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The business climate is undergoing a transformation and managers are faced with several challenges, not the least of which is related to pricing strategy. With an increased transparency in the market as well as anincreased competitive pressure, and with more sophisticated and well-informed consumers, retail businesses find it hard to navigate the pricing jungle. At the same time, the conventional wisdom in the field of pricing and the theoretical models on the topic, originate from a time long before the digitalization. Old models are not a problem in itself, but when there are new forces in the pricing ecosystem, driven by technological advancement, an assessment of the incumbent models is in the best interest of both businesses and academia. The reason for this is that, the use of old models that rely on inaccurate assumptions may impact businesses’ prioritizing of resources or their overall business strategy. In addition, researchers might be distracted and the research field disrupted. Thus, the purpose of this study is to discuss whether or not there are additional dimensions in pricing strategy that are not covered by the incumbent pricing models. Here, dimensions refer to the key components of businesses’ strategic decision making in regards to pricing. This thesis examines pricing models in today’s business context in order to answer the research question: “Are there additional dimensions of the empirical reality of pricing strategy that are not covered by the incumbent pricing models?” The research question has been studied qualitatively through a literature review, a pilot study and twelve case studies, where the pilot study had the purpose of exploring the depth, whereas the multiple case studies focused on the breadth, of pricing strategies. The case studies cover businesses in different retail industries and of different sizes, namely the industries of Clothing & Accessories, Daily Goods, Furniture and Toys & Tools, and of the following sizes: micro, small, medium and large. The empirical data has mainly been gathered by conducting interviews with production, sales and management personnel at the case businesses. The data has been structured, reduced and analysed with the help of a framework of analysis that has been developed throughout the pilot study. The results of this study lean on previous research and a main divider in pricing strategies has been identified as businesses use either a data-driven or an intuition-driven approach in their strategic work with pricing. As such, it is proposed that the division of pricing strategies need to be acknowledged, since the separate methodological approaches may lead to different results, while implying different costs, resources and required knowledge. Furthermore, the division may form a basis for competitive advantage, be extended to other areas of strategic management and become clearer, since the adoption of technology and its impact will increase in the future. As a result, in the future of pricing, they key is going to be to account for both the strategic perspectives and the methodological approaches in the strategic decision making process of pricing. / Affärsklimatet genomgår en omvandling och företagsledare står inför flera utmaningar, inte minst utmaningar som är relaterade till prissättningsstrategi. Med en alltmer transparent marknad och en ökad konkurrens företag emellan samt en mer sofistikerad och välinformerad konsument, finner företagen i detaljhandeln det svårt att navigera i prissättningsdjungeln. Samtidigt härrör den konventionella visdomen inom prissättning och de teoretiska modellerna på samma ämne från en tid långt innan digitaliseringen. Gamla modeller är inte ett problem i sig, men när det finns nya krafter i prissättningens ekosystem, som drivs på av teknologisk utveckling, är en omprövning av de befintliga modellerna i både företag och akademikers intresse. Användningen av gamla modeller som bygger på felaktiga antaganden kan dock inverka på företagens prioritering av resurser eller på deras övergripande affärsstrategi. Dessutom kan forskare distraheras och forskningsfältet störas. Syftet med denna studie är således att diskutera huruvida det finns ytterligare dimensioner i prissättningsstrategi som inte omfattas av de befintliga prissättningsmodellerna. Här avser dimensioner nyckelkomponenter i företagens strategiska beslutsfattande när det gäller prissättning. Denna avhandling undersöker prissättningsmodellerna i dagens affärssammanhang för att svara på frågan: "Finns det ytterligare dimensioner av den empiriska verkligheten av prissättningsstrategi som inte omfattas av de befintliga prissättningsmodellerna?" Forskningsfrågan har studerats kvalitativt genom en litteraturgranskning, en pilotstudie och tolv fallstudier, där pilotstudien hade till syfte att utforska djupet, medan de flera fallstudierna inriktades på bredden, av prissättningsstrategier. Fallstudierna omfattar företag i industrin för detaljhandeln och företag av olika storlekar, nämligen inom detaljhandeln för Kläder & Accessoarer, Dagligvaror, Möbler och Leksaker & Verktyg, och av följande storlekar: mikro, små, medelstora och stora. Den empiriska datan har huvudsakligen insamlats med hjälp av intervjuer med produktions- och försäljningspersonal samt företagsledare hos företagen i fallstudierna. Uppgifterna har strukturerats, reducerats och analyserats med hjälp av en analysram som har utvecklats under pilotstudien. Resultaten av denna studie tar rygg på tidigare forskning och en huvuddelare i prissättningsstrategier har identifierats, eftersom företag använder antingen ett data-drivet eller ett intuition-drivet tillvägagångssätt i sitt strategiska arbete med prissättning. Som sådan föreslås att uppdelningen av prissättningsstrategier måste tas hänsyn till eftersom de separata metodologiska metoderna kan leda till olika resultat, samtidigt som de innebär olika kostnader samt kräver olika resurser och nödvändig förkunskap. Dessutom kan uppdelningen ligga till grund för konkurrensfördel, utvidgas till andra strategiska områden för företagsledare och bli tydligare, eftersom teknikens utbredning och påverkan kommer att öka i framtiden. Som en följd av detta kommer nyckeln i framtidens strategiska prissättning att vara att ta hänsyn till både de strategiska perspektiven och de metodologiska metoderna i den strategiska beslutsprocessen för prissättning.

[pt] A tese investiga a relação entre design, imaginação, sentidos e emoções. Questiona-se: como os objetos e/ou espaços se expressam para o homem e vice-versa? Quais sentidos regem esta comunicação? Como aproximar arte, ciência, imaginação, design e magia? Como criar objetos e espaços que criam encantamento? A partir dessas perguntas, o trabalho mergulha nos conceitos teóricos dos poetas românticos Friedrich Schlegel e Novalis sobre a influência dos fragmentos no pensamento e na criatividade, assim como nas teorias de Richard Holmes a respeito do período histórico conhecido como Age of Wonder — uma época marcada por grandes descobertas, movidas pelo desejo, um certo descompromisso com as regras, e o prazer da descoberta — visando compreender como essa fluidez entre desejo, imaginação, ciência, arte e filosofia influenciava o gênio criativo. Inspirada neste momento do romantismo, a hipótese defendida é a relevância destes elementos, imaginação e sentido, para o desenvolvimento da criatividade e, assim, a criação de um vínculo intuitivo entre sujeitos, artefatos e espaços. Para tal, percorre-se, em especial, o trabalho de Thomas Hankins e Silverman sobre instrumentos e imaginação; as ideias de Pallasmaa sobre sentidos e arquitetura; as teorias de De Cruz e De Smedt sobre analogias distantes; Stafford acerca da educação visual e sensorial existente no século XVIII e XIX, e Sarah Tindal Kareem que aponta como a literatura do século XVIII trouxe a volta da crença no wonder. Embebida por esses juízos, a pesquisa conceitua a ideia central do Wonder Design: a busca por estimular o pensamento criativo fragmentário e não-linear inspirado na associação entre romantismo, encantamento, imaginação e sentidos. Através disso, buscamos estimular a criação de conceitos e projetos que estimulem a imaginação, a criatividade e o senso de wonder. Por wonder entende-se encantamento e maravilhamento, ou seja, elementos que despertam sentidos, emoções e curiosidades no indivíduo. Nossa ideia, foi remover certas amarras racionais no processo do design e permitir uma maior liberdade de criação. O Wonder Design também busca a materialização do abstrato - imaginação e sentidos - em artefatos denominados Objetos Vivos. Para corporificar tais noções, um instrumento da imaginação foi desenvolvido: as Wonder Cards, uma ferramenta criativa em forma de card game para a conceituação de projetos que têm imaginação, sentidos e emoções como parâmetros primordiais. Também foram realizadas experiências iniciais com o que denominamos de Wonder Places, que são elementos conceituais que alteram o espaço e buscam criar uma experiência que influencia o pensamento criativo. As dinâmicas no qual trabalhamos esses conceitos foram realizadas em workshops com públicos variados. Os resultados e as reflexões dessas experiências são apresentados, assim como os possíveis desdobramentos futuros de estudos sobre o que denominamos de Wonder Design. / [en] The following thesis investigates the connection between design, imagination, senses and emotions. We wonder: how are objects and/or spaces expressed for men and vice versa? What senses rule this communication? How to bring art, science, imagination, design and magic closer? How to create objects and spaces that produce enchantment? From these questions onward, we delve into theoretical concepts of romantic poets Friedrich Schlegel and Novalis about the influence of fragments on thinking and creativity, as well as on Richard Holmes theories regarding the historical period known as Age of Wonder- a time period famous for its great discoveries, driven by desire, a kind of disregard to the rules, and the pleasure of discovery-- aiming to fully understand how this fluidity between desire, imagination, science, art and philosophy influenced the creative genius. Inspired by this moment of romanticism, we defend the hypothesis that the relevance of these elements, imagination and sense, for the development of creativity, and thus, the formation of an intuitive link between subjects, artefacts and spaces. To that end, we analyzed mainly the work of Thomas Hankins and Silverman about instruments and imagination; Pallasma s ideas about senses and architecture; De Cruz and De Smedt s theories about distant analogies, Stafford s theories about visual and sensorial education present on the XVIII and XIX centuries, and Sarah Tindal Kareem who points out how the literature of the XVIII century brought back the belief in wonder. Instilled by these judgements, the research conceptualizes the main idea of Wonder Design: the aim to stimulate fragmentary and nonlinear inventive thinking inspired by the association between romanticism, enchantment, imagination and senses. Thereby, we aim to stimulate the creation of concepts and projects that boost imagination, creativity and sense of wonder. By wonder, we mean enchantment and amazement, that is, elements that awaken senses, emotions and curiosity on the individual. Our idea was to remove some rational tethers of the design process and to allow greater freedom of creation. Moreover, Wonder Design aims to materialize the abstract -imagination and senses - through artefacts named Living Objects. To embody these notions, an instrument of imagination was developed: The Wonder Cards, an ingenious tool shaped as a card game to conceptualize projects that use senses, emotions and imagination as primordial baselines. We performed initial experiments with what we named Wonder Places, that are conceptual elements that change space, intending to create an experience that influences creative thinking. We worked with these concepts in dynamics held at workshops with a diversified public. We presented here the results and the reflections of these experiences, as well as possible future developments from studies about what we call Wonder Design.

The objective of the study was to determine the relationship between personality preference types (as measured by the Myers-Briggs Type Indicator [MBTI]) Form M and psychological career resources (as measured by the Psychological Career Resource Inventory [PCRI]) of managers in the fast-food industry and whether groups from different races, ages and gender differ significantly regarding personality types and psychological career resources. A quantity survey was conducted on a sample (N = 81) of managers in the fast food industry in the Western Cape. The extraversion, sensing, feeling, judging (ESFJ) and the introversion, sensing, feeling, judging (ISFJ) personality types were the dominant ones in the study. Personality type preferences were significantly related to psychological career resources. The personality types differed significantly regarding the following PCRI variables: variety/creativity (career preference), growth/development (career value), self/other skills (career enabler) and social connectivity (career harmoniser). Significant differences between personality types, psychological career resources and age, gender and race were also established. / Industrial & Organisational Psychology / M.A. (Industrial and Organisational Psychology)

The objective of the study was to determine the relationship between personality preference types (as measured by the Myers-Briggs Type Indicator [MBTI]) Form M and psychological career resources (as measured by the Psychological Career Resource Inventory [PCRI]) of managers in the fast-food industry and whether groups from different races, ages and gender differ significantly regarding personality types and psychological career resources. A quantity survey was conducted on a sample (N = 81) of managers in the fast food industry in the Western Cape. The extraversion, sensing, feeling, judging (ESFJ) and the introversion, sensing, feeling, judging (ISFJ) personality types were the dominant ones in the study. Personality type preferences were significantly related to psychological career resources. The personality types differed significantly regarding the following PCRI variables: variety/creativity (career preference), growth/development (career value), self/other skills (career enabler) and social connectivity (career harmoniser). Significant differences between personality types, psychological career resources and age, gender and race were also established. / Industrial and Organisational Psychology / M. A. (Industrial and Organisational Psychology)

In this study I have met three authors in a dialogue seminar on their literary work. The discussion, starting from texts by Lacan and Socrates, revolved around the dichotomy of personal and private, and how to benefit from personal material in one’s literary work. The three authors reflected on the writer Karl Ove Knausgård and the photographer Sally Mann, who both are working with their own immediate family as a motif. In Knausgård, you can find a strong and self-dissecting writer persona as a medium of creating recognition in the readers mind. In Sally Mann the metaphorical dimensions of this family motifs transforms them to images of much more general relevance than their private settings. On the subject of truth and story I also reflect on the different approaches that the authors Primo Levi, Viktor Frankl and Imre Kertész have on their experiences of the Holocaust. Finally the importance and relevance of metaphors as a way of getting a touch of one’s own private material is starting to be investigated. / I det här arbetet har jag samlat tre författare i olika genrer till ett dialogseminarium om sin arbetsprocess. Samtalet, som utgick från texter av Lacan och Sokrates, kretsade mycket kring författarens arbetsvillkor och de olika metoder som författarna använder sig av för att hitta sin frihet i förhållande till dem. I samtalet blev det uppenbart hur beroende alla författarna är av en förstående medarbetare. Okunskap och felläsning från en dramaturg eller redaktör kan bokstavligt talat bli förödande.    Dialogmötet kom att kretsa kring frågeställningar om hur man skiljer privat och personligt. Vi diskuterade författaren Karl Ove Knausgård och fotografen Sally Mann, som båda jobbar med sin egen familj som motiv. Genom att Knausgård använder sig själv som en roll visar han på en möjlighet att närma sig ett eget material. Hos Sally Mann är det istället de metaforiska dimensionerna i de vardagliga motiven som gör sig tydliga.    Också i Imre Kertész skildring av förintelsen förvandlas den till något större: en metafor för hur ödet och slumpen kan påverka våra liv. Hans berättelse blir på det sättet mindre beroende av vad som är sant, än skildringarna av två andra överlevare från Auschwitz: Primo Levi och Viktor Frankl. Vilket inte betyder att de andras texter saknar metaforisk styrka.    Avslutningsvis går uppsatsen in på författarnas sätt att använda metaforen som ett verktyg för att berätta. Metaforen är alltid en bild av någonting annat, den skapar en fördjupning och oförväntad igenkänning hos läsaren. Den ger också möjligheter för konstnären/författaren att berätta saker som hen inte kan säga på andra sätt.  Metaforen uppstår genom igenkänning i skapandet. Man kan välja att gå med den, eller aktivt gå emot den för att fördjupa textens eller filmens metaforiska dimension.    En viktig aspekt för yrkeskunnande inom konsten och författarskap är att aldrig ligga före i sitt arbete genom att oroa sig för vad omgivningen ska tycka och tänka. Då finns det en risk att man blir en feg konstnär, vilket är förödande för ens skapande.

Diese Arbeit erklärt anhand von Vertragswerkstätten der Volkswagen AG, wie Kfz-Handwerker im komple-xen Feld Werkstatt Probleme lösen. Sie deckt auf, wie und warum Kfz-Handwerker auf besondere Weise Denken und Handeln. Dies meint, wie sie arbeiten, lernen und vor Allem, wie und warum sie Medien an-eignen – oder verweigern: Täglich diagnostizieren und reparieren Kfz-Handwerker Fahrzeuge. Dabei ist oft zu beobachten, dass extra dafür hergestellte Hilfsmedien von ihnen umgangen oder gar offen abgelehnt werden. Dies führt teils zu schweren Fehlern, teils aber auch zu herausragenden Leistungen. Bislang ist kaum geklärt, aus welchen Gründen dies erfolgt. Von den Handwerkern genannte Gründe er-scheinen in der Außenperspektive oft sonderbar. Doch sie sind subjektiv vernünftig. Die Untersuchung zeigt, mit welchen Begründungen die Handwerker sich gegen Medienaneignung entscheiden. Und sie er-klärt, inwiefern dies daran liegt, dass Computer im Spannungsverhältnis zwischen den Expertise-Denk¬wei-sen der Handwerker und den sozialen Beziehungen der Akteure stehen. Die Akteure sind Mitarbeiter im Autohaus, aber auch beim Hersteller und beim Importeur des jew. Landes. Dies gelingt durch die theoretische Basis subjektwissenschaftlicher Lerntheorie, unter Bezugnahme auf wissenschaftliche Nachbardisziplinen und mit der Methodologie, Strategie und Methodik qualitativer So-zialforschung. Die Phänomene werden exemplarisch aus mehrwöchigen Feldstudien in Werkstätten der Volkswagen AG in Deutschland qua O-Ton-Audiomittschnitt, Interview und Beobachtung rekonstruiert und mit begleitenden Quellen ergänzt. So entstehen z.B. Modelle - zur Typologie intuitiver und analytischer Arbeitsstrategien der Handwerker - zu Reflexionsauslösern - zu Medienkontakthürden und - zur Medien(vertrauens)bewertung im Prozess der Medienkompetenzentwicklung. Durch diese erstmals in solcher Form geleistete Phänomen-Aufschlüsselung werden - neue Ansatzpunkte des didaktischen Designs - und für die technische Redaktion - Herausforderungen an Medien und Prozesse - und für die Qualitätssteigerung zwingend zu leistende Aufgaben aufgezeigt. Es werden fast banal scheinende, subtile alltägliche Phänomene analysiert und deren massiver Einfluss auf Fehler und Erfolge des Handelns verdeutlicht. Da ersteres oberflächlich altbekannt und oft unhinterfragt ist, wird die große Bedeutung für einen erfolgreichen Reparaturprozess zumeist übersehen. Darum bietet sich hier noch ungenutztes Verbesserungs-Potential. Die Befunde fokussieren auf deutsche ‚Werkstattlogik‘, sind aber mit kritischem Rückbezug auf kulturelle Besonderheiten auf die Volkswagen AG Vertragswerkstätten in über 150 Ländern anwendbar.:Inhalt Auf einen Blick – Zusammenfassung und Schlagworte Aufbau der Kapitel 1 Einleitung 1 1.1 Problemstellung und Einleitung in das Phänomenfeld – die Herausforderung Werkstatt 1 1.2 Settingbeschreibung – das Szenario Werkstatt 4 1.3 Verwertungsziele – die Handreichungen für Redaktion, Computer und Forschungsgemeinschaft 5 1.4 Fragestellung – die Aneignung der Handwerker 6 1.5 Forschungsstrategie – der Analyseverlauf 7 1.5.1 Grounded Theory 7 1.5.2 Aufbau der Analyse 13 2 Exploration 15 2.1 Sensibilisierendes Konzept ad hoc – die ersten Überlegungen 15 2.2 Pädagogische Basis – die Ausgangs-Modelle als Integral der Analyse 16 2.2.1 Mediendidaktische Klassifikation – die Gegenstandsbeschreibung 16 2.2.2 Subjektwissenschaftliche Lerntheorie – das Integral der Theoriefolien 20 2.2.3 Mentale Modelle – die Erweiterung des Integrals um ein Bindeglied zu Experten-Begründungen 28 2.2.4 IT-Design, Medienkompetenz und Medienaneignung – die Erweiterung des Integrals um Bindeglieder zum Computer 32 2.3 Forschungs-Stand – der Status quo und neue Perspektiven als Anregung für die Analyse 39 2.3.1 Studien direkt zum Phänomen Medien und Werkstatt 40 2.3.2 Offene Fragen in der Praxisdisziplin Technische Redaktion 58 2.3.3 Offene Fragen zum Gestaltungswissen pädagogischer Psychologie 67 2.3.4 Technik im Forschungsfeld IT-Design 74 2.3.5 Didaktische Aspekte des Lernens und Wissens außerhalb von Lehr-Lern-Institutionen 91 2.3.6 Arbeitsobjekt, Subjekt und Feld in der komplexen Problemlöseforschung 105 2.3.7 Subjektsicht in Expertiseforschung, Routinen und Standards 115 2.3.8 Intuition und Analyse durch Forschung zum natürlich-intuitiven Entscheiden 136 2.3.9 Fehler-Forschung und Human Factors 156 2.3.10 Hochverlässlichkeit und Hochleistung in Gruppen 168 2.3.11 Soziodynamik 176 2.3.12 Forschung zur Vergemeinschaftung bei Lernen und e-Learning 180 2.4 Sensibilisierendes Konzept a priori – die Zusammenführung zu Suchsonden 195 2.5 Forschungs-Design – der Bau der Werkzeuge 198 2.5.1 Methodologie, Gütekriterien und Folgerungen 198 2.5.2 Methodik und Instrumentarium 202 3 Ergebnis 216 3.1 Aufbau der Ergebnisdarstellung 216 3.2 Werkstattlogik – das Konzept a posteriori als Befunde zu den Phänomenen und abgeleitete Prinzipien 218 3.2.1 Bekannte didaktische Faktoren 218 3.2.2 Kontext 220 3.2.3 Arbeitsstrategien der Handwerker 237 3.2.4 Begründungslogik intuitiv-heuristischer Arbeitsstrategie 247 3.2.5 Entscheidungsfaktoren für Arbeitsstrategien 272 3.2.6 Medienkollaboration und Medienaneignung 292 3.3 Antworten – die Auflösung der Fragestellung und didaktische Schlussfolgerungen 321 3.3.1 Kompression – die Rekapitulation der Frage und die verdichtete Antwort 321 3.3.2 Extrakt – die Zusammenschau der Befunde als Checkliste 323 3.3.3 Rahmen – die Zentralsätze als Meta-Modell 331 3.3.4 Effekt – die durch die Phänomene erzeugten Medienkontakthürden 332 3.4 Ausblick – die Diskussion der Ergebnisse und die Desiderata an die Forschungsgemeinschaft 333 Appendix Eins 336 A1 Literatur 336 A2 Abbildungen 365 A3 Abkürzungen 366 Appendix Zwei 369 A4 Empirische Quellen 369 A4.1 Codings pro Phänomen 369 A4.2 Analysierte Dokumente 402 A4.3 Transkripte 402 A4.4 MAXQDA-Files 402 A5 Ausgelagerte Details des Instrumentariums 403 A5.1 Interview-Leitfaden 403 A5.2 Transkriptionssystem 408 A5.3 Nicht eineindeutige Abkürzungen der rekonstruktiven Zusammenfassung 409 A6 Ausgelagerte Details der Theoriefolien 410

Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.

A teaching portfolio allows lecturers to track their own growth and development in teaching and learning, as it helps to document their career’s journey. This study gained insight into this experience from the lecturers’ perspectives. The research paradigm was qualitative and the study used a sample of lecturers from an independent tertiary institution in Johannesburg. Personal interviews provided rich data and themes were developed from the data to answer the research questions concerning the value of doing a teaching portfolio. Lecturers’ perceptions provided clear evidence of the value of doing a teaching portfolio, because it developed their personal competence, knowledge, skills and higher-order thinking. However, the findings showed that the success of a teaching portfolio remained dependent on individual motivation and how the process was implemented. Any challenges experienced tended to negatively affect motivation, thereby decreasing the perceived value of a teaching portfolio. This study recommended that a teaching portfolio might offer a solution to some of the current education issues within the South Africa context, especially with regard to the lack of content knowledge and the disempowerment of teachers. / ʼn Onderrigportefeulje maak dit vir dosente moontlik om hul eie groei en ontwikkeling ten opsigte van onderrig en leer te monitor, omdat dit hulle help om hul loopbaan te dokumenteer. Hierdie studie gee insig in hierdie ervaring vanuit dosente se oogpunt. Die navorsingsparadigma was kwalitatief en die studie het ʼn steekproef van dosente van ʼn onafhanklike tersiêre instelling in Johannesburg behels. Persoonlike onderhoude het ryk data opgelewer en temas is op grond van die data ontwikkel om die navorsingsvrae oor die waarde van ʼn onderrigportefeulje te beantwoord. Dosente se persepsies was ʼn duidelike bewys van die waarde van ʼn onderrigportefeulje, omdat dit hul persoonlike bevoegdheid, kennis, vaardighede en hoërorde-denke ontwikkel. Die bevindinge het egter getoon dat die sukses van ʼn onderrigportefeulje steeds onderhewig is aan individuele motivering en hoe die proses geïmplementeer is. Enige uitdagings was geneig om ʼn negatiewe invloed op motivering te hê en sodoende die vermeende waarde van ʼn onderrigportefeulje te verlaag. Hierdie studie beveel aan dat ʼn onderrigportefeulje ʼn oplossing kan bied vir sommige van die opvoedingskwessies in die Suid-Afrikaanse konteks, veral met betrekking tot die gebrek aan inhoudkennis en die ontneming van onderwysers se mag. / Photefolio ya go ruta e kgontša bafahloši go latišiša kgolo le tšwetšopele tše e lego tša bona ka go goruta le go ithuta, ka ge e thuša go rekhota leeto la mošomo wa bona. Thutelo ye e hweditše tshedimošo maitemogelong a go tšwa tebelelong ya bafahloši. Dikgopolo ka ga nyakišišo e bile tša go hwetša tshedimošo ka go kwešiša le go lemoga mabaka a bothata gomme thutelo ye e dirišitše sampolo ya bafahloši go tšwa institušeneng ye e ikemetšeng ya morago ga marematlou go la Johannesburg. Ditherišano tša motho ka botee di tšweleditše datha ye bohlokwa gomme merero e hlagišitšwe go tšwa datheng go fa karabo ya dipotšišo tša dinyakišišo tše di lebanego bohlokwa bja go dira photefolio ya go ruta. Dikgopolo tša bafahloši di file bohlatse bjo bo kwešišegago bja bohlokwa bja go dira photefolio ya go ruta, ka gobane e godišitše, botsebi, tsebo, mabokgoni tša bona le mokgwa wa go nagana wa maemo a godimo. Le ge go le bjalo, dikhwetšo di bontšhitše gore katlego ya photefolio ya go ruta e dutše e ithekgile go tutuetšo ya motho le ka moo tshepedišo e phethagaditšwego. Ditlhohlo dife goba dife tšeo di itemogetšwego di bile le go huetša tutuetšo, ka gorealo tša fokotša boleng bjo bo lebeletšwego bja photefolio ya go ruta. Thutelo ye e šišintše gore photefolio ya go ruta e ka fa tharollo go tše dingwe tša ditlhagišo tša bjale tša thuto kemong ya Afrika Borwa, gagolo malebana le tlhokego ya dintlhatsebo, dikgopolo le melaotshepetšo tšeo di rutwago le go ithuta ka tšona gammogo le go se be le maatla ga barutiši. / Psychology of Education / M. Ed. (Psychology of Education)

This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter. / Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.