This study investigated students’ attitudes towards language learning, especially speaking, at King Mongkut’s Institute of Technology, North Bangkok, Thailand. One of the important factors needing change in Thai education is the improvement of language teaching, especially speaking. The aims of the research are to improve Thai students’ motivation to speak English through a range of materials and activities used for promoting students’ confidence in speaking English. Action research procedures (plan, act, observe, reflect and revise) were used to study the processes and participant Three English teachers took part in the project to assist in its implementation and to observe the outcomes. The study was conducted in two cycles: the first cycle involved teaching a program to a class of engineering students for one semester. The teacher used new student centred techniques to teach differently from traditional teaching using six activities as a tool to motivate students to speak. These were: Self- Introduction, an English Movie, a Popular Song, My Favourite Story, Foreigner Interview and a Coffee-break Discussion. The second cycle followed the reflection on the first cycle to further develop materials, activities, teaching techniques and teacher’s roles. It involved a further semester teaching the six activities to a new class Data from Cycle I were analysed and used to make improvements for Cycle II. Observers played a role in evaluating, suggesting and revising the program. Data from Cycle II were presented to show the final outcomes and changes. Data were collected through the teacher’s journal, observers’ sheets, students’ worksheets, students’ diaries and self-rating scales. The data are presented through narrative and through interpretation of students’ responses. Data were also used to construct a model for promoting students’ confidence in speaking English for King Mongkut’s Institute of Technology, North Bangkok. The results of the research indicated that students’ increased confidence in speaking English was influenced by teaching learning strategies, using authentic materials and presenting the activity in non-threatening terms. Student centred approaches including pair and group work, cooperative learning, giving the opportunity to practise, time to rehearse and promoting positive attitudes towards language learning also contributed to improve outcomes. Further factors included a general interactive approach to teaching and teacher roles, using communication strategies, promoting positive attitudes and a positive atmosphere. Finally, the action research process itself helped students and teachers to reflect on their successes and failures in teaching and learning.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

This study examines contemporary Spanish women's theatre through three main inseparable themes: woman, history and society. Written from a feminine perspective, the works discussed contest a canonical History which marks the dawning of western civilization. It is then that the Judeo-Christian religion and ancient Greek thought create foundational "sins" which relegate woman to a condition of inferiority. Within a patriarchal structure, she is confined to a private sphere of action. Consequently, a public female presence implies adopting "masculine" values and any possibility of an autobiographical life is thus sacrificed. The woman who dares oppose patriarchal authority becomes, in the context of twentieth-century Spain, a symbol of a people in ideological confrontation with the authorities in power and condemned to a real or figurative death. The prologue to the Civil War is grounded in a conflict of class, with rural areas pitted against central government and proletariat against bourgeoisie. The war itself, together with the postwar period until General Franco's death, constitute an ideological confrontation portrayed through the principal foci of action and from within the prison. The end of the conflict only comes with the restoration of democracy in Spain, a period which coincides with an increasing sociocultural awareness regarding the situation of women. On the one hand, the works analysed reflect this awareness of woman as a class in accordance with Marxist-feminist thought. On the other hand, they are witness to an internal process, which the woman experiences as an individual, and through which she gradually becomes an autonomous subject. The political changes wrought in Spain in 1975 bring about new concerns, arising particularly from irreconcilable differences between the manner in which the country presents itself and its daily reality. The works pertaining to post-Francoist society denounce a resistance to change on the part of State and cultural structures. This study analyses these concerns within the context of sociopolitical hopes and aspirations leading up to the threshold of the twenty-first century. / Thesis now published: Zaza, W. (2007) Mujer, historia y sociedad: La dramaturgia española contemporánea de autoría femenina; prologue by Itziar Pascual. Kassel: Reichenberger, 202 pp. Whole document restricted, see Access Instructions file below for details of how to access the print copy.

Thesis (M.Ed.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Bibliography: leaves 199-205.

Thesis (M.A.)--Georgia State University, 2009. / Title from file title page. Carmen Schlig, committee chair; Victoria Rodrigo, committee member. Description based on contents viewed June 17, 2009. Includes bibliographical references (p. 88-89).

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 62-63). Also available in print.

Thesis (doctoral) - Humboldt-Universität, Berlin. / Includes bibliographical references.

Thesis (Ph. D. )--Washington State University, May 2006. / Includes bibliographical references (p. 133-145).