This diploma thesis deals with a children's musical creativity development at primary school with the Step-by-step program. The thesis introduces an overview of the current topics in alternative education, reveals main ideas of the Step by step program and describes a creativity in general with focus on the area of musical creativity and its development. The main goal of this thesis was to analyze usage of activities stimulating musical creativity development in normal classes at primary school and compare the results with the classes where the Step by step program is in use.

La ricerca sul tema del Sublime ha spesso considerato questo fenomeno come un'emozione originata da stimoli talmente vasti da richiedere una modifica profonda dei nostri schemi concettuali (Keltner & Haidt, 2003). Tuttavia, il sublime risulterebbe più simile ad un'esperienza complessa piuttosto che ad un'emozione. Nel dettaglio, essa è emersa come un'esperienza trasformativa in grado di influenzare persino le tendenze più stabili in modo permanente. L'obiettivo di questa tesi è contribuire alla ricerca orientata a comprendere la natura del sublime, il suo potenziale trasformativo e la sua induzione sperimentale. Abbiamo esplorato nuovi metodi per restituire al sublime elicitato in laboratorio le sue sfumature, la sua originaria intensità e complessità. Abbiamo, inoltre, sviluppato una serie di tre studi basati su una metodologia esperienziale avanzata, la Realtà Virtuale (RV), aprendo la strada ad un nuovo modo di studiare e progettare esperienze di sublime nel laboratorio. In primo luogo, partendo da una revisione della letteratura sperimentale sul sublime, abbiamo argomentato in favore di una nuova metodologia in grado di cogliere l'intensità e la complessità del sublime come esperienza, superando la concezione di questo fenomeno come emozione. Abbiamo identificato la RV come principale candidato per diverse ragioni. Innanzitutto, la RV sarebbe in grado di fornire agli utenti la possibilità di navigare all'interno di ambienti immersivi, realistici e interattivi che possono elicitare un senso di “presenza” (i.e., la sensazione soggettiva di "essere e agire lì" all'interno di una realtà simulata come se fosse la realtà). Inoltre, la RV sarebbe in grado di generare eventi paradossali e situazioni altrimenti impossibili nella realtà, frammentando, così, i nostri schemi di pensiero abituali. Questo aspetto risulterebbe un asset cruciale per l'induzione del sublime. In terzo luogo, la RV potrebbe essere utilizzata per registrare il comportamento e le risposte fisiologiche degli utenti insieme ai report soggettivi retrospettivi, permettendo di realizzare una misurazione integrata dell'esperienza. Nello studio 1, alla luce di queste premesse, abbiamo esplorato sperimentalmente la possibilità di indurre il sublime anche attraverso un format basilare ma altamente realistico di RV, detto video 360°. Abbiamo progettato due contenuti emotivi (1 inducente il sublime e l'altro neutrale) i quali venivano mostrati su un display a 360° oppure su uno schermo piatto, per manipolarne il senso di presenza associato. Infine, abbiamo testato l'effetto di tale manipolazione sull'intensità del sublime derivante dall'esposizione a tali stimoli sia tramite un assessment psicofisiologico (Conduttanza cutanea, Blood Volume Pulse, sEMG) sia tramite misure retrospettive ad hoc. I partecipanti hanno percepito un livello di sublime significativamente superiore nella condizione 360° con contenuto sublime rispetto a tutte le altre condizioni. La combinazione del medium 360° e del contenuto ispirante il sublime è risultato in un boost di quest'ultimo. Inoltre, per la prima volta, le misure psicofisiologiche del sublime hanno dimostrato il ruolo cruciale del sistema parasimpatico per definire tale fenomeno. Nel secondo studio, ci siamo spinti oltre testando un format di RV più avanzato includente la componente di interattività. Il vantaggio principale è consistito dal fatto che gli ambienti immersivi e interattivi in VR (VEs) riproducessero istanze differenti di sublime. Seguendo le linee guida fornite dalla letteratura, abbiamo progettato e validato un ambiente neutrale naturalistico in RV e 3 ambienti interattivi ed immersivi (i.e., Foresta, Montagne innevate, Visione della terra dallo spazio) per indurre il sublime. 36 partecipanti sono stati esposti a tutti gli ambienti in RV seguendo un ordine controbilanciato. I partecipanti hanno riportato i propri livelli di sublime, affettività generale e senso di presenza dopo ogni esposizione. Tutti gli ambienti sono risultati in grado di elicitare i medesimi livelli di affettività positiva e presenza, tuttavia, differivano in relazione al tipo di sublime elicitato. Questo studio ha fornito le prime linee guida di progettazione basate sull'evidenza utili sia per future ricerche interessate a studiare il sublime come esperienza all'interno del laboratorio, sia per studiosi e professionisti che intendano utilizzare tali ambienti virtuali per creare training di induzione del sublime. Fino a questo punto è stato considerato solo un format RV immersivo ed interattivo. Tuttavia, abbiamo trascurato la componente di realismo tipica della RV (i.e., il livello di dettaglio in cui un VE sia in grado di simulare la fisica del mondo reale). Quindi, abbiamo confrontato i risultati dello studio 1 con quelli dello studio 2 in relazione all'induzione di sublime da parte dei due differenti formati di RV (i.e., realistico vs. immersivo/interattivo) utilizzando un confronto tra gli effect size, in quanto il disegno di ricerca era il medesimo. Abbiamo riscontrato un livello superiore di sublime indotto dal formato realistico del video 360° rispetto ai VEs immersivi. Questo suggerirebbe che la componente del realismo, in qualità di dimensione chiave del senso di presenza, sia un elemento chiave da manipolare per progettare forme più complesse e intense di sublime in laboratorio. Quindi, nel terzo studio, ci siamo basati sui risultati delle due ricerche precedenti allo scopo di testare l'impatto di una forma di sublime intensa, come quella indotta dai video 360°, sul pensiero creativo, il quale è di solito considerato come una tendenza relativamente stabile. Abbiamo ipotizzato che questa forma intensificata di sublime in RV sarebbe stata in grado di influenzare il pensiero creativo più di un contenuto neutrale mostrato attraverso il medesimo display. Per testare il legame tra il sublime come esperienza e la creatività, abbiamo impiegato video 360° precedentemente validati per indurre il sublime e un contenuto neutrale ed abbiamo assegnato 40 partecipanti in modo casuale a tutte queste condizioni che sono state controbilanciate. Dopo, abbiamo misurato livelli di sublime e le abilità di pensiero creativo (Torrance Test of Creative Thinking) di tutti i partecipanti. I risultati hanno mostrato non solo che il pensiero creativo era significativamente superiore nella condizione di induzione del sublime rispetto a quella neutrale. In particolare, il sublime percepito era predetto significativamente da 3 dimensioni di creatività su 4, come abbiamo dimostrato attraverso l'approccio del Modello Lineare Generalizzato. La spiegazione che abbiamo proposto per questi risultati è in linea con l'approccio teorico delle esperienze Diversificanti (DEs), esperienze peculiari di vita considerate in grado di promuovere elevati livelli di pensiero creativo. In particolare, abbiamo considerato il sublime come potenziale membro della famiglia delle DEs. In generale, i risultati di questi studi hanno provato la natura complessa e ricca di sfaccettature propria del sublime e hanno dimostrato la fattibilità di una sua induzione in laboratorio. Specificatamente, abbiamo dapprima validato una nuova procedura per la progettazione e la selezione degli stimoli migliori per l'induzione del sublime. Tale metodologia è stata poi applicata in laboratorio con un formato RV interattivo e immersivo. Abbiamo mostrato che nonostante il sublime mostri un'attivazione chiave del sistema parasimpatico, sarebbe in grado di scaturire anche da stimoli attivanti ed interattivi. Abbiamo utilizzato la RV per creare diverse esperienze prototipiche di sublime, le quali hanno mostrato differenti profili in termini di vastità e bisogno di accomodamento, degne di approfondimento. Infine, il legame tra l'esperienza del sublime e la creatività è emerso chiaramente, aprendo alla possibilità di un training orientato al sublime e basato sulla RV che sia in grado di potenziare anche il pensiero creativo. Concludendo, abbiamo fornito anche linee guida per la progettazione e per la ricerca orientata ll studio del sublime come esperienza e non solo come semplice emozione. / Research on “awe” has often considered it as an emotion arising from stimuli so vast to require an accommodation of pre-existing knowledge structures (Keltner & Haidt, 2003). However, awe resulted as closer to an experience than to an emotion. Specifically, awe resulted as a transformative experience, able to affect even stable tendencies in life permanently. The purpose of this dissertation is to contribute to research on the nature of awe as a transformative experience and on its experimental study. I explored new methods to restore nuances, intensity and complexity of awe-experience even in the lab. I developed a set of three subsequent studies based on a new experiential methodology – Virtual Reality (VR) – opening to a new way of studying and designing awe in the lab. First, starting from a review of experimental literature on awe, I discussed in favour of a new methodology able to capture the intensity and complexity of awe as an experience, instead of only as an emotion. I identified Virtual Reality as the main candidate for many reasons. First, VR endowed the users with immersive, realistic, and interactive environments that can elicit a sense of “presence”, that is, the subjective experience of “being and acting there” in a simulated reality as if it was real. Second, VR allows to generate even paradoxical and impossible situations breaking our conventional fixed patterns of thinking, that is another key asset of awe. Third, VR can be used to fully track users’ behavioural and physiological responses, allowing for an integrated assessment of the emotional experience, both concurrent and retrospective. In study 1, drawing from these conclusions, I empirically explored the possibility to induce awe even through basic but highly realistic VR format, that is, 360°-videos. First, I designed two VR contents (1 awe-inducing and 1 neutral) displayed either on 360°-videos or on flat screens. Then, I exposed 42 participants to ad hoc awe-inducing (i.e., Forest) and neutral (i.e., hens scratching about the grass) contents displayed either on a 360° or flat screen to manipulate the sense of presence. I tested the impact of this manipulation on awe intensity. They self-reported their sense of presence and awe after each exposure. At the same time, their Skin Conductance, Blood Volume Pulse, sEMG levels were assessed while they were watching each video. Participants felt significantly more awe in the 360° awe-inspiring condition compared to others. The combination of 360° medium with awe-inspiring content resulted in a boost of awe. Moreover, psychophysiological measures of awe evidenced, for the first time, the parasympathetic system as a core component of the psychophysiological profile of this emotion. In study 2, I moved forward by testing a more advanced VR format, which includes the component of interactivity. The main advantage was that immersive-interactive Virtual Reality environments (VEs) could give rise to a variety of awe-experiences. Following guidelines provided by literature, I designed and validated one naturalistic neutral VR-environment and 3 ad hoc immersive-interactive VR-environments (VEs), to induce different instances of awe (i.e., Forest, High Snow Mountains, Earth view form the space). 36 participants were exposed to all VEs in a counterbalanced order. Participants reported their levels of awe, their general affect, and sense of presence after each exposure. Results showed that all environments elicited a similar positive affect and presence, but awe was differentially elicited by each environment, bringing forth diverse nuances of it. This research provided evidence-based design guidelines for future researches interested in the study of awe as an experience in the lab, as well as to scholars and practitioners willing to adopt validated VEs for creating awe-inspiring trainings. To date, I considered an interactive-immersive VR format. However, another key asset of VR relies also on the realism component (i.e., how a VE simulates the physics of the real world to minute details). Finally, since the experimental design was akin to Study 1, I could compare effect size of awe conveyed by 360° realistic video of Forest (Study 1) and immersive-interactive VEs of Forest (Study 2). I found that the most realistic form of VR (i.e., 360°-videos) could induce a slightly higher sense of awe, compared to VEs. This suggested that the realism component, as a layer of the sense of presence, could be crucial in manipulating and designing enhanced forms of awe in the lab. Hence, in Study 3, I relied on findings of Study 1 and 2 to test the impact of such intensified form of awe - induced by the most realistic form of VR - on creative-thinking cognitive process, which is usually considered as a relatively stable tendency instead of a contingent phenomenon. I hypothesized that the enhanced form of realistic VR-based awe would have impact on creative-thinking more than a neutral content displayed in VR. To test the link between awe as an experience and creativity, I used previously validated 360° awe-inspiring and neutral environments and I randomly assigned 40 participants to all these conditions in a counterbalanced order. Their levels of awe, presence and creative-thinking abilities (Torrance Test of Creative Thinking) were assessed after the exposure to each condition. Results showed not only that creative-thinking was significantly higher after awe-inducing 360°-videos compared to the neutral one, but especially that perceived awe significantly predicted 3 out 4 creativity dimensions, as demonstrated by a Generalized Linear Model statistical approach. We explained these findings in light of the framework of Diversifying experiences (DEs), i.e., peculiar experiences in life (e.g., multicultural experiences, psychopathology, schema-violation situations) considered as maximally creativity-conductive. Specifically, we considered awe as a potential member of the family of DEs. Overall, results of these studies provided evidence of the nuanced nature of awe and of the possibility to restore it as an experience even within the boundaries of a lab. Specifically, a new methodology for the design and the selection of best awe-inductors in the lab was validated. This methodology was applied both with immersive and interactive VR formats. Although awe displays a parasympathetic physiological response, it can arise even from interactive-activating inductors. I used VR to create several prototypical experiences of awe, which showed different profiles in terms of vastness and need for accommodation, to be deepened by future studies. Finally, the link between awe-experience and creativity emerged clearly, paving the way for new future awe-inspiring VR-based training to enhance creative thinking. To conclude, design and research guidelines were provided for further studies interested in pursuing and investigating awe as an experience and not only as an emotion.

Nous cherchons dans cette étude à développer des compétences de la pensée critique et créative et l’acquisition de connaissances chez un groupe d’élèves dans des écoles de collégiens en Syrie, à travers l'application de la méthode Freinet dans le processus d'apprentissage. Pour valider des hypothèses de la recherche, nous avons enseigné à deux groupes d’élèves – contrôle et expérimental – une unité de la matière de sciences S.V.T par deux styles. Le premier groupe a été enseigné par le style traditionnel (groupe contrôle), le deuxième a été enseigné par la méthode de Freinet . Pour mesurer le développement des compétences de la pensée critique et créative chez les élèves, nous avons conçu deux tests ; le premier, pour mesurer les compétences principales de la pensée critique et le deuxième, pour mesurer les compétences principales de la pensée créative. Afin de mesurer le développement du niveau d’acquisition des connaissances chez les élèves, nous avons conçu un test traditionnel à propos des informations contenues dans l’unité éducative au manuel de sciences S.V.T. Les résultats de cette étude ont montré l'efficacité de cette méthode dans le développement de cinq compétences principales de la pensée critique chez les élèves. L'étude a également montré l'efficacité de cette méthode dans le développement de trois compétences principales de la pensée créative chez les élèves. En plus, les résultats de cette étude ont montré que l’enseignement par la méthode de Freinet a contribué au développement du niveau d’acquisition des connaissances chez les élèves. / Through this research, we are looking to develop Critical Thinking Skills and Creative Thinking Skills, as well as the acquisition of knowledge in a group of students in college schools in Syria, through the application of the Freinet method in the learning process. To validate the hypothesis of the research, we taught two groups – control & experimental – of students a unit of a science S.V.T. manual. Two styles were used: the first group was taught by the traditional method (control group), the second taught by the method of Freinet (experimental group). To measure the development of the Critical Thinking Skills and the Creative Thinking Skills in students, we designed two tests: the first, to measure the Critical Thinking Skills, and the second, to measure the Creative Thinking Skills. To measure the development of the students' level of knowledge acquisition, we designed a traditional test about the information contained in the educational unit in the S.V.T. book. The results of this study showed the effectiveness of this method in developing five skills of the critical thinking in students (inference, assumption, deduction, interpretation, and evaluation of the argument). The study also showed the effectiveness of this method in developing three skills of the creative thinking in students (originality, fluidity, and flexibility). In addition, the results of this study showed that the teaching by the Freinet method has contributed to the development of students' level of knowledge acquisition.

by Hui Na-na, Anna. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 106-122). / Text in English; Questionnaire also in Chinese. / by Hui Na-na, Anna. / LISTS OF FIGURE & TABLES V / Chapter CHAPTER 1 - --- INTRODUCTION / Chapter 1.1 --- Background of the study / Chapter 1.1.1 --- Approaches to Creativity --- p.1 / Chapter 1.1.2 --- Motivational Orientation and Creativity --- p.4 / Chapter 1.1.3 --- Relationship between Classroom Environment and Creativity --- p.6 / Chapter 1.1.4 --- Relationship between Classroom Environment and Motivational Orientation --- p.9 / Chapter 1.2 --- Research Questions --- p.12 / Chapter 1.3 --- Significance of the Study --- p.13 / Chapter CHAPTER 2 - --- LITERATURE REVIEW / Chapter 2.1 --- Conception of Creativity / Chapter 2.1.1 --- Definition of Creativity --- p.15 / Chapter 2.1.2 --- Factors of Creativity --- p.17 / Chapter 2.1.3 --- Distinction between Creativity and Intelligence --- p.18 / Chapter 2.2 --- Approaches to Creativity / Chapter 2.2.1 --- Creative Personality --- p.20 / Chapter 2.2.2 --- Creative Product --- p.21 / Chapter 2.2.3 --- Creative Process --- p.23 / Chapter 2.2.4 --- Creative Press (Environment) --- p.25 / Chapter 2.2.5 --- More Integrative Approaches to Creativity --- p.26 / Chapter 2.2.6 --- An Approach to Studying Creativity in Writing --- p.31 / Chapter 2.3 --- Creativity and Classroom Environment / Chapter 2.3.1 --- Environmental Stimulants of Creativity in the Classroom --- p.32 / Chapter 2.3.2 --- Environmental Inhibitors of Creativity in the Classroom --- p.35 / Chapter 2.3.3 --- Teachers' and Peers' Judgment of Creativity and Social Validation of Students' Creativity in the Classroom --- p.36 / Chapter 2.4 --- Conception of Motivational Orientation / Chapter 2.4.1 --- Intrinsic and Extrinsic Motivational Orientation --- p.38 / Chapter 2.4.2 --- Orientation as Trait and Involvement as State --- p.39 / Chapter 2.5 --- Motivational Orientation and Classroom Environment --- p.41 / Chapter 2.6 --- Motivational Orientation and Creativity --- p.45 / Chapter 2.7 --- Hypotheses of the Study --- p.47 / Chapter CHAPTER 3 - --- METHOD / Chapter 3.1 --- Operational Definitions of Variables / Chapter 3.1.1 --- Operational Definition of Creativity --- p.49 / Chapter 3.1.2 --- Operational Definition of Motivational Orientation --- p.49 / Chapter 3.1.3 --- Operational Definition of Classroom Environment --- p.50 / Chapter 3.2 --- Subjects --- p.50 / Chapter 3.3 --- Instruments / Chapter 3.3.1 --- The Consensual Assessment of Creativity --- p.51 / Chapter 3.3.2 --- Motivational Orientation Scale --- p.52 / Chapter 3.3.3 --- Classroom Environment Questionnaire --- p.53 / Chapter 3.3.4 --- Behavioral Characteristics of Students --- p.55 / Chapter 3.4 --- Procedure / Chapter 3.4.1 --- Pilot Study --- p.55 / Chapter 3.4.2 --- Main Study --- p.56 / Chapter Chapter 4 - --- results / Chapter 4.1 --- Reliabilities of Instruments / Chapter 4.1.1 --- Consensual Assessment of Creativity --- p.58 / Chapter 4.1.2 --- Motivational Orientation Scale --- p.61 / Chapter 4.1.3 --- Classroom Environment Questionnaire --- p.62 / Chapter 4.1.4 --- Behavioral Characteristics of Students --- p.65 / Chapter 4.1.5 --- Mean Scores and Standard Deviations of Instruments --- p.66 / Chapter 4.2 --- Relationships Among Product Creativity and Other Variables / Chapter 4.2.1 --- Objective and Subjective Judgment of Creativity --- p.67 / Chapter 4.2.2 --- "Students' Product Creativity, Students' Behavioral Characteristics and Peer Nomination of Creativity" --- p.70 / Chapter 4.2.3 --- Behavioral Characteristics of Students and Students' Motivational Orientation --- p.73 / Chapter 4.2.4 --- Product Creativity and Students' Motivational Orientation --- p.73 / Chapter 4.2.5 --- Students' Behavioral Characteristics and Their Perception of Classroom Environment --- p.73 / Chapter 4.2.6 --- Product Creativity and Students' Perception of Classroom Environment --- p.74 / Chapter 4.2.7 --- Students' Motivational Orientation and Their Perception of Classroom Environment --- p.77 / Chapter 4.2.8 --- Students' Perception of Classroom Environment and Others' Perceived Measures of Students' Creativity --- p.78 / Chapter 4.3 --- "Sex Effects of Variables on Behavioral Characteristics of Students, Peer Nomination of Creativity and Self-Perception of Creativity" --- p.79 / Chapter 4.4 --- Prediction of Students' Product Creativity / Chapter 4.4.1 --- Students' Product Creativity Predicted by Objective and Subjective-Creativity Variables --- p.84 / Chapter 4.4.2 --- Students' Product Creativity Predicted by Students' Perception of Classroom Environment --- p.86 / Chapter 4.4.3 --- Students' Product Creativity Predicted by Students' Self-Perception of Motivational Orientation and Creativity --- p.87 / Chapter 4.4.4 --- Students' Product Creativity Predicted by Teachers' Observation of Behavioral Characteristics and Peer Nomination of Creativity --- p.89 / Chapter 4.4.5 --- Students' Product Creativity Predicted by all Independent Variables --- p.91 / Chapter 4.5 --- Summary of Findings / Chapter CHAPTER 5 - --- discussion / Chapter 5.1 --- Implications and Directions for Future Research / Chapter 5.1.1 --- Social Validity of Students' Creativity --- p.96 / Chapter 5.1.2 --- "Students' Creativity, Motivational Orientation and Behavioral Characteristics of Students" --- p.98 / Chapter 5.1.3 --- Students' Creativity and Classroom Environment --- p.100 / Chapter 5.1.4 --- Students' Self-Perception of Creativity --- p.102 / Chapter 5.2 --- Limitations of the Study --- p.104 / references / Appendices

The presented thesis deals with creativity, creative thinking and its support in managerial practice. Creative thinking and innovations are very sought after these days, that's why it is important to understand how they relate to corporate governance and how management should support their employees in this field. The goal of this thesis was find out, how analyzed company supports creative thinking of their employees and how management contributes to creating an environment that supports creativity. To fulfill the goal of the thesis, research was undertaken in the form of analyzing the company's documents, observation, interviews and a questionnaire. Based on the discovered results, it will be possible to identify the current state of the company and then put together recommendations and proposals for changes. These changes should be helpful to improve creativity amongst employees and hence improve the company's economic effectiveness.

Made available in DSpace on 2016-04-27T14:30:57Z (GMT). No. of bitstreams: 1 Ana Maria Torres Alvarez.pdf: 9796970 bytes, checksum: 1ce21173e9432840f1a381eb874070b4 (MD5) Previous issue date: 2012-04-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is part of the Education: Curriculum Doctoral Program - field of study New Technologies in Education, presenting itself as a result of studies conducted by this researcher in the last four years about the visual representation, and specifically, the infographics. The objective was to analyze the value of infographics as a teaching and learning strategy considering the hypothesis that reading and production of infographics by the apprentices can provide the enhancement of critical and creative thinking. To validate the hypothesis part of the research was devoted to the theoretical production that passed over areas of Education, Semiotics, Media and Cognitive Sciences. In the second phase of the research were planned and presented two editions of a research-training course for teachers within a context in which they could integrate into my research as collaborators. Both editions of the course were conducted in distance mode by the Instituto Ayrton Senna. For the production of the thesis, we used a qualitative approach, and each stage of the investigation were set out specific research methods. Thus, for the theoretical basis, we chose literature and bricolage method. In planning and development of research-training course was followed the method of action research. The software Implicative and Coesitive Hierarchical Classification (CHIC) and maps of clouds keyword (tag clouds) we found different angles of analysis of the data set collected in the course, which involved testimonials, dialogues and activities. From these data it was possible to know the impressions of the participants about the potential of infographics as a new resource for teaching and learning, and identify possible improvements of the proposed appropriation and dissemination of this practice in schools / A presente tese insere-se no Programa de Pós-Graduação em Educação: Currículo, na linha de pesquisa Novas Tecnologias em Educação, apresentando-se como fruto dos estudos realizados por esta pesquisadora nos últimos quatro anos sobre a representação visual e, especificamente, a infografia. O objetivo foi analisar o valor da infografia como instrumento de ensino e de aprendizagem considerando a hipótese de que a leitura e a produção de infográficos pelos próprios aprendizes podem propiciar o aprimoramento do pensar crítico e criativo. Para validar a hipótese, parte da investigação foi dedicada à produção do referencial teórico que transitou pelas áreas da Educação, da Semiótica, da Comunicação Social e das Ciências Cognitivas. No segundo momento da pesquisa foram planejadas e apresentadas duas edições de uma formação-investigação, dentro de um contexto em que sujeitos interessados na temática pudessem se integrar à minha pesquisa como colaboradores. Ambas as edições da formação foram realizadas na modalidade a distância pelo Instituto Ayrton Senna. Para a produção da tese, seguiu-se a abordagem qualitativa e, em cada etapa da investigação foram definidos métodos de pesquisa específicos. Sendo assim, para a fundamentação teórica, optou-se pela pesquisa bibliográfica aliada à bricolagem. No planejamento e desenvolvimento da formação-investigação, foi seguido o método de pesquisa-ação. O software Classificação Hierárquica Implicativa e Coercitiva (CHIC) e os mapas de nuvens de palavras-chave (tag clouds) foram utilizados para obter diversos ângulos de análise do conjunto de dados coletados no curso, que envolveu depoimentos, diálogos e atividades. A partir desses dados foi possível conhecer as impressões dos participantes sobre o potencial da infografia como um novo instrumento de ensino e de aprendizagem, bem como identificar possíveis desdobramentos da proposta de apropriação e disseminação dessa prática nas escolas

本研究旨在探討「曼陀羅課程」與「創造思考力」之間的關係，設計一套適合我國國小學生學習的課程方案，最後依據研究結果提出建議。首先，針對「曼陀羅課程」與「創造思考力」進行文獻探討，俾作為研究立論基礎與分析之依據；其次，本研究採「準實驗研究法」，以國小甲校五年A班為實驗組進行共200分鐘的實驗課程，以國小甲校五年B班為對照組。研究工具包括研究者編製之「曼陀羅課程教材」、「曼陀羅課程學習成效評量」，以及「Torrance創造思考測驗圖形版」、「Torrance創造思考測驗語文版」；接著，以統計方法對實驗結果加以探討分析，包括描述性統計、t考驗、皮爾森積差相關以及逐步迴歸法；最後，依據結果形成結論與建議。茲將本研究之主要結論歸納如下： 壹、實驗組與對照組「Torrance創造思考測驗圖形版」後測分數有顯著差異。 一、實驗組在接受「曼陀羅課程」學習後，後測分數顯著高於對照組。後測分數包含標準分數平均數、創造力指數及創造潛能優異表現三個項目。 二、在本測驗包含的五項創造力特質中，實驗組在「獨創力」之後測分數顯著高於對照組；在「精密力」和「開放力」之後測分數與前測相比有提升。 貳、實驗組與對照組「Torrance創造思考測驗語文版」後測分數有顯著差異。 一、實驗組在接受「曼陀羅課程」學習後，後測總分顯著高於對照組。 二、在本測驗包含的三項創造力特質中，包含「流暢力」、「獨創力」、「變通力」，實驗組的後測分數皆顯著高於對照組。 參、實驗組學生多能充分理解「曼陀羅課程」，學習成效評量結果佳。 肆、「實-虛」課程對「語文創造力」具顯著相關及預測力。 最後，根據後續研究研究結果，提出相關建議，俾供對曼陀羅課程之內容設計、教學方式，以及對教育工作者與後續研究之參考。

The Basic Concepts Mediated Learning Programme (BCMLP) was developed to enhance the cognitive and scholastic functioning of learners who experience barriers to learning in the early years of schooling in the South African context. The study aimed to initiate a process of evaluation of the efficacy of this metacognitive programme with Grade 2 learners from the &lsquo / Cape Flats&rsquo / , an historically disadvantaged community in Cape Town. The study was conducted simultaneously in two local education authorities by independent teams of fieldworkers in each of the education authorities. This quantitative, quasi-experimental, non-equivalent comparison group design study was implemented with learners who were equally assigned to an Experimental group (N=54) or Comparison group (N=55). English home-language and Bilingual (English and Afrikaans) learners made up a majority of the study sample. The study was conducted in English.<br /> <br /> Extensive pre-test and post-test batteries consisting of cognitive (information-processing), cognitive modifiability (dynamic assessment), and scholastic tests were used to collect data. A number of structured interview schedules including post-intervention teacher rating scales were also used for the purpose of data gathering. The results from the parametric and non-parametric methods of data analysis selected, revealed a pattern of significant pre- to post-study cognitive and scholastic gains in scores for learners in both the Experimental and Comparison groups (p&lt / 0.05). In addition, it was found that the study participants, irrespective of their designation to the Experimental or Comparison group became more modifiable and demonstrated enhanced information-processing abilities at the end of the study. Significantly greater gains were, however, attained by learners in the Experimental group in a majority of the areas assessed (7 out of 12) (p&lt / 0.05). Learners in the Experimental group were also found to be more responsive to instruction and modifiable than learners in the Comparison group.<br /> <br /> Learners who participated in the BCMLP were found to benefit with respect to their knowledge of basic concepts, cognitive and scholastic functioning. However, it was not possible to infer from the current study that findings were attributable to any one specific procedure (mediational teaching, concept teaching, vocabulary teaching and teaching to enhance information-processing) or process (Basic Concept Teaching Model) of this metacognitive programme. Furthermore, the study had a number of limitations and findings should be regarded with some caution until replication studies can be completed and the long-term effects of the study can be evaluated.<br /> <br /> The study provides some evidence for the efficacy of short-term, small group intervention programmes implemented by Learning Support Teachers within disadvantaged communities. The study also provides some initial evidence for the efficacy of the BCMLP (a specially designed metacognitive programme). The BCMLP was found to be both appropriate and manageable for Learning Support Teachers to implement in the South African context.

Thesis (M.S.)--University of Tennessee, Knoxville, 2009. / Title from title page screen (viewed on Mar. 10, 2010). Thesis advisor: Deborah Ann Wooten. Vita. Includes bibliographical references.

This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.