This exploratory study investigates how American and Canadian parents living in Saudi Arabia perceive enrolling their children in an online virtual school. This research is relevant to North Americans living and working overseas and how these parents access educational opportunities for their children. North American parents living in Saudi Arabia with children have limited local educational options. If parents decided not to enroll their child in traditional private local international education, alternatives include boarding school, homeschool, or online school. Of the surveyed participants, 68% of parents had enrolled their children in online education or expressed interest in enrolling their children in online education but many lack information and knowledge about online education. A qualitative study analyzed participants in semi-structured interviews. Besides academic satisfaction, the most common reasons for alternative education are the lack of available competitive sports and the arts, including theatre and music. Four themes emerged from the data. Parent satisfaction about their children's education shifts from positive to negative around 8th or 9th grade. Parents are, in general, unwilling to take a risk on an unproven online school. Local private international schools are the focal point of extra-curricular activities and social events, but families lack connections and a supportive environment within the local Saudi Arabian community. Overall, parents do view full-time online education as a viable option for K-12 education; however, perhaps not for their children. Though standalone online classes, within a traditional face-to-face school, was received positively by many families.

No description available.

Education is a critical social process and is the responsibility of the society of which a child is a member. Education and Schooling promote the cognitive development and professional skills acquisition that produce economic development and positive socio-economic outcomes. In the modern world, education is strongly correlated with employability, access to food, housing, social status and associates strongly with measures of individual health and wellbeing. However, despite moderate gains in education outcomes for Inuit students, school engagement and graduation rates remain low across Inuit Nunangat in the K-12 system, and entry into post-secondary education has increasingly lagged behind that of the rest of Canadians. All the while, Inuit remain the most socio-economically disadvantaged people in Canada. At the root of this education gap is the collision of two cultures and world views. In the last sixty-five years (roughly just two generations), Inuit non-monetary social and economic systems, as well as teaching methods, have been eroded and replaced by dominant Western pedagogical and economic practices. This has caused tension between Inuit and Western pedagogy and provoked re-examination of what gets taught in the dominant Western education system in order to prepare Inuit students to participate in Canadian society. This study narrates the experiences of six Inuit students' education journeys and explores how they navigated cultural tensions to successfully reach and complete their post-secondary education. Findings indicate that the presence of Inuit Qaujimajatuqangit (Inuit epistemology), or rather its prescriptive Guiding Principles (the branch of Inuit social epistemology) when practiced, supported their success. Further, the lack of these Principles, evident in microaggressions from educators, segregation, racism, suicides, and lateral violence from peers all served as barriers to their educational goals of being able to participate bi-culturally in both the Inuit and Western ways of living.

No description available.

This licentiate thesis focuses on the development of the idea process in art education using digital peer feedback. In the school subject visual art, the visual idea process, e.g., when students sketch their ideas, is an important phase in a project. When an idea takes form, there is the possibility for considering the idea in a new way, for others to study and discuss it, and most importantly, for generating new ideas. By digitally sharing their visual idea process and providing feedback, students can become more aware of their own and others' creative processes. Peer feedback in this thesis leans on two theories. The first is self-regulated learning, meaning that students formulate goals and identify needs (both their own and others’) when learning. In the feedback activity, the student is responsible for their own idea and for the visual feedback given to other students. They also receive valuable input when providing feedback. The second feedback theory is social constructivism and the zone of proximal development, i.e., the difference between what students accomplish in learning with the help of others and what students accomplish by themselves. In this study it is shown (by focusing on the social aspects of peer feedback) that when students help others, they develop their own products far more than they might have done if working individually. On two occasions, I observed and investigated how students (an eighth-grade and sixth-grade class) developed and digitally shared visual ideas supported by digital peer feedback. Thematic analysis was used on data gathered on both occasions (i.e. in both iterations of the study) to identify different types of feedback provided by students. In the first iteration, the feedback was in written form, and through analysis, five themes were created that described different types of peer feedback. In the second iteration, feedback was provided using various visual techniques, and through the analysis, four themes were formed. In each iteration of the study, four categories were created to describe the degree of change between the first and final sketches. The results suggest that using digital tools and peer feedback activities in visual art could help improve students’ abilities to develop ideas. The methodological contribution of this research is its new use of peer feedback using visual feedback. With this form of feedback, students stayed within one medium, using a sign system to communicate visual solutions on the sketches of other students. At the same time, they received practical tips and direct advice that they could immediately apply to their sketches. / Den här licentiatuppsatsen fokuserar på att utveckla idéprocessen i bildundervisning med hjälp av digital kamratfeedback. I skolämnet bild är den visuella idéprocessen, till exempel när elever skissar sina idéer, en viktig fas i ett projekt. När en idé får en form blir det möjligt att betrakta den, för andra att studera och granska, och kanske viktigast av allt, att generera nya idéer. Genom att digitalt dela med sig av sin visuella idéprocess och ge feedback kan elever bli mer medvetna om sina egna och andras kreativa processer. Kamratfeedback, peer feedback, i uppsatsen lutar sig mot två teorier. Den ena är själv-reglerat lärande, vilket innebär att formulera mål och identifiera behov i lärandet. I feedbackaktiviteten är eleven ansvarig för den egna idén och för den feedback som ges till andra elever. Eleverna får också värdefull input när de ger feedback. Den andra teorin är socialkonstruktivism och den proximala utvecklingszonen, dvs. skillnaden mellan vad elever åstadkommer i lärandet med hjälp av andra och vad elever åstadkommer på egen hand. Den här studien (som fokuserar på de sociala aspekterna av kamratfeedback) visar att när elever hjälper andra utvecklar de sin idé mycket mer än vad de skulle ha gjort om de hade arbetat individuellt. I två omgångar undersöktes hur elever i åttonde och sjätte klass utvecklar och digitalt delar visuella idéer med stöd av digital kamratfeedback. Inspiration från tematisk analys användes i båda omgångarna för att identifiera olika typer av feedback från eleverna. I den första användes skriftlig feedback, och genom analysen skapades fem teman som beskrev olika typer av elevernas feedback. I den andra omgången gav eleverna varandra feedback i form av olika visuella tekniker, och i analysarbetet skapades fyra teman. I båda omgångarna bedömdes graden av förändring mellan den första och den sista skissen. Fyra kategorier skapades i varje omgång. Resultaten tyder på att det skulle kunna vara fördelaktigt för elevernas förmåga att utveckla idéer med hjälp av digitala teknologier och kamratfeedback-aktiviteter i bild. Den digitala delningen underlättade för eleverna att dela och granska varandras idéarbeten och feedback. Det metodologiska bidraget från denna licentiatuppsats är att kamratfeedback har använts på ett nytt sätt, visuell feedback. Genom att stanna kvar i ämnets visuella språk och kommunicera feedback visuellt återanvändes föremål och former i den ursprungliga skissen.

No description available.

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France,examineles relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig etses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues : celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire. Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’oeuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, sur la transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction dela connaissance est plus complexe et se révèlepar le biais de l’action, et, donc, par celui du corps. / Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionnette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de gradução em Pedagogia do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo. / This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil, and Université Paris Nanterre, France, investigates the relations between body and object grounded on a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For such, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the performing space are used. The study starts from the verification of the deficit of artistic references on part of future pedagogues, as well as the invisibility of theater of animated within this context, which is often considered in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The question of this dissertation is: how to think the possibilities for the body in teacher training in Pedagogy, based on Edward Gordon Craig’s Übermarionnette proposal? For this purpose, eleven groups of students from undergraduate Pedagogy courses from Rio Grande do Sul state, Brazil took part in theater of animated forms workshops. These workshops were registered in writing and recorded in video, having been produced dossiers which were later examined The theoretical basis is inspired by Foucault’s work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s culture of presence (2010). It is understood that what the theater of animated forms has as formativeis its possibility to foster shifts: from the conception of a training process based on content modeling, transmission and repetition of contents to training-experience; from text-centered training to the imprecisionof the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogical proposal that opposes to the formulas and considers that the process of knowledge construction is more complex and happens by means of action, therefore by means of the body.

A ausência do Cálculo Diferencial e Integral no currículo do Ensino Médio no Brasil, diferentemente do que acontece em outros países, constituiu-se na motivação original para este trabalho. Considerando as finalidades mais gerais da escola básica apresentadas nos documentos oficiais, mostramos o aporte que o ensino de Cálculo pode conduzir à formação de nossos jovens, favorecendo uma visão mais integrada das disciplinas e o desenvolvimento da capacidade de compreender e interpretar fenômenos. Trazer o estudo do Cálculo para a escola básica, porém, não pode significar uma antecipação do que é feito nos cursos universitários, como acontecia no Brasil há algumas décadas. Pelo contrário, a abordagem deve se basear nas ideias fundamentais do Cálculo, como variação, aproximação e proporcionalidade, que já estão presentes no programa da escola básica. Para tanto, apresentamos o raciocínio covariacional, definido como o conjunto de atividades cognitivas envolvidas na análise coordenada das variações de duas grandezas interdependentes. Construindo uma trajetória que começa nas séries iniciais, chega às grandezas proporcionais, perpassa todo o estudo das funções e se estende até o final do Ensino Médio, mostramos que o modelo representado pelo raciocínio covariacional pode nortear o processo de fortalecimento das ideias do Cálculo no currículo da escola básica. Para ter uma noção do cenário atual, avaliamos o nível de raciocínio covariacional de 66 alunos recém-formados no Ensino Médio brasileiro, aprovados em um competitivo exame seletivo para ingresso na universidade. A enorme dispersão dos resultados indicou a pouca consistência do atual programa de nossa escola básica em relação ao desenvolvimento do raciocínio covariacional. Aproveitando o estudo realizado, extrapolamos o contexto da escola básica para avaliar a relação entre o nível inicial de raciocínio covariacional dos alunos e seu desempenho na disciplina de Cálculo na universidade. Os resultados sinalizam para o efeito positivo que um trabalho mais efetivo com o raciocínio covariacional pode ter no enfrentamento das dificuldades vividas por alunos e professores nas disciplinas de Cálculo do ensino superior. / The absence of Differential and Integral Calculus in Brazilian high school syllabus, differently from what happens in other countries, has been the main motivation to develop this thesis. Considering the most general objectives of the K-12 education presented in the official documents, we hereby demonstrate the robust contribution of teaching Calculus to the secondary school students, by offering an integrated discipline overview, and the development of the ability of understanding and interpreting phenomena. However, the introduction of the study of Calculus to secondary school should not be an anticipation of what is developed in the university courses, as it used to be some decades ago in Brazil. The approach, on the other hand, should be based on the Calculus fundamental ideas, such as: variation, approximation and proportionality, which are already present in the K-12 curriculum. Therefore, we described the covariational reasoning, which is defined as the cognitive activities involved in the coordinated analysis of two interdependent quantities variations. We have designed a track using a covariation framework, starting in elementary school, which then achieves the study of proportionality and functions, and extends up to the end of high school, resulting in the strengthening of the Calculus ideas in the curriculum. In order to have a general view of the current scenario, we evaluated the covariational reasoning level of 66 recent graduated high school students in Brazil, who were approved in a high competitive exam in order to enter university. As a result, we detected an impressive lack of consistency regarding the development of covariational reasoning in the secondary school curriculum. Moreover, we could evaluate the relation between the initial students covariational reasoning level and their understanding of Calculus in the university. Our results indicate that fostering covariational reasoning may effectively lead to a positive influence, when dealing with difficulties faced by students and faculty in Calculus courses at the university level.

Analysis is typically the first of the higher functions listed in taxonomies of higher order thinking. Academics consider these upper categories extremely worthwhile, but they are hard to teach and we are apt to ignore them. Today higher education is being criticized for “dumbing down” curriculum or lowering standards. To rectify this, many policies at the state or national level are requiring higher education institutions to change. In K‐12 education, Race to the Top and Common Core requirements are placing new demands on K‐12 teacher preparation, which include evaluation of the analysis skills of pre‐service teachers. But professors do not always view their disciplines as the proper place for teaching analytical skills. Others become frustrated when trying to teach analysis. But if we do not teach these skills, our teacher candidates will be poorly prepared for successful teaching, a problem which will cascade throughout our society, rendering our citizens less educated. In this paper, we describe our efforts to teach analysis in two courses from widely differing subject areas, literacy and mathematics education. We are now requiring pre‐service teachers to analyze simulated or actual samples of student work. We have developed a sequenced process of analysis education that we designate with the acronym CODE. It includes Compilation of information, Organization of data, Determination of patterns, and Explanation of understanding. We believe this technique can be generalized to many courses in where students’ ability to analyze poses a problem.

Cette thèse, réalisée dans le cadre d’une cotutelle entre l’Université Fédérale de Rio Grande do Sul, Brésil, et l’Université Paris Nanterre, France, examine les relations entre corps et objet à partir de l’exercice du théâtre de formes animées dans le contexte brésilien de formation des enseignants en Licence de Pédagogie. A cet égard, elle utilise la notion métaphorique de surmarionnette d’Edward Gordon Craig et ses expérimentations sur le mouvement du corps et sur l’espace scénique. L’étude part du constat d’une double absence concernant les futur.e.s pédagogues: celle de références artistiques et celle de l’indivisibilité du théâtre de formes animées. A cela s’ajoute (pour ces étudiant.e.s) une perception superficielle et caricaturale de ce langage théâtral, au détriment de sa puissance comme objet d’art, de philosophie et d’histoire.Le questionnement de cette thèse peut être ainsi défini: comment penser les possibilités pour le corps dans la formation des enseignants en Pédagogie à partir de la proposition de la Surmarionnette d’Edward Gordon Craig? A cet effet, ont été réalisés des ateliers de théâtre de formes animées avec onze groupes d’étudiant.e.s du cursus de Licence en Pédagogie de huit universités de Rio Grande do Sul, Brésil. Ces ateliers ont été annotés et enregistrés sur des vidéos, constituant des dossiers qui, postérieurement, ont été analysés. Le fondement théorique s’inspire de l’œuvre foucaldienne, tout particulièrement, des notions de corps docile, fonction-auteur, hétérotopie, corps utopique et dans l’exercice de penser d’autres manières à partir de son archéogénéalogie. Cet exercice est nourri de la notion d’expérience de Larrosa (2015), de celle de formation-expérience de Dias (2012) et de la culture de la présence de Gumbrecht (2010). On envisage le théâtre de formes animées selon ses potentialités de formation dans les déplacements : de la conception d’un processus de formation calquée sur la modélisation, surla transmission et la répétition de contenus vers une formation-expérience; de la formation textocentrique vers l’indéfinition de la situation créative; des vérités pédagogisantes vers l’incertitude. Nous concluons sur une proposition pédagogique qui s’oppose à des formules prédertimées et qui considère que le processus de construction de la connaissance est plus complexe et se révèle par le biais de l’action, et, donc, par celui du corps. / This dissertation, developed in a joint degree agreement between Universidade Federal do Rio Grande do Sul, Brazil and Université Paris Nanterre, France, investigates the relations between body and object from a theater of animated forms exercise in the Brazilian context of teacher training in Pedagogy. For this purpose, Edward Gordon Craig’s metaphoric notion of Übermarionnette and the experiments with movement and forms of the scenic space are used. The study departs from the verification of the deficit of artistic references on part of the future pedagogues, as well as the invisibility of theater of animated forms in this context, often seen in a superficial and grotesque way in detriment of its potency as object of art, philosophy and history. The theoretical basis is inspired by the Foucauldian work, especially the notions of docile body, author function, heterotopia, utopian body and the exercise of thinking in distinct ways from his archeogenealogy. Such exercise is interwoven with Larrosa’s notion of experience (2015), Dias’ training-experience (2012) and Gumbrecht’s presence experience (2010). It is understood that what the theater of animated forms has as formative is its possibility of fostering shifts: from the conception of training based on content modeling, transmission and repetition to training-experience; from text-centered training to the lack of definition of the creative situation; and from pedagogizing truths to uncertainty. It is concluded that it is a pedagogic proposal that opposes to formulas and considers that the process of knowledge construction is more complex and happens through action, therefore through the body. / Esta tese, realizada em convênio de cotutela entre a Universidade Federal do Rio Grande do Sul, Brasil, e a Université Paris Nanterre, na França, investiga as relações entre corpo e objeto a partir do exercício de teatro de formas animadas no contexto brasileiro da formação docente em cursos de gradução em Pedagogia. Para tanto, toma a noção metafórica da Übermarionnette de Edward Gordon Craig e as experimentações com o movimento e as formas do espaço cênico. O estudo parte da constatação do déficit de referências artísticas das futuras pedagogas e, também, da invisibilidade do teatro de formas animadas nesse contexto, frequentemente visto de forma superficial e caricata em detrimento de sua potência como objeto de arte, de filosofia e de história. A questão desta tese pode ser assim definida: como pensar as possibilidades para o corpo na formação docente em Pedagogia a partir da proposta da Übermarionette de Edward Gordon Craig? Para tanto, foram realizadas oficinas de teatro de formas animadas com onze grupos de alunas de cursos de graduação em Pedagogia de oito universidades do Rio Grande do Sul, Brasil. Essas oficinas foram anotadas e registradas em vídeos, produzindo-se dossiês que, posteriormente, foram analisados. A base teórica é constituída a partir da inspiração na obra foucaultiana, em especial, as noções de corpo dócil, função autor, heterotopia, corpo utópico e no exercício de pensar de outros modos a partir da sua arqueogenealogia. Tal exercício é entretecido com a noção de experiência de Larrosa (2015), de formação-experiência de Dias (2012) e de cultura da presença de Gumbrecht (2010). Entende-se que o que o teatro de formas animadas possui de formativo é a sua possibilidade de promover deslocamentos: da concepção de um processo de formação calcada na modelização, transmissão e repetição de conteúdos para uma formação-experiência; da formação textocêntrica para a indefinição da situação criativa; e das verdades pedagogizantes para a incerteza. Conclui-se que é uma proposta pedagógica que se opõe à formulas e considera que o processo de construção do conhecimento é mais complexo e se dá por intermédio da ação e, portanto, do corpo.