Thesis (M. (Communication Pathology))--University of Pretoria, 2006. / Includes bibliographical references.

This inquiry into teacher education explores the potential for using multicultural children's literature to broaden preservice teachers' orientation toward the value of multiculturalism. The setting for this collaborative exploration was a College of Education course on Children's Literature during the 1992 spring semester. Literacy experiences with multicultural literature were created to provide preservice teachers with an opportunity to critically reflect on their awareness and understanding of multiculturalism. Weekly small group literature discussions, roving dialogue journals among three students and the university teacher, and end-of-semester interviews with each student were the primary sources of data collected during the semester. Findings from the analysis of data indicate the need for multicultural children's literature that accurately and authentically presents unique, diverse, and universal characteristics of a specific culture. Of equal importance to the selection of multicultural literature is the multicultural experience with these books which creates a critical consciousness among children and teachers. Evidence of the generative nature of dialogic experiences was seen where a multiplicity of voices pushed preservice teachers' awareness, acceptance, and appreciation of multiculturalism. As students reflected on their perspectives on culture that extended far beyond ethnic or racial perspectives, understanding of their own and other cultures was broadened. The results of this inquiry indicate the need for teacher education that is multicultural. A teacher's critical consciousness of the value of multiculturalism can transform her/his work with children in classrooms. Teacher themselves need opportunities to expand their orientation toward learning and living in a pluralistic society in order to foster critical students/citizens who actively participate in the nation's democracy.

Thesis (MPhil)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Queensland, 2001. / Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references.

Thesis (doctoral)--Université Paul Valéry (Montpellier III), 1993. / "Lille-thèses, ISSN, 0294-1767"--Fiche header.

No description available.

This Master of Arts project comprises a novel, Severance Packages, written for electronic and digital publication, and an accompanying exegesis that contextualises the novel in relation to its genre and to the emerging field of electronic and digital publication in Australia.

This research project in performance studies is anchored around the writing, devising and performing of a series of three solo performance works entitled Rapture, Rapture II, and Rapture III. Rapture III was examined in partial fulfilment of the requirements for the degree of Doctor of Philosophy. This written document, including annotated scripts for each of the performances, and one three hour video tape, is submitted in further partial fulfilment of the requirements for the degree. The written document, examined performance of Rapture III, and video documentation constitute the 'thesis' submitted in total fulfilment of those requirements. This thesis draws on tropes of 'tyrannies and lies', 'defying gravity', 'presence and absence', 'subjectivity', 'knowledge and truth', and 'discourse' itself. These tropes are heuristically derived from the author's professional performance training experience ' with Monika Pagneux, Philippe Gaulier, Anzu Furukawa, Theatre de Complicite and Pantheatre ' and from wide readings 'around' performance making. The thesis engages with James Hillman's writings in imaginal psychology, the theories of Jean Baudrillard, Deleuze-Guattari, Roland Barthes, Adam Phillips, Helne Cixous, and Italo Calvino. The 'movement' of the thesis ' between the inception of ideas, through writing of scripts and devising and performing the solo works, to writing as a continuation of performance, and exegeses of the solos and their processes -is conceived as 'dialogical'. Each of the elements is seen to be in critical 'conversation' with the others, and not (necessarily) prescriptive or descriptive of them. The performative 'action' of the thesis is framed as a series of 'excursions' and is related within the written document to 'dis-coursing'. Both in the writing and performance making (including video), the thesis interrogates 'subjectivity' and processes of subjectification by means of performance. It contends that subjectivity is the 'stuff' of performance, and vice versa. Fictional, artificial, and imaginal, the language of performance re-doubles itself as the 'real' in the postulate that what is 'real', always and already - in philosophy, psychoanalysis, and discourses of 'identity' and the 'self' - is performance itself. More than 'performative', these are some of the sites, the 'stuff', the very phenomena of performance: the 'thing' of performance, what it is.

Open Silence: An Application of the Perennial Philosophy to Literary Creation is a dissertation that combines a creative component, which is a long, narrative poem, with a framing essay that is an exegesis on the creative component. The poem, entitled The Silence Inside the World, tells the story of four characters, an albino woman in a coma, an immortal wizard, a dead painter, and an unborn soul, as they strive to comprehend the bizarre, dream-like realm in which they find themselves. The narrative utilizes various metaphysical elements of the Perennial Philosophy for the creation of character, event and setting, and also uses the concept of Imagination as the power and place of creative endeavour. The poem comprises 8,170 lines of blank verse arranged in three-line stanzas, for a total of 62,816 words. The exegesis accompanying The Silence Inside the World explains the creative value to the writer of the philosophy underlying the work. It does this by examining the artistic and critical experiences arising out of the writing of the poem. The first half of the exegesis, entitled 'Intentions: Tzimtzum', explores the biographical background of the author, those influences not only on the motivation to write such a creative text, but also on the original desire to investigate such creativity and spirituality in the first place. It also examines those elements of the Perennial Philosophy felt necessary for incorporation into the creative component. The section then delineates the factors Harold Bloom considers necessary for the creation of strong work and considers how the intended creative project may fulfil these requirements. Finally, 'Intentions' presents those creative, mythic and symbolic 2 Word count includes title page and chapter titles. materials gleaned from the critical process that are likely to be prove useful for the creative component. The shorter, second half of the essay, entitled 'Reflections: Tikkun', examines the intricacies of the drafting process for the poem and for the thesis as a whole, as well as the lessons gathered from the project and its overall success. The section ends with suggestions for further work not only for the present author, but also for others, writers and critics alike. The full exegesis, which comprises the segments 'Introduction', 'Intentions: Tzimtzum', 'Reflections: Tikkun', and 'Conclusion', totals 37,077 words.