producers, scriptwriters, or editors are employed in the production of the programme. The programme is then distributed through television, newspapers (the Sowetan), videocassettes, the Internet and in future through CD-ROMs. Additionally, the study found that Liberty Learning Channel relies on audience feedback from audience rating and occasional feedback from comments down the streets or letters from viewers thanking the presenters. This study argues that this kind of monitoring is not sufficient as rating only tells advertisers how many viewers were exposed to a specific programme content on a particular television channel in a certain time slot. Regarding the consumption of the programme, the great majority of the focus group participants liked the programme and used it during revision and in dealing with large numbers of students with different abilities and difficulties. A great majority of the students liked the programme because of the way the presenters explained clearly. However, a great majority of the participants watched the programme sparingly partly because the time slot was ' inappropriate ' and due to a lack of awareness about the programme. Several suggestions for the improvement of the programme were put forward, amongst them: to change the time slot; to have multi-racial presenters ; to give detailed timetables to schools in advance, and to advertise the programme more directly to schools. However, a reluctance or unwillingness to consider some of the audiences ' suggestions for the improvement of the programme, was shown by the manager of Liberty Learning Channel, William Smith. The above results are reported and discussed in detail in chapters 2 to 3, and general conclusions and recommendations presented in chapter 4. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2004.

The aim of this thesis was to investigate the use of visual images in print texts produced for language teaching and learning. It tested the manner in which learners from different cultural contexts relate to selected visual images in language textbooks prepared for use in secondary schools. More specifically it aimed to gain clarity on how certain visual elements, relevant to the illustration of people, contribute to encouraging students to access their learning material. The research aimed to gain insight into the way in which visuals can be bridges or barriers to reading and thus also to learning in learner-centred language education in a multilingual/multicultural South African context.

Este trabalho se propõe a investigar como foi formulado, pelos agentes e agências que atuavam no campo dos museus no Brasil, o papel educativo dessas instituições, em especial no Museu Histórico Nacional. A pesquisa compreende as décadas entre 1930 e 1950, com demarcações temporais precisas em 1932, quando ocorreu a implementação do Curso de Museus no Brasil e, 1958, ano em que foi realizado no País o Seminário Regional da UNESCO sobre a Função Educativa dos Museus. O estudo situa-se na interseção entre a História da Educação e a História dos Museus, e fundamenta-se nos pressupostos da História Cultural. Considerei que as relações a serem investigadas articulavam-se em um campo dos museus e, para a proposta analítica, tomei de empréstimo o conceito de campo definido por Pierre Bourdieu. A pesquisa partiu do pressuposto de que um processo de maturação da função social dos museus desenvolveu-se ao longo do século XX e, nessa dinâmica, o tema educação em museus ganhou destaque. Ao deter-me em uma análise do corpus documental referente ao período investigado (matérias de jornais, documentos oficiais, livros, artigos, relatórios, depoimentos de antigos profissionais de museus, por exemplo), identifiquei uma operação teórico-metodológica por parte dos agentes e agências, que atuaram no campo dos museus, para sua legitimação como espaços de aprendizado. A defesa do aprimoramento do papel educativo dos museus era sustentada por três abordagens: educação visual; educação para o povo; projeto de nação assegurado pela instrução pública. O diálogo com os autores François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, entre outros, contribuiu para aprofundar os conceitos e modos de operação fundamentados nas abordagens evidenciadas. Uma imersão empírica foi realizada em propostas e experiências de caráter educativo identificadas no Museu Histórico Nacional, instituição federal que se comprometeu explicitamente com a educação cívica e, entre seus projetos, criou o Curso de Museus, formação que estimulou a entrada de um novo agente no campo reconhecido pela diplomação. A pesquisa ressaltou uma produção engajada de múltiplos profissionais de museus sobre o papel educativo a ser assumido por essas instituições, bem como uma intensa articulação entre esses profissionais e os agentes do campo da educação. / The present dissertation is aimed at investigating the formulation by actors and institutions in the field of museology in Brazil of the educational role of Brazilian museums, especially the National Historic Museum. The research focuses on the period between 1930 and 1950, with precise temporal demarcations in 10932, when the Brazilian course on Museology was created, and 1958, when UNESCO’s first Regional Seminary on the educational role of museums occurred. The study combines elements of History of Education and the History of Museums, and is mainly based on the premises of Cultural History. I have assumed that the relationships under investigation belonged to the field of museums and, for my analysis, I have borrowed the concept of defined field from the Works of Pierre Bourdieu. The research starts from the premise that the social function of museums has evolved over the 20th century in a way that gave increasing importance to education. It has become clear from the analysis of the available records (newspaper articles, official documents, books, articles, reports, interviews with old museum professionals, etc.) that actors and institutions have made a conscious theoretical-methodological effort to legitimize museums as learning spaces. The educational role of museums was increased through three means: visual education, education for the general public, a national project that required public instruction. The works of authors such as François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, among others, were instrumental for the development of this dissertation. Empirical research was done at the National History Museum, a federal institution explicitly committed to civic education. Among several projects, special attention has been given to the creation of a diploma giving program in museology, which has stimulated the entry of a new agent in the field. Finally, the research has identified an extensive body of work by committed museum professionals about the educational role that ought to be given to museums, as well as intense Exchange between these professionals and those in the field of education. / El presente trabajo pretende investigar cómo fue formulado, por los agentes y agencias que actuaban en el campo de los museos en Brasil, el papel educativo de estas instituciones, en especial el Museo Histórico Nacional. La investigación está situada entre las décadas de 1930 y 1950, con una fecha de inicio en 1932, cuando se implementó el Curso de Museos en Brasil, terminando el análisis en 1958, año en que fue realizado en el país el Seminario Regional de la UNESCO sobre la Función Educativa de los Museos. El estudio se sitúa en la intersección entre la Historia de la Educación y la Historia de los Museos, fundamentándose en los presupuestos de la Historia Cultural. Se considera que las relaciones a ser investigadas se articulan bajo el concepto de campo definido por Pierre Bourdieu, y particularmente, el campo de los museos. La investigación partió de la afirmación de que un proceso de madurez de la función social de los museos se desarrolló a lo largo del s. XX, y en esa misma dinámica, el tema educación en los museos ganó un lugar especial. Al detenerse en el análisis del corpus documental referente al período investigado (artículos de periódico, documentos oficiales, libros, artículos, actas, testimonios de antiguos profesionales de museos, por ejemplo), se identificó una operación teórico- metodológica por parte de los agentes y agencias, que actuaron en el campo de los museos, para su legitimación como espacios de aprendizaje. La prioridad del papel educativo de los museos fue sustentada por tres abordajes: educación visual, educación para el pueblo y un proyecto de nación asegurado por la instrucción pública. El diálogo con los autores François Hartog, Luis Gerardo Morales Moreno, Manoel Luiz Salgado Guimarães, Michel de Certeau, Paulo Knauss, Roger Chartier, Suely Moraes Ceravolo, Ulpiano Bezerra de Meneses, entre otros, contribuyó para profundizar conceptos y modos de operación fundamentados en los abordajes evidenciados. La inmersión empírica fue realizada en las propuestas y experiencias de carácter educativo identificadas en el Museo Histórico Nacional, institución federal que se comprometió de lleno con la educación cívica, y que, entre sus proyectos, inauguró el Curso de Museos, el cual estimuló la entrada de un nuevo agente en el campo reconocido por el título creado. La investigación resaltó una producción articulada de diferentes profesionales de museos sobre el papel educativo que sería asumido por esas instituciones, así como una intensa relación entre estos profesionales y los agentes del campo de la educación.

[pt] Saber lidar com as imagens, compreendê-las e construir significado para elas, torna-se tarefa premente para os sujeitos na contemporaneidade, participantes de uma sociedade imersa na multimodalidade. Contudo, ao contrário da cultura escrita, não existem mecanismos de ensino próprios para a formação visual do indivíduo na instituição escolar. Compreendendo que o livro de literatura para crianças e jovens, em sua grande maioria, encontra na relação verbo-visual o espaço propício à fruição da poesia e da ficção, a presente pesquisa assume por objetivo estabelecer a relação entre o Design, presente nos livros de literatura voltados para crianças e jovens chancelados pelas políticas públicas, e o processo de formação visual do leitor. Para isso, propõe-se, por meio de análise gráfica dos livros literários selecionados pelo Programa Nacional Biblioteca da Escola - PNBE, a organização de um panorama a respeito da progressão de complexidade gráfica dessas obras, relacionando os aspectos gráficos por elas apresentados com o desenvolvimento escolar do leitor na Educação Infantil, nos anos iniciais e finais do Ensino Fundamental e no Ensino Médio. Nesse processo, foi possível perceber que os acervos organizados, apesar de possuírem objetos-livro cujos projetos são condizentes com o conceito de Design na Leitura, não apresentam em seu conjunto uma progressão, ao contrário, conforme os leitores avançam no processo escolar e na compreensão do conteúdo textual, o conteúdo gráfico e imagético tende a diminuir em quantidade e a simplificar-se. Acreditando que ao possibilitar que crianças e jovens se formem sujeitos leitores potentes na significação da verbo-visualidade, alcançando a condição de sujeitos críticos e agentes de mudanças dos sistemas ideológicos sociais que os circundam, propõem-se intervenções para a modificação desse cenário a partir de propostas direcionadas aos mediadores de leitura, dentre eles os designers. / [en] Knowing how to handle, understand and build meanings from images is a paramount task for readers in contemporary society, as it is immersed in multimodality. However, in opposition to written culture, there are no specific teaching mechanisms for reader s visual education at schools. Acknowledging that most literature books for children and young people find a conducive environment for poetry and fiction fruition in the verbal-visual relationship, this research aims to stablish a connection between Design, present in literature books for children and young people sealed by public policies, and the process of reader s visual education. For that, we conducted a graphic analysis of literary books selected by Programa Nacional Biblioteca da Escola (PNBE) and organized an overview of their graphic complexity progression, relating the graphic aspects they present to reader s school development in pre-, elementary, middle and high school. In this process, we were able to perceive that, although the collections comprised books whose projects were consisted with the concept of Design in Reading, they did not present a progression of visual complexity. On the contrary, as young readers advanced on their schooling and understanding of textual content, graphic and image content tended to reduce in number and to become simpler. Thus, this research proposes interventions for changing this scenario based on actions targeted at reading mediators, among them, designers themselves. This would enable children and young people to become empowered readers in verbal-visual meaning-making and reach the condition of critical individuals and transformation agents in the ideological social systems that surround them.