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Submitted in fulfilment of the requirements for the degree DOCTOR OF EDUCATION in the Department of Foundations of Education of the Faculty of Education at the University of Zululand, 2000. / The aim of this investigation was to establish the role of art in aesthetic education in South Africa. From the literature study it became clear that modern societies are gradually turning into technotronic societies as electronic news networks and computers bring about radical changes, accompanied by value shifts. Technological societies can be potentially beneficial by increasing personality aspects such as self-actualisation, but can also be detrimental to mankind's development by creating social and pedagogical problems. In a modem society scientific knowledge, technology and prosperity (wealth) define power, and "a brave new world" has appeared in which a person can achieve his objectives by means of his own power and intellect, and does not need God or his fellow man. Human contact is replaced by technology (automatisation, electronic, mass media), resulting in the creation of an inhuman technological society. On the one hand technology has multiplied the casual meeting of people and cultures, whilst on the other hand it has led to increased loneliness of people and a formality in human relationships, increasing the distance between people in an extremely complex world, In this study certain aesthetic objectives experienced in art education were highlighted as well as possibilities of career opportunities, should the secondary school curriculum include art as a subject Attention was given to Design Education as the global name for all works of art, with special emphasis on art forms which can be regarded as authentically South African, These art forms include handcrafts, the manufacturing of textiles, jewellery and furniture, as well as design in printing, packaging and advertising. It was shown that Design Education in schools should be regarded not merely as an interesting career but as a subject that can contribute to the economy of the country and also be instrumental in making life more meaningful to people in general Career opportunities in the following fields were discussed in details: industry, interior decorating, ceramics, jewellery rnanufacturing, clothing, textiles, entertainment, film, video and audio taping and the fine arts. The main purpose of education should be to lead learners to optimal realisation of their unique potential. Art education will not only be instrumental in educating learners about developments in the scientific and technological fields but will also allow them to use and apply their skills to their own benefit as well as to that of others. For the purpose of the empirical investigation a self-structure questionnaire was utilised. An analysis was done of 150 questionnaires by the educators of secondary schools in KwaZulu-Natal The data thus obtained was processed and interpreted by means of descriptive and inferential statistics, in conclusion, a summary and certain findings emanating from the literature study and the empirical investigation were presented. Based on these findings, the following recommendations were made; • Works of art should be accorded equal status with other subject areas of the curriculum and this should be reflected in the allocation of resources. • Principals of schools and art educators should construct policies and procedures of governing all the art subjects in schools, particularly in relation to the allocation of time and facilities. • Patterns of assessment should emphasise the principles and objectives of art education and of the nature of aesthetic experience and development. • The appropriateness and usefulness of criterion-referenced tests in arts should be fully investigated.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis discusses the use of film in the composition classroom. It is divided into four chapters: The Argument, The Audience, Film as a Pedagogical Tool, and The Future. Chapter One (the Argument) discusses the different ideas about using media in the classroom, and how it is good practice to do so. New ideas on teaching from education expert Ken Bain (What the Best College Teachers Do) are presented. Bain suggests that as long as the instructor is confident in his or her subject, any innovative thing they do in class is all right. Malcolm Gladwell’s ideas from The Tipping Point are applied to the classroom: the Law of the Few, Connectors, Mavens, Salesmen, the Stickiness Factor, and the Power of Context. Presentations couched within a Gladwell frame can prove to be extraordinarily effective. Chapter Two (the Audience) analyzes the Millennial students, and discusses their views on learning and media. These students see learning as a commodity and view modern media with a bit of contempt. Therefore, to use media in the classroom the instructor must be innovative. Chapter Three (Film as a Pedagogical Tool) examines various different applications of film use in the classroom. It also looks in depth at using David Mamet’s films in the classroom, especially Glengarry Glen Ross, The Edge, and The Verdict, which use classical structure to persuade and argue. Chapter Four (The Future) looks at the work of Howard Gardner and his theory five minds: the Disciplined Mind, the Synthesizing Mind, the Creative Mind, the Respectful Mind, and the Ethical Mind and how we must prepare to teach to them all. In the conclusion I posit that the students of today and the students of tomorrow will require new and innovative techniques to be taught effectively, and that film is versatile and flexible enough to do it.

M. S.

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The purpose of this study was to describe how sixth-grade students talk about their writing and their writing portfolios in a natural setting. A qualitative approach was used in the study. Through interviews, classroom observations, and analysis of site artifacts, I studied four female sixth graders’ talk in the context of a writing workshop for eighteen weeks. Assuming the role of limited participant observer, I spent a minimum of six to eight hours each week in the classroom observing and interviewing the informants during the second semester of the 1993-1994 school year. The primary questions I addressed were (a) How do sixth graders talk about their writing? and (b) How does writing fit into the informants’ personal literacy configurations? I codified all data in order to analyze how students talked about their portfolios. Two themes of talk emerged in this analysis: textual responses--responses to content, language, perspective, and mechanics; and affective responses--the role of association, imagination, accomplishment, singularity, effort, fantasy/realism, and entertainment value in their writing. Results revealed that the research participants applied a wide array of criteria-- both textual and nontextual in nature--to their writing and their writing portfolios. These criteria did not increase Significantly in number; however, students’ abilities to articulate the criteria developed. In addition, results indicate the social nature of writing. Five complex, interactive, and recursive factors highly influenced the manner in which students talked about their work: students’ prior writing experiences, shared trust, ownership and responsibility, classroom activities, and the opportunity to reflect. Results also suggest that students have the ability to assess their own writing and, therefore, should participate in self-assessment and in the establishment of a common composition vocabulary. Furthermore, the study reveals that portfolios encourage ownership and responsibility and aid Students in seeing themselves as writers. Finally, portfolios can be powerful reflective tools that may help many students in articulating their thoughts about their writing and in making revisions to their pieces. Students who do not see revision as an essential part of writing, however, may reap few benefits from portfolio assessment. / Ph. D.

The problem of this study is to determine to what extent the present industrial arts program of the Highland Park Schools of Dallas, Texas, serve the actual needs of the community.

The purpose of this study is to determine the pupil load in relationship to the amount of equipment available for use in industrial arts classes in the junior high schools of Texas.

The problem for this study is to determine those work experiences which are of value to prospective teachers of industrial arts. In making this study the following factors are of prime importance: (1) In what types of shops will the new teachers be expected to work? (2) What units are taught in each of the different types of shop? (3) What is the grade level of children to be taught in each type of shop? (4) Which types of work experience will be of value to a teacher in the various divisions of shop instruction?