The knowledge economy is a construct of a neo-liberal imaginary that is linked closely to the promotion of educational technology use in schools. In the belief that educational technology can assist in the rapid development and modernisation of the education systems in the Middle East, over the last 20 years, donor agencies, international conglomerates and supra-national organisations have encouraged governments in the region to embed information and communication technology into the policies for the reform and development of their education systems. Taking Michael Peters’ assertion that there are three elements to the knowledge economy – learning, creativity and openness, the study points to the paradox of promoting these concepts within the context of the deeply conservative authoritarian regimes in the Arabian Gulf. By way of an ethnographic case study into the formulation and subsequent enactment of education policy reforms in the small kingdom of Bahrain in the Arabian Gulf, this account analyses the historical context together with political and social conditions giving rise to the education reforms in this region and the conflicting pressures experienced by those in schools that are tasked with enacting the reforms. Comparisons are made with the situation in Jordan from whence much of the regional impetus for technology-led education reforms arose. The analysis of the findings uses the lens of New Institutional Economics as a way of focusing upon the conflicting cultural, social and political factors that influence the policy enactment. In this way a more satisfactory narrative is achieved than one simply centred upon a neo-liberal analysis or upon conventional models of technology adoption. Ultimately, the study concludes that it is only through a rebalancing of the conflicting forces of structure and agency that successful social reform and policy enactment can take place in this part of the world where autonomy and selfactualisation are novel concepts for the great majority of the population.

This thesis explores the effects of Creative Writing exercises on student writer subjectivities. It explores the hypothesis that an encounter with enigmatic Creative Writing exercises can facilitate a shift in students’ relation to their writing, or their writer subjectivity. The study used a methodology informed by Lacanian psychoanalytic ideas. Data was generated through an “experiment” course: an intervention of six sessions especially for this research with five volunteer participants, Creative Writing students from a UK higher institution. In addition, free--‐associative one--‐to--‐one interviews were carried out before and after the intervention. Lacanian theory informed the attempt to maintain ambiguity in both the exercises and in the researcher’s enigmatic stance throughout the intervention. The analysis proposes the concept of writing fantasy as a formalized structure that orients a writer’s spoken and written discourse about her writing. Using the (emergent) structure of fantasy in the participants’ texts and interviews, the analysis chapters explore the participants’ writing fantasies and how the research project shifted or added to their fantasy, thus affecting the structure of their writer subjectivity. The outcome of the analysis suggests that writing fantasies can be shifted, at least momentarily, through the exercises. The analysis, however, also indicates that fantasies do not shift easily; the interpretation of the setting and/or the exercises’ instructions as threatening to a participant’s writer subjectivity seemed to impede the shift. The design of the research with pre and post interviews and an intervention aimed at disrupting or shifting fantasmatic attachments constitutes an approach to exploring fantasy that has not previously been explored in the field of Psychosocial Studies. The thesis also constitutes an original contribution to the field of Creative Writing Studies in the way it conceptualizes learning in relation to the inherent assumptions in writer--‐students’ spoken and written discourse. More specifically, it provides an initial knowledge--‐base for the pedagogical and psychosocial function of Creative Writing exercises used in Creative Writing pedagogy.

This study explores Kosovan teachers’ identities, beliefs, self-reported practices and perceived needs, concerning the interface of music, society and education. It does this at a time when the newly independent country is emerging from war and establishing an education system, of which music forms an important part. The discussion takes a social constructivist viewpoint, whereby music learning and teaching are understood in relation to the historical, political and cultural contexts of the society in which they occur. The focus of the investigation is on the current practical and theoretical situation faced by music education in Kosovo. This is approached through the voices of music teachers, all of whom belong to the Albanian-majority ethnic group in Kosovo (92%), which was subject to political oppression and acculturation under the former Serb regime until the Kosovan war ended in 1999. Using an ‘explanatory mixed methods design’ (Creswell, 2003, p. 15) a questionnaire survey was conducted with 204 teachers falling into two main, very different, groups – generalists and specialists – across all regions of Kosovo. The survey was followed up with semi-structured interviews of 16 individuals, selected as representative of each of the two main groups. The study investigated issues within and across each group, concerning: i) the teachers’ musical identities in relation to Kosovan history, culture and Albanian ethnicity; ii) their beliefs about the role of music and music education in Kosovan society; iii) their self-reported music teaching practices and iv) their perceived needs and opportunities for professional development. Similarities and differences between the two groups were found to be of potential importance in the future development of music education. In addition, the findings reveal serious challenges faced by Kosovan music teachers, who find themselves trapped between traditional musical values, styles and practices on one hand, and modern, Western music ideologies present in the newly developing music curriculum. Finally, the thesis offers some concrete recommendations to the relevant institutions in Kosovo, aimed at furthering and supporting the development of the new music curriculum.

Moving beyond the ‘Web 2.0’ and ‘digital native’ rhetoric, this thesis investigates what Chinese undergraduates are actually doing (and not doing) with online tools and applications to learn English outside the classroom and, why they choose to do so. Particular attention is paid to their use and non-use of the social web in their English learning context. A sociocultural framework is adopted to understand learners’ behaviours surrounding digital technology. This theoretical position puts learners at the centre of their English learning and decision-making regarding technology use. It guides the exploration into the contextually mediated choices and practices of English learners in the so-called ‘2.0’ era. Data collection for this mixed sequential study took place during the 2010-2011 academic year. The data consist of a survey of 1,485 undergraduates and semi-structured interviews with 49 participants in two large Chinese universities. The data demonstrate a few embryonic signs of how Chinese undergraduates try to ‘escape’ from their English learning context with online technologies. However, a vast majority of the participants chose to use the web as an instrument to handle their academic duties. When it comes to English learning, their use of Web 2.0 is limited and mostly non-interactive and unspectacular. In light of the above, the thesis goes on to consider a number of contextual factors that appear to constrain participants’ use of technology – not least the discourses of English learning and the cultural artefact of exams. Based on these findings, the thesis provides a framework that challenges existing beliefs about (language) learning with Web 2.0, and that contributes to understandings of how context mediates language learners’ behaviours surrounding digital technologies. The thesis concludes by suggesting ways of maximizing the learning potential of Web 2.0 for English learners at Chinese universities.

This thesis explores the extent to which curriculum content and pedagogy in current secondary music education can be understood as gendered. The study is situated primarily within a qualitative paradigm whilst also possessing some quantitative aspects. It consists of a mixed-methods investigation into the practices and beliefs of music teachers and their pupils via a) a survey across 78 co-educational, non-selective and non-denominational English secondary schools; and b) detailed case-studies of three purposively selected music departments of contrasting complexions. The research springs from, replicates and extends that conducted for L. Green’s early study (1993) concerning gender and music and its findings are examined in the light of a range of historical and theoretical concepts that underpin this domain including Green (1997), O’Neill (1997), Paechter, (2000, 2009), Harrison (2009), Legg (2010), Abramo (2011), Armstrong (2011) and Bjork (2011). Throughout the thesis I compare and contrast three data sets (L. Green’s survey, the modern-day survey and the present case studies) in order to explore similarities and differences between the thoughts and behaviours of both past and current respondents. In addition I aim to extend existing theoretical paradigms by identifying how particular aspects of curriculum and pedagogy can be defined as feminine-gendered’ or ‘masculine-gendered’, (regardless of the sex of the teacher) through the development of a framework of descriptive criteria. In particular I review data emanating from the case studies in the light of this, examining how gendered practices and approaches affect pupils’ responses. Despite evidence of change concerning gendered participation in school music nowadays (such as boys’ improved involvement in 14+ examinations) I show how wide-ranging, complex and deeply-embedded historical constructs continue to govern the dynamics of the music classroom. These reveal themselves, both overtly and covertly, via the expression of a broad range of beliefs and behaviours which usefully elucidate and illuminate the concepts expressed throughout this study.

This thesis analyses knowledge production and the role of the researcher in the intersections of psychology and education in Argentina. It aims to contribute to an understanding of educational psychology as a field of knowledge, both in terms of its present situation and future development. The research draws on and applies conceptual tools from the sociological theory of Basil Bernstein, some contributions from Pierre Bourdieu, and relevant work within the field of higher education studies. The fieldwork has consisted of collecting information on psycho-educational research projects carried out in six psychology faculties in Argentinian public universities during the period 2000-2010 as well as carrying out interviews with a selection of researchers. The analysis presented here illustrates that the structure of the psycho-educational field is conceived by academics as a horizontal knowledge structure with weak grammar, and comprising various disputes with respect to topics, methodologies, theoretical approaches and ways of conceiving knowledge production. Formal education contexts, especially at the university level, as well as the role of students are shown to be the most studied objects in the psycho-educational research, which has produced knowledge on, for example, academic trajectories, school failure, school interactions, cognitive and personality aspects, subjectivity processes in education, and academic tasks and devices. The research also illustrates that the most privileged methodology is qualitative, although there is also a consolidated tradition in ‘scientific’ approaches. Furthermore, the research illustrates that the professional practice of academics producing psycho-educational knowledge is mainly configured as a multi-tasking profession, where there are weak insulations between the different professional roles and weak framing of the researcher role, as its realization and recognition rules are less explicit and require constant negotiation. Thus, academics tend to draw on other professional practices in the decisions related to their practices of knowledge production, and legitimation strategies based not only on knowledge codes but also on knower codes are identified. Finally, an organisational language that puts in relation the strength of the specialisation of the research role with the legitimation strategies of knowledge is proposed, identifying four different strategies of identity formation as researchers in the field: Specialist researcher, artisan researcher, theory-affiliated academic, and generalist professional.

This study investigates the development of source use by international postgraduate students at a UK HEI over a two year period. While other studies have examined source use at one time, in one area or with a small number of students, this study aims to establish what constitutes competence in key features of source use at Master’s level from the development shown by a larger number of students. The data comes from eight postgraduate students from China, Japan, Sri Lanka and Algeria in the form of four assignments submitted during a Pre-Master’s programme and subsequent Master’s degree. Interviews were carried out at each stage as an adjunct to the assignment data to investigate participants’ perspectives and knowledge of source use. The assignments were analysed for competence in five key features of source use: citation, paraphrasing, reporting verbs, critical engagement and avoidance of plagiarism. From the findings, different strategies, development and ability in source use emerged, leading to the establishment of three types of users: risk takers, safe players and competent users. The risk takers adopted strategies such as copying attributed and unattributed source text. The safe players used a small range of features but were extremely careful to avoid plagiarism. The competent users employed a range of features and did not take risks with plagiarism. From the final group, descriptors of competence in source use are defined which form the key contribution of this study to the field of EAP and to postgraduate education. The thesis highlights the following implications for practice: more continuous teaching of source use is necessary throughout postgraduate courses; EAP may not provide sufficient instruction in source use; tutors need to take students’ language level and prior education into account; and engaging students in discussing and defining plagiarism is essential for their development of source use.

Within contemporary cultural climates there has been a significant instrumentalised focus on the role of museums and galleries in the promotion of positive mental health and well-­being. The emotional and psychological components embedded within such aspirations however present a number of fluid and intangible challenges that require in-­‐depth research if deeper understanding of such processes and claims are to take place. My research addresses philosophies, strategies, and practicalities through searching for a better understanding of individual encounters with paintings in gallery settings. It provides a possible framework for evaluating affectivity and emotional engagement in cultural organisations. While acknowledging the intellectual and social impact of the visitor experience, this research focuses on the affective encounter of the individual, unaccompanied visitor. Both the successes and complications of evaluating the complexities of visitor experience have been addressed through multi-­‐methodological research. The research demonstrates how art galleries are an important resource for inspiring emotionally engaged and affective experiences beyond the organised social activity predominantly used to promote positive mental health and well-­‐ being. The focus on emotion and affectivity also provides an alternative to the emphasis on cultural organisations as a vehicle for narrowly defined learning. Through the collection, correlation, analysis and presentation of visitor’s experiential narratives I uncover a ‘rise of the visceral’ in the cultural sector and greater differentiation of audiences in Museum Visitor Studies. I achieve this through positioning the engagement with paintings as a form of memento mori and memento vitae, which provide an emotionally affective and engaged impact potentially conducive to an altered state of mental health and well-­‐being.

This dissertation explores historical notions of resistance alongside contemporary playful forms of rebellion. This analysis is centered on the relationship of play to social protest encompassing why we play, how we play, and what this can mean to academics studying social movements, as well as specific contributions for engagement as activists and artists. I propose the need to re-invest in the possibilities of social protest given the absurd nature of certain contemporary political situations and the negative exposure of “somber street protest” by the mainstream media. I rely on play research, performance studies, folktales of tricksters and clowns, sociological research on dissent, analysis of consumerism and identity, and activist publications. This examination includes the work of Erich Fromm, Albert Camus, the Situationist International, Victor Turner, and Mihaly Csikszentmihalyi. Social protest needs to be dynamic to attract participants, inviting participation and enjoyment. My dissertation develops a philosophical structure furthering how we can conceive of dissent within the current political and cultural framework in the United States and investigates actual sites of innovative social movements, including the Clandestine Insurgent Rebel Clown Army, the Ministry of Reshelving, Tape Babies, Detroit Demolition, guerrilla gardening, and the Reverend Billy and the Church of Stop Shopping.

This study is a description and interpretation of mass media appropriations (or media references) in social interaction in US American culture. Two research questions guide the study: One, how, if at all, do cultural members appropriate texts from mass media in their ongoing, socially interactive lives? And two, what are the functions and meanings of mass media appropriations (MMAs) so enacted? The study is situated within the Ethnography of Communication research program and uses Cultural Discourse Theory as its main theoretical frame. The study employs ethnographic and cultural discourse analysis methods including participant-observation, interviewing, cultural description and interpretation to formulate a native theory of mass media appropriations as they are patterned and practiced in US American culture. This theory is then compared to similar practices in Western Apache, Zambian, German, and Dominican American cases. The major descriptive findings include a sequence that MMAs typically follow in social interaction including a trigger, reference, and response; the essential, typical, and possible parts of MMAs, various combinations of which are formulated into types and subtypes of MMAs; the frames typically involved in MMAs including performance, play, and quotation and how they are cued, maintained, and terminated; and a set of dimensions upon which MMAs vary. The major interpretive findings include MMAs being performed for the humor, pleasure, play, shared identity and bonds that they create, these being necessary to diffuse the focus in the culture on self, serious talk and work.