The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko).  The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.

本研究的主要目的在探究以想法為中心的教學設計對大學生學習歷程與知識信念的影響。本研究透過知識論壇 (Knowledge Forum，KF) —一個以知識翻新（knowledge-building）教育理念為核心所建立的數位學習平台—來記錄學生的學習歷程。研究設計採個案研究法，以一個班級為研究單位，藉由多元資料的蒐集，以深入瞭解知識翻新教學對大學生在學習歷程上的影響。研究對象為某大學修習「生活科技概論」課程之22位學生。 資料來源包括：(1) 知識論壇上的學習筆記(note)—即學生整學期在知識論壇平台上的貼文與對話記錄；(2) 期末科技成品與影音記錄—即課程中學生所設計科技產品的期末發表; (3) 期末反思—即學生的期末學習心得; (4) 知識信念問卷(Chan & Elliott, 2004)的前後測資料。 本研究依據資料分析結果提出以下三點主要結論: (1)協作式的知識共構活動可以幫助學生跳脫傳統以個人為中心的學習方式，並進而以集體想法交流的形式來共構知識；(2) 從學生在科技產品上的創意表現可知，學生已逐漸能體認到知識是可以被創造的，人人都有能力創造知識；(3) 學生經過一學期的知識建構過程後，在知識信念上也有部分轉變，特別是在「天賦能力」的面向上，傾向學習能力並非天賦且不可改變的觀點。 根據上述結論，本研究在教育實務上提出以下三點建議：(1) 教師應多運用想法中心的教學設計，以培養有自主想法的學生，並藉此激勵學生積極參與學習社群中的知識共構活動；(2) 教師應將知識創造的能力視為學生學習的關鍵能力，以培養學生面對未來職場所需的競爭力；(3) 師資培育機構應注重師資培育生在知識信念上的發展，並協助其養成更具建構取向與學生中心的教學信念。 關鍵詞：想法中心、電腦支援協作學習、知識翻新、知識信念、主動學習 / The purpose of this research was to investigate the effects of idea-centered education on college students’ learning progress and change in epistemological beliefs. An online collaborative knowledge-building environment—Knowledge Forum (KF)—was employed in this study to document the process of students’ idea generation and development, as well as their belief change. This study employed a case-study design, using a college class as a unit for investigation, with multiple datasets collected to understand how knowledge building might affect students’ learning process and outcome. Participants were 22 students (16 females and 6 males) who took a course titled “Introduction to Living Technology” in a university, Taiwan. Major data sources include: (1) Students’ online discourse recorded in a KF database; (2) Students’ final presentations about the technology products they designed (the presentations were videotaped); (3) An open-ended survey employed to elicit students’ reflection on what they did and learned from this course; (4) A belief questionnaire, adopted from Chan & Elliott (2004), which was administered in the beginning and at the end of the course. There were three main findings: (1) An idea-centered approach was found helpful for students to move away from individual-based learning to taking more collective responsibility in their knowledge advancement. It was found that with support of KF, students were able to engage in continuous idea exchange and improvement; (2) As evidenced in students’ performance on the design of creative technology products, it was suggested that students have gradually realized that knowledge can be created and that all humans has potential to create knowledge; (3) After doing knowledge-building for a whole semester, the participating students also shifted their’ beliefs to become less inclined to believe in inborn ability as a fixed quality. Building on the findings, this study made the following suggestions: (1) To foster student capacity for more autonomous learning and collaborative knowledge building, teachers should try to encourage students to work with ideas and to engage them in sustained idea improvement; (2) Teachers should regard knowledge creation as a key ability that students need to acquire in order to face the competitive workplace in the future; (3) Teacher education programs should pay attention to the development of students’ epistemological beliefs, and to help student develop a more constructivist-oriented and student-centered teaching beliefs. Keywords: idea-centered, CSCL, knowledge building, epistemological beliefs, active learning

How artists develop their ideas has been envisaged as a mysterious and intriguing process, difficult to understand or emulate. The "mystery" of how art ideas evolve has carried through to education, where students and teachers may view the introduction of how to formulate ideas as an unachievable task. Art educators have recognised the investigation of how artists think through the progression of their own practice as being an important aspect of understanding the evolvement of art ideas, and have advocated that approaches to teaching and learning should be grounded in such artistic thinking. This study was based on the notion that it is important for research to give insights into the differing ways visual art ideas are constructed and to also identify the influences that may impact on this process. Through researching the formulation of art ideas over time in influential contexts, a revealing picture of the process of art idea evolvement emerged. The findings of the research are presented as qualitative categories of description based on the participants' own knowledge and lifeworld experiences as artists.

Thesis (Ph.D) -- The College of Saint Elizabeth, 2010. / Typescript. Available at The College of Saint Elizabeth - Office of Graduate Programs. "May 2010"

No mundo mais globalizado, onde a comoditização de produtos se tornou mais rápida, as organizações estão recorrendo ao desenvolvimento de novos serviços e à inovação como meios essenciais para enfrentar a concorrência e se diferenciar no mercado. Criada em estudo recente, a metodologia IDEATRIZ engloba análise de valor, métodos sistemáticos e heurísticos oriundos da TRIZ para geração de ideias de produtos voltados à manufatura. Porém, a necessidade atual da inovação na área de serviços dada sua importância na economia e, pelo fato da TRIZ já possuir sua aplicação estendida a outras áreas de conhecimento como qualidade, energia e serviços, buscou-se comprovar através deste estudo que a metodologia IDEATRIZ pode ser uma poderosa ferramenta para geração de ideias de serviços. Também buscou-se comprovar que a aplicação direta desta metodologia IDEATRIZ gera ideias de menor qualidade se comparada à mesma metodologia, porém adaptada para serviços. Para validar as hipóteses levantadas foram realizados diversos workshops aplicando a metodologia original e adaptada para coletar ideias e assim comparar os resultados obtidos. Com a aplicação direta da metodologia levantaramse as dificuldades que serviram como base para adaptação da metodologia IDEATRIZ para serviços. Como resultado à IDEATRIZ adaptada, obteve-se a facilidade de uso e a melhoria da abstração dos participantes, pela inclusão de exemplos para serviços através das heurísticas e dos princípios inventivos, e a melhoria da qualidade das ideias geradas. A contribuição obtida com a pesquisa foi estender o campo da IDEATRIZ para uso em inovação de serviços como uma ferramenta de apoio a soluções criativas de problemas de serviços. / In a world even more globalized, where the product comoditization has become faster, the organizations are falling back on new service development and innovation as essential ways to face competition and become differentiated in the market. Created in a recent study, the IDEATRIZ methodology includes value analysis, systematic and heuristic methods coming from TRIZ methodology in order to generate product ideas in the manufacturing field. But the actual necessity of innovation in the services field due to its importance in the economy and, the fact that TRIZ has been already applied in other fields as quality, energy and services, this study aimed to prove that IDEATRIZ methodology can be a powerful tool for services ideation. It was brought also the hypotesis that the direct use IDEATRIZ would result in lesser quality ideas that if it were be compared to the same methodology but adapted for service. Thus a research was carried out to validate these hypothesis. The IDEATRIZ methodology was applied directly and adapted in several workshops to generate service ideias and the results were compared. The raised suggestions collected in direct application were used to adapt the methodology. As result of comparison between original and adapted IDEATRIZ, it was obtained increasing the quality of generated ideas and the ease of use of the methodology adapted by including examples of services in heuristics and inventive principles phases. The contribution of this research was to open the field of IDEATRIZ methodology for service innovation as a tool to support creative solutions to generate new services.

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

Cette thèse propose étudier le passage entre la Science de la Logique et la Philosophie de la Nature sur le contexte de l'Encyclopédie des Sciences Philosophiques de 1830 et de la Science de la Logique de Hegel. Étant donné les plusieurs possibilités interprétatives de ce passage, on argumente qu'il existe une structure logique-métaphysique dont permet la connaissance de la nature en tant que science. À cette fin, on démontre que : 1 - La logique hégélienne a un double aspect, en tant que (la) logique [die Logik] et comme (le) logique [das Logische], logique celui qui se manifeste comme un discours spéculatif. 2 - Le logique, en tant que discours spéculatif, révèle logicité propre du naturel et l’unifie avec la logicité du penser. 3 – On oppose notre lecture à la lecture non-métaphysique de Hegel, qui nie le besoin d'une logique métaphysique pour comprendre la nature systématique du naturelle. En bref, ce travail est destiné à démontrer qu'il est possible de penser le naturel d'une façon aprioristique (ou métaphasique) sans que cela configure une projection ou adaptation du naturel au penser, mais aussi, une ampliation des déterminations du penser vers les choses naturelles. / Esta tese propõe analisar a ampliação da Ciência da Lógica para Filosofia da Natureza no contexto da Enciclopédia das Ciências Filosóficas de 1830 e da Ciência da Lógica de Hegel. Dado as várias possibilidades interpretativas dessa ampliação, argumentamos que existe uma estrutura lógico-metafísica na realidade que permite conhecer a natureza enquanto ciência. Para tanto, iremos demonstrar que: 1 – Que a lógica hegeliana tem um duplo aspecto, enquanto a lógica (die Logik) e enquanto o lógico (das Logische), lógico este que se manifesta como um discurso especulativo. 2 – Que o lógico enquanto discurso especulativo desvenda a logicidade própria do natural e a unifica com a logicidade do pensar. 3 – Iremos contrapor nossa leitura a leitura não metafísica de Hegel, que nega a necessidade de uma metafísica lógica para compreender a sistematicidade do natural. Assim, tentaremos demonstrar que é possível pensar o natural de forma apriorística (ou metafísica) sem que isso configure uma projeção ou adaptação do natural ao pensar, mas sim, uma ampliação das determinações do pensar as coisas naturais. / This thesis studies the passage from the Science of Logic to the Naturphilosophie in the context of Hegel’s Encyclopedia of the Philosophical Sciences (1830) and Science of Logic. Due to the many possible interpretations of this passage, we argue that there is a logical-metaphysic structure in reality that makes it possible to know nature while science. For this purpose we demonstrate hereby that: 1 – Hegelian logic has a double aspect, while logic (die Logik) and logical (das Logische), the latter manifesting itself as speculative speech; 2 – the logical while speculative speech unravels the logicality inherent to the natural and unifies it with the logicality of thinking; 3 – we contrast our interpretation with Hegel’s non-metaphysic interpretation, which denies the necessity of logic metaphysics to understand the systematicness of the natural. Thus, we attempt to demonstrate that it is possible to think about the natural a priori (or metaphysically) without it being considered a projection or adaptation of the natural to thinking, but an expansion of the determinations of thinking the natural things.

Made available in DSpace on 2016-06-02T19:52:02Z (GMT). No. of bitstreams: 1 5741.pdf: 3756867 bytes, checksum: d75ae6844f86f78217fb963284442b22 (MD5) Previous issue date: 2013-12-18 / This present work represents a case study conducted with different business units and corporate areas in a Brazilian branch of a multinational company (acknowledged by its innovative strength in multiple sectors: auto parts, consumer goods and industrial goods), aiming to understand what inhibits or enables a more venturesome innovative approach towards more disruptive products (understood as those genuinely new, designed after actual demands and unmet needs, avoiding limitations of technological paradigms and the erroneous inertial persecution of the same competitive attributes). For doing so, the following main objectives are established: 1. Understand how selected determinants (environment, human resources, financial resources, processes, culture and strategy) impact the product innovation portfolio composition in the units selected; 2. Therefore, identify ideas sources that are most frequently used and those considered most effective in each unit studied. As the background for this analysis, the literature review outlined starts discussing some concepts (disruptive innovation and value co-creation particularly) which exhort to the importance of a broader innovative orientation, dribbling an inertial conservative behavior that seems quite deleterious. After that, an approach on the main drivers that mold the innovation orientation is outlined (covering the lockin risks and opportunities brought by open innovation amidst the innovation strategy perspectives). Finally, the bottlenecks in the idea generation phase (which has been reported by some recent studies as the major cause for an alleged gap in disruptive innovations) are explored, some multidisciplinary contributions on innovation applied creativity (ideation concepts from cognitive and social sciences) are brought and the most effective and commonly used sources of ideas according to recent researches are covered. The analysis identifies three main innovation orientations in the studied areas (tech drivers with offensive strategies; need seekers with opportunist strategies; and market readers with more dependent strategies), what seems to be determined by deliberate corporate definitions molded by a more conservative and centralizing cultural and strategic approach of the company, dedicating limited innovation scope and resources for the branch. The idea sources follows this three main innovation orientations, also being close to those traditionally used internationally: technologically oriented areas with more innovative capabilities (offensive innovation strategy) tend to find more efficient and popular the technological prospection sources; dependent innovation approaches tend to rely on a more basic usage of voice of customer sources; and the opportunist orientation is the only approach more focused on open innovation methods (which generally have limited adoption). Besides and in general, internal and voice of customer sources tend to be disseminated and effectively used independently of the orientation. / O presente trabalho constitui um estudo de caso delineado em distintas unidades de negócios e áreas corporativas de filial brasileira de empresa multinacional (reconhecida por seu desempenho inovador em diversos mercados: autopeças, bens de consumo e bens industriais), buscando entender o que inibe ou viabiliza a busca por inovações mais disruptivas em produtos (concebidas como aquelas que buscam criar propostas genuinamente novas e vinculadas a reais demandas, às limitações dos paradigmas tecnológicos e ao aprisionamento na perseguição dos atributos competitivos estabelecidos). Pra tanto, são traçados dois objetivos principais: 1. Entender quão determinantes são algumas variáveis selecionadas (ambiente, recursos humanos, recursos financeiros, processos, cultura e estratégia) na orientação à composição do portfólio de inovação em produto das unidades estudadas; 2. Por conseguinte, identificar quais fontes de ideias são utilizadas com mais frequência e aquelas consideradas de maior efetividade em cada unidade estudada. Conformando uma base para essa análise, a revisão bibliográfica aqui delineada se inicia com uma abordagem sobre concepções (em especial a perspectiva da inovação disruptiva e da cocriação de valor) que exortam quanto à importância de se manter uma orientação à inovação atenta a mais amplas oportunidades, driblando um comportamento inercial que parece bastante deletério. Na sequencia, faz-se uma abordagem acerca de como a inovação é apreendida como estratégia nas empresas dentro de múltiplos determinantes, sendo também trabalhados os riscos de lockin e as oportunidades trazidas com a inovação aberta. Por fim, mostra-se que gargalos na etapa da geração de ideias vêm sendo apontados mais recentemente como a maior causa para esse lapso de inovação, sendo resgatadas contribuições multidisciplinares sobre a criatividade aplicada à inovação (conceitos de ideação desprendidos a partir de conceitos das ciências cognitivas e sociais e sendo trazidas as principais fontes de ideias atualmente empregadas) e apresentadas as fontes de ideias mais comumente utilizadas e aquelas consideradas mais populares segundo pesquisas recentes. Como resultado, a análise, à semelhança de estudos internacionais, identificou três principais orientações à inovação nas unidades estudadas (tech drivers com estratégias mais ofensivas; need seekers com estratégias mais oportunistas; e market readers com estratégias mais dependentes), o que parece estar determinado por definições deliberadas da corporação, moldadas por um embasamento estratégico e cultural mais tradicional e centralizador da empresa, sendo dedicados pela matriz poucos recursos e um limitado escopo à inovação à filial. As fontes de ideias empregadas, por sua vez, seguem essas três orientações principais, estando ainda bastante próximas daquelas mais tradicionalmente empregadas internacionalmente: a área com maior orientação e capacitação tecnológica (tech driver) apresentou uso mais eficaz e frequente de fontes de prospecção tecnológica; as áreas de orientação dependente à inovação (market readers) mostraram mais ampla adoção de fontes de clientes; a área com abordagem oportunista (need seeker) sobressaiu como a única a conferir certa ênfase na inovação aberta (o que tem comumente aplicação bastante limitada nas demais unidades). Ademais, as fontes de ideias internas, bem como aquelas de clientes são, em geral, disseminadas e efetivamente usadas independentemente da orientação.

Cette thèse propose étudier le passage entre la Science de la Logique et la Philosophie de la Nature sur le contexte de l'Encyclopédie des Sciences Philosophiques de 1830 et de la Science de la Logique de Hegel. Étant donné les plusieurs possibilités interprétatives de ce passage, on argumente qu'il existe une structure logique-métaphysique dont permet la connaissance de la nature en tant que science. À cette fin, on démontre que : 1 - La logique hégélienne a un double aspect, en tant que (la) logique [die Logik] et comme (le) logique [das Logische], logique celui qui se manifeste comme un discours spéculatif. 2 - Le logique, en tant que discours spéculatif, révèle logicité propre du naturel et l’unifie avec la logicité du penser. 3 – On oppose notre lecture à la lecture non-métaphysique de Hegel, qui nie le besoin d'une logique métaphysique pour comprendre la nature systématique du naturelle. En bref, ce travail est destiné à démontrer qu'il est possible de penser le naturel d'une façon aprioristique (ou métaphasique) sans que cela configure une projection ou adaptation du naturel au penser, mais aussi, une ampliation des déterminations du penser vers les choses naturelles. / Esta tese propõe analisar a ampliação da Ciência da Lógica para Filosofia da Natureza no contexto da Enciclopédia das Ciências Filosóficas de 1830 e da Ciência da Lógica de Hegel. Dado as várias possibilidades interpretativas dessa ampliação, argumentamos que existe uma estrutura lógico-metafísica na realidade que permite conhecer a natureza enquanto ciência. Para tanto, iremos demonstrar que: 1 – Que a lógica hegeliana tem um duplo aspecto, enquanto a lógica (die Logik) e enquanto o lógico (das Logische), lógico este que se manifesta como um discurso especulativo. 2 – Que o lógico enquanto discurso especulativo desvenda a logicidade própria do natural e a unifica com a logicidade do pensar. 3 – Iremos contrapor nossa leitura a leitura não metafísica de Hegel, que nega a necessidade de uma metafísica lógica para compreender a sistematicidade do natural. Assim, tentaremos demonstrar que é possível pensar o natural de forma apriorística (ou metafísica) sem que isso configure uma projeção ou adaptação do natural ao pensar, mas sim, uma ampliação das determinações do pensar as coisas naturais. / This thesis studies the passage from the Science of Logic to the Naturphilosophie in the context of Hegel’s Encyclopedia of the Philosophical Sciences (1830) and Science of Logic. Due to the many possible interpretations of this passage, we argue that there is a logical-metaphysic structure in reality that makes it possible to know nature while science. For this purpose we demonstrate hereby that: 1 – Hegelian logic has a double aspect, while logic (die Logik) and logical (das Logische), the latter manifesting itself as speculative speech; 2 – the logical while speculative speech unravels the logicality inherent to the natural and unifies it with the logicality of thinking; 3 – we contrast our interpretation with Hegel’s non-metaphysic interpretation, which denies the necessity of logic metaphysics to understand the systematicness of the natural. Thus, we attempt to demonstrate that it is possible to think about the natural a priori (or metaphysically) without it being considered a projection or adaptation of the natural to thinking, but an expansion of the determinations of thinking the natural things.

This thesis deals with relationship of music and theology. It stems from history of development of the philosophic judgement on the notion of ?musica? in antiquity as well as from the contemporary conceptions and definitions of music. Subsequently it proceeds to the presentation of selected writings of both historical and contemporary theologists? dealing with the subject of the art of music. Based on their analysis this thesis comes to the conclusion that a relationship between theology and music indeed exists and their dialog mutually enriches both of these disciplines. Music transcends the limited capabilities of speech and with its own instruments it speaks about the infinite God. This central thought at which the thesis arrives, is concretely documented in musical activities and pieces of work by selected composers of classical music.