International tätige Unternehmen werden durch ihre grenzüberschreitenden Tätigkeiten mit zunächst fremden Kulturen konfrontiert. Die Diskussion über die Konzentration der Unternehmen auf ihre Kernkompetenzen führt zu der grundsätzlichen strategischen Überlegung, ob nicht auch die Kulturelle Diversität eine Quelle für die Generierung von Wettbewerbsvorteilen sein kann, und zu der Frage, in welchen Organisationsstrukturen sie proaktiv genutzt werden kann. Es wird ein Organisationsansatz für die wettbewerbsrelevante organisationale Fähigkeit Interkulturelles Lernen entwickelt. Der ressourcenorientierte Ansatz des strategischen Managements dient hierbei als Bezugsrahmen. Die Prozesse organisationalen Lernens bilden die dynamische Komponente, um von der Ebene der Ressourcen zu organisationalen Fähigkeiten zu gelangen. Die Kollektivierung organisationaler Lernprozesse bedarf dabei der Mechanismen von Reflexion und Sozialisation grundlegender Normen und Werte sowie Basisannahmen. Damit überhaupt Interkulturelles Lernen (i.S. von Lernfähigkeit) entstehen kann, werden Gestaltungselemente entwickelt, welche Kulturelle Diversität nicht unterdrücken, sondern explizit in der Organisationsstruktur berücksichtigen. Die organisationstheoretischen Basis hierfür bildet der systemorientierte Ansatz des entwicklungsorientierten Managements. Vor dem Hintergrund einer transnationalen Strategie werden die folgenden Gestaltungselemente entwickelt und kritisch diskutiert: - der Abbau von Lernbarrieren, - interkulturelle Personalentwicklungsmaßnahmen, um die individuelle Lernfähigkeit - als Voraussetzung organisationaler Lernfähigkeit - zu erhöhen, - kulturell gemischte überlappende Arbeitsgruppen, - die heterarchische Konfiguration als integriertes Netzwerk, um Interaktionsräume zwischen Organisationseinheiten aus unterschiedlichen Kulturen zu schaffen, - synergetische Unternehmenskultur, da mit einer hohen Differenzierung der erforderliche Grad an Integration steigt, und um die vielfältigen landeskulturellen Orientierungen zu einer Ganzheit zu integieren, - Organizational Slack, um dysfunktionale Effekte interkultureller Interaktion im langfristigen Gestaltungsprozeß zu überbrücken. Abschließend erfolgt die Diskussion der Kulturabhängigkeit und der Probleme im Anwendungszusammenhang von Interkulturellem Lernen.

In a survey conducted, as part of this research, 83,33% of participating South African diplomats indicated that the effects of cultural diversity and culture shock are underestimated. As South African diplomats are expected by the Department of International Relations and Cooperation (DIRCO) to work effectively in a crosscultural environment abroad, the psychological disorientation caused by culture shock could have a negative effect when working and living abroad. Severe culture shock could cause a high level of strain, which could influence the ability of diplomats to adapt effectively abroad, including spouse or partner dissatisfaction resulting from culture shock depression. This could lead to a diplomat requesting to return to his or her home country, with the associated high financial costs. Cultural diversity training is defined by various authors as one aspect that could assist in minimising culture shock since training provides knowledge, insight and skills to deal with the negative effects of culture shock when deployed abroad. Furthermore, the South African Public Service Act [1994] requires that human resource managers within government departments, such as DIRCO, have the responsibility to ensure that staff are effectively utilised and trained. The question that subsequently directed this research was the following: What should be included in the curriculum of a training programme aimed at minimising culture shock among South African diplomats? The research assessed the current culture shock training programme at DIRCO against international best practice, and it was found that a cultural diversity training programme in culture shock should comprise specific fundamentals, components and defining attributes relevant to definitions and explanations on culture, culture-specific information, cross-cultural skills, conflict resolution and dealing with culture shock in terms of cultural diversity, which has the potential of reducing culture shock among South African diplomats effectively. This research also found that there appears to be a gap in the scholarly literature and knowledge within the field of Public Administration on the defining attributes of a cultural diversity training programme with the potential of reducing culture shock among diplomats. Ongoing research is encouraged and recommended in this particular field of study within the public sector. / Public Administration / D.P.A.

British Columbia (BC) is becoming increasingly diverse, so I began this research in an effort to understand the practices of other teachers across BC regarding the inclusion of musics that reflect the cultural diversity of their students. With the introduction of a new curriculum in BC beginning in 2015, music educators across the province can now meaningfully include musics that embrace the cultural diversity of their students. Additionally, Indigenous musics, worldviews, and teachings have their own elevated position as part of the new curriculum and are no longer grouped together with other musics as part of musics from a variety of cultural and social contexts. Thus, I surveyed BC music teachers to understand their current practices, experiences, and attitudes using a mixed-methods questionnaire using both open- and closed-ended questions. Decolonization and historical, philosophical, and theoretical supports for non-Western music education are the frameworks for this research. I distributed my questionnaire via the BC Music Educators’ Association listserve and conference, and I received eighty valid responses (N = 80). I discovered that 68% of participants currently utilize non-Western musics (nWM) in their own practices and of the 32% of participants who do not include nWM, 42% have used nWM in the past. Educators reported many benefits that they experienced through the inclusion of nWM, but they also reported some difficulties or barriers. Therefore, I will share the results of this exploration of the current practices, experiences, and attitudes of music educators in BC. / Graduate

No description available.

從知識經濟到創意經濟，我們看到一個新的產業典範來臨，主導現階段經濟發展的正是創意，並且能不斷生成、運用、及永續發展。 創意經濟時代，創意產業以智慧財產權為核心，是文化與商業的結合，要真正形成產業，進而產生效益並創造產值，在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向，需要進一步探討與落實。 電影產業是創意產業的火車頭，是十分複雜的綜合體，談到電影，一般人應該是直接想到好萊塢，最近幾年，印度寶萊塢與韓流可能也映入腦中，後臥虎藏龍時代，華語電影則迅速竄起，吸引各界目光。 惟典型的關於電影討論與研究，多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。 電影創造的過程是最複雜的創意管理，電影的保護、流通與運用的過程，更是最複雜的智慧財產權管理，透過電影產業價值鏈當中契約交易過程，將可作為經濟財的智慧財產權的價值極大化，並經由多元管道及平台重複運用，是一項繁複的產業化的跨領域整合。 近年來，我國開始逐漸重視智慧財產相關理論研究與實務運作，惟相當程度仍侷限於所謂高科技產業的適用，就型態、內涵、及營運模式迥異的創意產業，由於其本身具有不同邏輯的產業特性，是否或如何適用，或是如何創新，相關研究仍屬缺乏。 從智慧財產權的創造、保護、流通與運用的角度，深入探究創意產業當中的電影產業，必須先了解電影產業的發展歷史、現況、與趨勢，並應同時針對產業特性以及產業價值鏈進行分析，才能夠清楚探討電影產業的智慧財產權管理相關議題。 對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業，實則是由各類型的契約組成，因此，透過交易契約內容之審視，將是分析及了解現代化電影產業結構及發展的重要切入面向之一，也才能真正活化電影產業並促進發展。 具有現代商業概念及操作的管理機制，在電影產業中已經同等重要，這項具有創意性的管理，即是由電影製片所擔綱，電影製片就如同一位新創事業的創業家，要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫，促成投資者投資，籌募足夠資金，並協調創意人完成電影專案並推向市場。 面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等，本研究從經濟運作及市場交易法則切入，探討電影產業背景、發展趨勢、產業價值鏈、與產業特性，並以製片觀點，分析電影產業的智慧財產權管理與相關實務契約，將商業及管理概念導入文化創意產業當中，以形成具體的產業發展典型。 文末並提出研究與研究建議。 以創意產業中相對複雜的電影產業作為研究對象，本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外，也期望可以作為其他創意產業領域發展的重要典範。 尤其是，創意產業由於具有無體性特質及外溢效果，在流通與應用本即具有多元化面向與特質，不能以傳統意義上的單一產業視之，而是藉由跨越多個產業多樣平台的價值實現過程，將相關產業連結在一起，包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等，將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion. In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property. The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process. In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics. To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry. Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it. From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research. With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries. As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.

Drawing on theoretical work in literacy education, drama education and second language education, and taking account of poststructuralist, postcolonial, third world feminist, critical pedagogy, and intersectionality frameworks, this dissertation presents findings from an ethnography that critically examined the experiences of English language learners (ELLs) in three different drama classrooms, in three different high school contexts. More specifically, this multi-site study investigated two aspects of multiliteracies pedagogy: i) situated practice and ‘identity texts’ (Cummins et al., 2005; Cummins, 2006a) and ii) multimodality and embodied learning by overlaying, juxtaposing, or contrasting multiple voices (Britzman, 2000; Gallagher 2008; Lather 2000) of drama teachers and their students to provide a rich picture of the experiences of ELLs in drama classrooms. The diverse drama pedagogies observed in the three different drama contexts offer possibilities for a kind of cultural production proceeding from language learning through embodied meaning-making and self-expression. The situated practice of drama pedagogies provided a third space (Bhabha, 1990) for the examination of students’ own hybrid identities as well as the in-role examination of the identities of others, while moving between the fictional and the real in the drama work. The exploration of meaning-making and self-expression processes through drama, with attention to several aspects of embodied learning—from concrete, physical and kinesthetic aspects, to complex relational ones—was found to be strategic and valuable for the language and literacy learning of the English language learners. The findings from this study highlight the role of embodied forms of communication, expression and meaning-making in drama pedagogy. This embodied pedagogy is a multimodal form of self-expression since it integrates the visual, audio, sensory, tactile, spatial, performative, and aesthetic, through physical movement, gesture, facial expression, attention to pronunciation, intonation, stress, projection of voice, attention to spatial navigation, proximity between speakers in space, the use of images and written texts, the use of other props (costumes, artefacts), music and dance. The dialogic, collective, imaginative, in-between space of drama allows students to access knowledge and enrich their language and literacy education through connections to the real and the fictional, to self/others, to past and present experiences, and to dreams about imagined selves and imagined communities (Kanno & Norton, 2003).

Drawing on theoretical work in literacy education, drama education and second language education, and taking account of poststructuralist, postcolonial, third world feminist, critical pedagogy, and intersectionality frameworks, this dissertation presents findings from an ethnography that critically examined the experiences of English language learners (ELLs) in three different drama classrooms, in three different high school contexts. More specifically, this multi-site study investigated two aspects of multiliteracies pedagogy: i) situated practice and ‘identity texts’ (Cummins et al., 2005; Cummins, 2006a) and ii) multimodality and embodied learning by overlaying, juxtaposing, or contrasting multiple voices (Britzman, 2000; Gallagher 2008; Lather 2000) of drama teachers and their students to provide a rich picture of the experiences of ELLs in drama classrooms. The diverse drama pedagogies observed in the three different drama contexts offer possibilities for a kind of cultural production proceeding from language learning through embodied meaning-making and self-expression. The situated practice of drama pedagogies provided a third space (Bhabha, 1990) for the examination of students’ own hybrid identities as well as the in-role examination of the identities of others, while moving between the fictional and the real in the drama work. The exploration of meaning-making and self-expression processes through drama, with attention to several aspects of embodied learning—from concrete, physical and kinesthetic aspects, to complex relational ones—was found to be strategic and valuable for the language and literacy learning of the English language learners. The findings from this study highlight the role of embodied forms of communication, expression and meaning-making in drama pedagogy. This embodied pedagogy is a multimodal form of self-expression since it integrates the visual, audio, sensory, tactile, spatial, performative, and aesthetic, through physical movement, gesture, facial expression, attention to pronunciation, intonation, stress, projection of voice, attention to spatial navigation, proximity between speakers in space, the use of images and written texts, the use of other props (costumes, artefacts), music and dance. The dialogic, collective, imaginative, in-between space of drama allows students to access knowledge and enrich their language and literacy education through connections to the real and the fictional, to self/others, to past and present experiences, and to dreams about imagined selves and imagined communities (Kanno & Norton, 2003).

Η εργασία αυτή διαπραγματεύεται το Πρόγραμμα «ΜΕΛΙΝΑ» το οποίο θεωρείται πρωτοποριακό στην Ελλάδα διότι προσφέρει, μέσα από τις δυνατότητες της τέχνης, την ευκαιρία για πολλαπλές αναγνώσεις τόσο των γνωστικών αντικειμένων όσο και των συναισθημάτων των μαθητών που μετέχουν στην επικοινωνία. Η κεντρική ιδέα του προγράμματος είναι το παιδί και η αυτοεκτίμησή του, ο σεβασμός στις ανάγκες του, στις ικανότητές του, στους ρυθμούς και στους χρόνους του, στις ιδιαιτερότητές του. Έτσι, το Πρόγραμμα έχει ως βασικό μέσο τις τέχνες για την προσέγγιση των γνωστικών αντικειμένων, αλλάζοντας τη μεθοδολογία του παραδοσιακού σχολείου και δίνοντας απάντηση στο πώς μπορούν να αναπτυχθούν κανονικά και ισάξια οι γνωστικές, συναισθηματικές, ψυχοκινητικές και κοινωνικές δεξιότητες του παιδιού, παράλληλα με την απελευθέρωση της φαντασίας και της δημιουργικότητάς του. / This paper discusses the "MELINA" Project, which is considered innovative because it offers in Greece, through the possibilities of art, the opportunity for multiple interpretations of both the subjects and the emotions of the students involved in communication. The central idea is the child and his self-esteem, respect their needs, their abilities, and the pace of the times, the peculiarities. Thus, the program is a key instrument for the arts approach of disciplines, changing the methodology of traditional school and giving answer to that can grow normally and equally cognitive, affective, psychomotor and social skills of the child, along with the release imagination and creativity.

The purpose of this study was to investigate the challenges in teaching IsiXhosa home language in rural secondary schools. Learners from Grades 8 to 12 perform poorly in IsiXhosa grammar, essay writing, literature and oral work. The researcher sampled 40 learners from each of two senior secondary schools, eight parents and eight IsiXhosa subject specialists (two district based and six school based) to take part in the research. Data for this study were collected during cluster moderations in one of the secondary schools by using document analysis, interviews and questionnaires. Qualitative and quantitative methods were used by the researcher to analyse IsiXhosa results from Grade 8 to Grade 12. Analysis of documents such as mark schedules and marks for formal and informal tasks gave evidence that learners perform poorly in grammar, literature, oral work and essay writing. Scarcity or non-availability of distinctions (levels 6 and 7) in Grade 12 final exams as well as in Grades 8 to 11 proves that the language demands special attention for its teaching and learning in the secondary classroom situation; the conclusions were therefore drawn and recommendations made. / Curriculum and Instructional Studies / D. Ed. (Curriculum Design and Development)

Summaries in German, English, Afrikaans and Southern Sotho / Text in German / Christliche Gemeinden in Deutschland finden sich zunehmend in einer interkulturell zusammengesetzten Gesellschaft wieder und viele fragen danach, wie eine Integration von Migranten in ihre bestehenden Gemeinden gelingen kann. In dieser qualitativ-empirischen Studie wurden drei evangelische Freikirchen in Deutschland dahingehend untersucht, wie sie sich von einer ehemals monokulturell-deutschen Gemeinde in eine interkulturelle Gemeinde entwickelt haben. Dabei wurden in besonderer Weise die Voraussetzungen für die Entwicklung, der Veränderungsprozess und besondere Merkmale der Gemeinden untersucht. Als Grundlage für die Forschung wurde ein aus verschiedenen Disziplinen zusammengeführtes Modell aus Erkenntnissen zu interkulturellem Gemeindebau entworfen. In der Studie wird deutlich, dass interkultureller Gemeindebau sowohl bereichernd als auch herausfordernd und konfliktgeladen erlebt wird. Besonders wichtig sind dabei eine strategisch kompetente Leitung, eine missionarische Grundausrichtung, ein liebevoller und wertschätzender Umgang miteinander, die Einigung auf gemeinsame Leitlinien, das Feiern von Erfolgen, Beziehungsaufbau, das Einladen zur Mitarbeit auf Augenhöhe, interkulturelle Leitungsteams, die Übersetzungsarbeit, Geduld und Flexibilität sowie die Bereitschaft, voneinander zu lernen. / German society is becoming increasingly intercultural, and many Christian churches are asking how migrants can be successfully integrated into established churches. In this qualitative-empirical study, three free evangelical churches in Germany were examined to determine how they developed from a previously monocultural German church into an intercultural church. In the course of the study, the prerequisites for development, the change process and special features of the churches were specifically examined. An integrated model designed on the basis of insights of various disciplines regarding the intercultural construction of churches served as the foundation for the research. It became clear in this study that building an intercultural church not only enriches the church, but is also experienced as challenging since it has the potential to give rise to conflict. The following elements are especially important: strategic and competent leadership, a basic missionary orientation, a loving and esteeming manner in associating with one another, consensus on common guidelines, a celebration of successes, building of relationships, an invitation for others to minister on equal terms, intercultural leadership teams, translation work, patience and flexibility, and a willingness to learn from one another. / Die Duitse samelewing raak toenemend interkultureel, en talle Christengemeentes wonder hoe migrante in gevestigde gemeentes opgeneem kan word. Wyses waarop drie Evangeliese gemeentes in Duitsland ontwikkel het van eens monokulturele Duitse gemeentes in interkulturele gemeentes, is in hierdie kwalitatief empiriese studie ondersoek. In die besonder die voorvereistes vir verandering, die veranderingsproses en die unieke kenmerke van die gemeentes is in hierdie studie verken. ʼn Geïntegreerde model wat berus op die insigte van verskeie dissiplines wat hulle op die interkulturele samestelling van kerke toespits, het die basis van die navorsing gevorm. Dit blyk uit hierdie studie dat die totstandkoming van ʼn interkulturele gemeente nie slegs verrykend kan wees nie, maar dat dit moontlik ook tot onenigheid aanleiding kan gee. Die volgende is van besondere belang: strategiese en bevoegde leiers, ʼn sendingoriëntasie, liefdevolle en respekvolle omgang met mekaar, eenstemmigheid oor algemene riglyne, ʼn viering van suksesse, die bou van goeie verhoudinge, ʼn versoek dat ander op gelyke voet dien, interkulturele leierskapspanne, vertaalwerk, geduld en toegeeflikheid, en die gewilligheid om by mekaar te leer. / Tshitshavha tsha German tshi khou ṋaṋa u vha na mvelelo dzo ṱanganelanaho, nahone kereke nnzhi dza Tshikhiresite dzi khou vhudzisa uri ṱhunḓu dzi nga ṱanganyiswa hani zwavhuḓi kha kereke dzi re hone. Kha ngudo iyi ya khwaṱhisedzwaho nga tshenzhelo na ndeme, kereke tharu dza evangeli yo vhofholowaho dza ngei Germany dzo lingwa u vhona uri dzo bvelela hani u bva kha u vha dza tshikale dza Germany dza mvelele nthihi u ya kha kereke ya mvelele yo ṱanganelanaho. Kha khoso iyi ya ngudo, ṱhoḓea ya u bvelela, maitele a tshanduko na zwiṱaluli zwo khetheaho zwa kerekezwo lingululwa. Tshiedziswa tsho ṱanganelanaho tsho itwaho ho sedzwa luvhonela lwa masia o fhambanaho mayelana na u fhaṱa kerekedzo ṱanganelanaho tsho shuma sa mutheo wa ṱhoḓisiso. Zwo bvela khagala kha ngudo iyi uri u fhaṱa kereke yo ṱanganelanaho a zwi pfumisi fhedzi kereke, zwi dovha zwa vha tshenzhelo ire na khaedu saizwi i na khonadzeo ya u vusa dzikhakhathi. Zwipiḓa zwi tevhelaho ndi zwa ndeme vhukuma: vhurangaphanḓa vhu re na tshiṱirathedzhi nahone ho ṱalifhaho, u pfumbudzwa ha mutheo kha zwa vhufunzi, nḓila ua lufuno na ndeme kha matshilisano, u tendelana kha nyendedzo dzi fanaho, u pembelela mvelaphanḓa, u fhaṱa vhushaka, thamba ya vhaṅwe kha u funza nga milayo i linganaho, thimu dza vhurangaphanḓa ha mvelele yo ṱanganelanaho, mushumo wa vhupinduleli, u konḓelela na u tenda u shanduka, na u ḓiimisela u guda kha vhaṅwe. / Christian Spirituality, Church History and Missiology / M. Th. (Christian Leadership)