<p>The purpose of this essay is to investigate Swedish as a second language acquisition in a group of students with diverse culturul backgrounds. my intension is to find out if a dialogical posture in teaching with focus on the students earlier knowledge,experianses, thoughts and feelings, will contribute to a teaching enviroment where the students can express them selves and listen to each other. the teachers task is to help the students to explore their own thinking.</p><p>According to the theoretical base of the essay, sucessfull second language asquisition occours in a meaningsfull context through dialogue and interaction between students and teacher as well as between student and student.</p><p>I have used a qualitative method consisting in participating as a teacher in this group of second language learners during four lessons, observing, taking notes and writing diary. The teaching material used during the lessons was a book (fiction but based on a true story) and the dialogue in the group proceeded from the story we read together.</p>

This research aims to develop understanding of how teachers’ experience of practising creative writing influences pedagogy in schools. The research is located within a literary studies domain, responding to the context in which creative writing is most commonly taught in schools and in higher education. The central research question explored is: • How is the pedagogy of creative writing in schools influenced by teachers’ creative writing practice? The research explores the premise that creative writing practice has the potential to raise teachers’ ‘confidence as writers’, enabling them to ‘provide better models for pupils’ (Ofsted, 2009: p.6). This thesis examines what ‘creative writing practice’ means in the context of developing pedagogy; considers how creative writing is conceptualised by teachers; and investigates how teachers’ creative writing practice connects to pedagogic methods and approaches. The research sub questions that underpin the research are: • How has creative writing been conceptualised in educational policy, and how do these conceptions influence pedagogy in schools? • Does the practice of creative writing influence teachers’ conceptualisations of creative writing, and, if so, what is the impact on pedagogy? • Does the practice of creative writing influence teachers’ perceptions of themselves as writers, and, if so, what is the impact on pedagogy? • Does the experience of working with writers influence teachers’ pedagogic approaches in the classroom, and if so, how? The research includes a case study involving 14 primary and secondary school teachers, engaged in developing their own creative writing practice under the guidance of professional writers. The case study approach enables exploration of the research questions through analysis of participants’ lived experience of creative writing practice and pedagogy. The analysis of the case study at the heart of this research is situated within an interpretive framework, acknowledging the complexity of multiple meanings at play in socio-cultural learning contexts. The analysis draws on Bruner’s exploration of how pedagogical approaches imply conceptions of the learner’s mind and pedagogy (Bruner, 1996), and considers the interplay between teachers’ experiences of creative writing, and their choice of pedagogical methods and approaches.

Between the actualized built spaces that the artist moves around and through on a daily basis and the more abstract systems we invent to represent these structures sits the illusion of space and structure found in his drawings and paintings. Constant turnover within the built environment offers not only content, but rich analogy for his artistic practice. The artist’s endeavors in the studio in many ways echo the genesis, evolution and possibility he observes in the transitioning city around him. In the actual making of the work, he gleans from traditional methods of drawing and painting, from the architectural lexicon, from experiments with new materials, from the effects of time and decay and from building processes themselves.

Orientador: Cesar Donizetti Pereira Leite / Resumo: Com as crianças sou convidada a adentrar lugares, espaços e tempos outros... com elas não procuro verdades, certezas, formatos, modelos... com elas me coloco em movimento, em devir, em abertura, em busca constante e incessante por novidades e descobertas... com elas me permito errar, bagunçar, chorar, desconstruir, experienciar... estar cotidianamente com as crianças pequenas me mobiliza a produzir discursos outros, escritas outras sobre/para/com elas... numa composição poética, estética e imagética, trilhei caminhos aforísticos para pensar a criança, a infância, a educação infantil e o currículo... reticente busquei traçar caminhos outros para a construção de saberes e fazeres na escola da infância... é um convite para pensarmos em currículos plurais: arteiros, crianceiros, infantis... / Abstract: With the children I am invited to enter places, spaces and other times ... with them I do not look for truths, certainties, formats, models ... with them I put myself in movement, in becoming, in openness, in constant and incessant search for novelties and discoveries ... with them I allow myself to err, to mess up, to weep, to decons-truct, to experience ... being daily with small children mobilizes me to produce other speeches, written others about / to / with them ... in a poetic composition, aesthetic and imagery, I have tried aphoristic ways to think about the child, childhood, early childhood education and curriculum ... I reluctantly tried to outline other paths for the construction of knowledges and doings in childhood school ... is an invitation to think in plural curricula: mischievous, chil-dish, children... / Doutor

Through a qualitative study of professional photographers who were born overseas, or whose parents were born overseas; this research aims to provide an analysis of factors brought about by cultural dislocation, and how these factors may affect the creative process. Although of recent times a variety of approaches with regard to creativity research have been explored, and despite the importance for educators to gain a better understanding of creativity, the effect of cultural disruption upon creative output has not been addressed. This would seem to constitute a significant deficit in the overall research literature, and suggests a gap in the understanding of the conditions and parameters mediating the creative experience. This study examines ontological notions of identity and self-hood, and claims that imaginative and perceptual awareness are heightened as a consequence of cultural dislocation. The mechanism for this creative amplification is proposed as resulti ng from increased metaphor generation and an adjustment of temporal perceptions. The influences upon selfhood are illustrated using a constructed

The purpose of this essay is to investigate Swedish as a second language acquisition in a group of students with diverse culturul backgrounds. my intension is to find out if a dialogical posture in teaching with focus on the students earlier knowledge,experianses, thoughts and feelings, will contribute to a teaching enviroment where the students can express them selves and listen to each other. the teachers task is to help the students to explore their own thinking. According to the theoretical base of the essay, sucessfull second language asquisition occours in a meaningsfull context through dialogue and interaction between students and teacher as well as between student and student. I have used a qualitative method consisting in participating as a teacher in this group of second language learners during four lessons, observing, taking notes and writing diary. The teaching material used during the lessons was a book (fiction but based on a true story) and the dialogue in the group proceeded from the story we read together.

This doctoral portfolio is a collection of papers and pieces of creative writing arising out of therapeutic, supervisory and training conversations and in relation to a wide range of texts. I have wanted to find ways of writing ethically so as to avoid objectifying people and appropriating their words, their life stories. I find ways of writing in which the values and practices of a collaborative, dialogical and reflexive ways of being with people are echoed in the texts. I show how writing and reading are relational practices in that I speak with the participants in the texts as well as with the reader and also with other writers. To do this, I experiment with a variety of written forms and employ literary devices so as to speak from within a range of practice relationships, from within inner dialogue, with real and fictitious characters. Technically and ethically, I try to write in a way which not only captures the sound of talk but which also speaks with the reader who would be reading, and perhaps hearing these accounts of conversation. By sharing a rich level of detail from my polyvocal inner dialogue, I invite the reader into a unique and privileged alongside position as a participant-observer in my work. Inspirational research methodologies include: writing as a method of inquiry, reflexivity, autoethnography, performance ethnography and transgression interpreted by many areas of systemic theory and practice. To support this innovative work, I offer several theoretical and practical papers offering novel developments on systemic practice theory. I situate systemic practice as a research method and demonstrate many family resemblances between systemic inquiry and qualitative inquiry. I offer a reflexive model for systemic practice and practice research which I call Praction Research which regards therapy and research as political acts requiring an activist agenda. Linked to this I politicise ideas of reflexivity by introducing local and global reflexivity and create a political connection with a concept of theorethical choices in theory and ethics in practice research. I propose a new form of ethnography suited to systemic practice, Relational Ethnography in which I draw attention to reflexive relationships between writer and readers, between the voices of inner and outer dialogue in research texts.

Children with autism spectrum disorder show imaginative and representational drawing deficits, despite reports of a “visual thinking style”. I examined whether these two drawing characteristics could be explained by the unique cognitive style of children with autism (specifically, executive dysfunction and a local processing bias). I administered a cognitive/drawing task battery to a group of 24 school-age children with autism and 29 mental age-matched neurotypically developing controls. I expected that better executive function ability would be associated with better imaginative and representational drawing, and that a local processing bias (weak central coherence) would be associated with better representational drawing but worse imaginative drawing. In children with autism, better executive function was associated with better imaginative drawing. Greater central coherence was associated with better representational drawing, but executive function was associated with worse representational drawing. Underlying cognitive components of imaginative and representational drawing were different for the neurotypically developing children. Overall, findings were unexpected, leading to novel theoretical suggestions for the field of autism cognition and drawing research. / Graduate / 0620 / 0623 / kd.teneycke@gmail.com

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