This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.

This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.

The focus of this study was to understand my experiences of teaching sensitive topics in my professional capacity, as a female beginner teacher who has an Islamic upbringing and strong religious views according to which I live. The purpose of this study was to make sense of these personal and professional experiences when teaching sensitive topics as an Islamic beginner female teacher. In so doing this study sought to contribute to body of knowledge about key concepts namely sensitive topics, an Islamic context, female beginner teacher identity and autoethnography as research design. The literature reviewed for this research study was centred around the said key concepts and included scholarly work by Collins (2017), Lowe and Jones (2015), Du Bois (2014), and Anacona (2014). Theoretically, this study was underpinned by an interpretivist epistemological paradigm informed by Berg (2007) and from a conceptual point of view I drew on tenets of both the religion and feminist theory guided by the work of Rambo (1999). Data was generated in the form of short anecdotal self-reflective narratives spanning over 25 years and encapsulated the gist of my upbringing and later experiences which all influenced the ways in which I have experienced the teaching of sensitive topics as a female beginner teacher female within an Islamic context. Findings were divided into three main themes, namely the Islamic religion, Islam and gender and teaching sensitive topic as a Muslim, female beginner teacher. Findings were refined into relevant subthemes. The gist of the findings revealed that a strict Islamic upbringing contributed largely to the discomfort experienced by a female teacher when teaching topics of a sensitive nature, such as sexual education which is compulsory in the current Life Orientation curriculum. Findings further pointed to the fact that this discomfort can be alleviated through self-talk, engagement with scholarly work and deep thought incited by engagement with sensitive topics. Recommendations were suggested for classroom practice. / Dissertation (MEd)--University of Pretoria, 2020. / Humanities Education / MEd / Unrestricted

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In communication and family studies, narrative inheritance Òprovides us with a framework for understanding our identity throughÓ the stories of those who preceded us in our families (Goodall, 2005, p. 497). Ballard and Ballard (2011) supplement the concept of narrative inheritance with the idea of Ònarrative momentum,Ó suggesting that family identity moves forward into the future through the narratives the family tells (p. 80). In this account, I question the hegemony of both concepts, particularly narrative momentum which discounts the variety of family types, while supporting the dominant cultural discourses of what defines Òfamily.Ó

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A teacher’s understandings of literacy have an impact on the pedagogical decisions that the teacher makes. Such understandings of literacy may evolve through professional learning, experiences, and reflective practice, but this evolution is seldom documented and therefore not often considered as a systematic means for improving practice. Similarly, educators are rarely able to document the longitudinal literacy life of one learner. This autoethnographic study explores and documents how the researcher’s understandings of literacy have changed over time. The researcher is the primary participant in the study, but her daughter’s literacy learning (from early childhood into adolescence) informs the three eras of the researcher’s teaching life. These three eras are named: teacher, teacher-mother, and teacher-mother-researcher. In each era the researcher interprets her daughter’s literacy learning through the theoretical lens of literacy as social practice. The study draws upon documents, interviews, and artefacts from both the researcher’s life and from her daughter’s literacy life in order to construct stories that express the lived experience of an educator in the act of examining her own literacy theory-practice evolutionary process. Findings from this study can inform educators of the need to challenge their understandings of literacy theories in relation to their past and current literacy practices, enabling them to effectively construct their future practices.

This thesis adds a complex account to existing climate change engagement literature, which captures the ways that interactions with, and interpretations of, climate change emerge across the spaces and practices of day-to-day life. The empirical research for this thesis was based in Penryn and Falmouth, two small adjoining coastal towns located in the county of Cornwall, in the southwest of the UK. Fieldwork across a number of sites including schools, community groups and the local fishery engaged participants in a wide variety of research interactions. A combination of ethnographic and autoethnographic techniques were applied to produce complex, nuanced and personal accounts of interactions with and reflections on climate change that emerged in a day-to-day context. This study employed the innovative use of a personal research archive to facilitate the process of sense making across a body of highly detailed and contextual data. Through the use of thematic coding, links between data collected in diverse research encounters has been drawn together to produce meaningful narratives of climate change engagement in day-to-day life. These narratives capture the adaptive, imperfectly situated and inconsistent engagement responses that emerge as a result of the challenging nature of climate change and the inevitable, multiple pressures of the day-to-day context. The research approach taken in this study, and the findings set out in the thesis make contributions to three main areas of climate change engagement literature. Firstly, it explores the way that climate change is situated and understood in the context of day-to-day life. Secondly, it considers the implications of conceptualising climate change engagement as either a ‘process’ or a ‘state’. Finally, it extends existing analysis of ‘barriers to engagement’, locating them within the complexity of the day-to-day context and identifying them as part of essential interpretive iterations of engagement.

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This master thesis is an autoethnographic study, wherein the author presents and analyzes her approach to composition practice through intertextuality. Drawing on previous research in literary and musical studies, she aims to identify and/or define the types of intertextuality that she uses in her compositional practice, and their interaction within compositions. She also investigates, in which ways different musical and literary texts can mutually influence and enhance each other, as well as how these forms of intertextuality function in specific performance settings. Finally, the author contemplates on the question how intertextual elements might mediate in translating the author’s intentions to the audience, at least from the perspective of the composer. After a quick overview of ten of Astar’s musical works, making use of intertextuality as a composition strategy, the study focuses on a detailed analysis of two pieces, Escape and The Checkered Flag Villanelle, that rely upon contrasting ways of building cross-textual relationships. The analysis utilizes, among others, the topologies found in the works by Genette, Burkholder and Kawamoto. The author also makes an attempt at extending the existing terminology by suggesting such new terms as concept borrowing, interpermeating intertextuality, imposed intertextuality, transverbal prosodization and some other. This terminology is applied in the work to describe the types of cross-textual strategies used in Astar’s classical compositions that do not appear to be covered by any of the aforementioned topologies. The work also offers a first-person perspective at a close collaboration of a composer and a poet, where the result is a variety of artistic works, all of which employ multi-layered intertextuality and an intermedial approach.