<p> In this thesis, I propose a curriculum for first year composition (FYC), called the Game Studio curriculum, in which students learn writing through experiences playing, analyzing, and designing games. In Chapter 1, I review the ways in which many students are already learning in video game spaces and argue that the study of games has potential to alter FYC instruction for the better. In Chapter 2, I frame the scholarship behind the Game Studio using James Paul Gee&rsquo;s <i>What Video Games Have to Teach us About Learning and Literacy</i> and Jesse Schnell&rsquo;s <i>The Art of Game Design: A Book of Lenses.</i> I also provide context for Middle Tennessee State University&rsquo;s &ldquo;Literacy for Life&rdquo; objectives and discuss how the Game Studio curriculum supplements these objectives. In Chapter 3, I provide a detailed list of introductory projects designed to give both students and instructors a running knowledge of game jargon and game design concepts. In Chapter 4, I provide details for the final two projects, which involve the development of student-designed games. I conclude in Chapter 5 with my reflections on student responses to an exit survey at the end of the Game Studio semester.</p>

Thesis (M.A.)--Kent State University, 2009. / Title from PDF t.p. (viewed Mar. 26, 2010). Advisor: Masood Raja. Keywords: Rhizomatic; resistance; social transformation; pedagogy; radical; education; literature. Includes bibliographical references (p. 157-161).

<p>My study suggests by adding cultural relevant material to a curriculum does not alter the way a teacher teaches, it changes the "why." By selecting material that connects students in regards to their social, cultural or historical experience a teacher adds to the creditability of the lesson. The selection of a culturally relevant subject changes the detached "Why I am drawing this" to a subject that has a deeper meaning. The study of culturally relevant material provides students with cultural "depth" that becomes a part of their visual experience. Cultural depth is a necessary component in developing critical thinking skills and becomes a foundation for a student's creative expression. </p><p> A necessary goal of art education is visual literacy. Visually literacy requires no tactile skill, it is the critical thinking component of art. The tactile skill component of art used to express ideas in a creative way varies from those with talent (the ability to draw well) to those with very little or none. Visually literacy transcends talent. Little talent is need to develop the ability to put in context and frame visual and written information allowing one to discern the fiction from the non-fiction. </p><p> African-American art and artist were selected for my case study but the subjects studied do not need to be limited to demographics or ethnicity. There are many social and political issues within and outside the students' community that would have relevance. The key to improving visual literacy is connecting subject relevance to the students, in order to develop critical thinking skills and to have students think about what they see. The goal is always is to improve students' learning and achievement. </p>

The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.

In this submission I explore the role played by discourse in the development of pupils' understanding of school-subject knowledge in secondary school classrooms in England, following changes to GCSE (General Certificate of Secondary Education) specifications in 2015. Changes to the structure, the subject content, and the assessment of GCSEs were made in an effort to focus on 'powerful knowledge' during the Key Stage (KS) 4 curriculum (for pupils aged 14 - 16 years old) and in order to promote an emphasis on knowledge that is based on academic disciplines. My research looks at the concept of powerful knowledge, based in a critical realist epistemology and a social realist theory of knowledge, and the extent to which all young people are likely to access knowledge that is powerful in the classroom. I argue that access for all pupils to the means by which to judge knowledge claims and thereby challenge and change society - the transformational power of knowledge - underpins a social justice agenda. My research explores a less-developed aspect of the social realist debate on powerful knowledge, a pedagogic discourse to enable a move away from merely teaching factual or content knowledge. I propose that for knowledge to be powerful teachers and pupils need to be 'epistemologically aware'. My case-study research contributes new empirical findings to the literature on pedagogic discourse for a powerful knowledge curriculum. I discuss the learning trajectories of 15 pupils (including five from socio-economically disadvantaged backgrounds) from two Year 10 'case' classes observed over a 12-week period, during which they studied a novel as part of their GCSE English literature course. 'Thinking notes' and concept mapping were introduced as innovative data-gathering and analytical tools with which to gain a unique and detailed analysis of pupils' learning over the series of lessons given during the 12-week period. I discuss the teachers' conceptual framing of their discipline and the role that this, together with pupils' experiences and backgrounds, has in the re-contextualisation of discipline-based knowledge in the classroom. I conclude that pedagogic discourse that makes the epistemic logic and related concepts of a subject explicit - an epistemological awareness - may enable pupils from both disadvantaged and non-disadvantaged socio-economic backgrounds to build systems of meaning that transcend their everyday understanding of the world and the context in which they view it to access powerful knowledge. I present a conceptualisation of a powerful knowledge pedagogic discourse for the study of a novel in the KS4 English literature classroom.

Key leaders within the social work field have repeatedly challenged social work educators to address issues of race and racism, in addition to other forms of identity and oppression, in social work education and practice. Little is known, however, about if and how these issues are being addressed by social work faculty teaching advanced clinical practice courses. This qualitative study examines the manner and extent to which 15 social work faculty, all of whom teach advanced clinical practice courses in one of four graduate social work programs on the East Coast of the United States, conceptualize and address issues of race and racism in their teaching of clinical social work. Analysis of the 15 interviews suggests that most participants view race primarily as an individual ethnic or cultural identity and racism as a largely micro level phenomenon that is the result of racial prejudice. Few participants appeared to understand race as a social identity situated within structures of power and privilege or how racism operates at a structural or institutional level. For example, in discussing a case vignette provided by the researcher, they focused on symptomatology, diagnosis, and assessment rather than the possible implications and effects of race and racism on a client of color. Overall, participants in this study appeared to lack conceptual, historical, and sociological knowledge about race and racism. While participants in this study view themselves as committed to addressing issues of diversity and social justice, they also acknowledge their struggle to enact this commitment in the classroom. The findings from this study suggest that additional faculty development opportunities and institutional support will be needed before clinical social work educators are likely to meet the challenge to effectively address issues of race and racism as well as other issues of identity and oppression in the classroom.

No description available.

Where do beginner readers read in the English, mainstream primary school and where could they read? Emma Jane Dyer This thesis explores design for the beginner reader in Year One by evaluating existing spaces in the English primary school and imagining new ones. Three significant gaps identified in the literature of reading, the teaching of reading and school design are addressed: the impact of reading pedagogies, practices and routines on spatial arrangements for beginner readers inside and beyond the classroom; a theoretical understanding of the physical, bodily and sensory experience of the beginner reader; and the design of reading spaces by teaching staff. The study uses a design-oriented research methodology and framework proposed by Fällman. A designed artefact is a required outcome of the research: in this case, a child-sized, semi-enclosed book corner known as a nook. The research was organized in three phases. First, an initial design for the nook was created, based on multi-disciplinary, theoretical research about reading, school design and architecture. Secondly, empirical research using observation, pupil-led tours and interviews was undertaken in seven primary schools to determine the types of spaces where readers read: spaces that were often unsuitable for their needs. Thirdly, as a response to the findings of phases one and two, the nook was reconceived to offer a practical solution to poorly-designed furniture for reading in schools and to provoke further research about the ideal qualities of spaces for the beginner reader. The study demonstrates how the experience of the individual reader is affected by choices made about the national curriculum; by the size of schools and the spaces within them where readers can learn; by the design of classrooms by teachers; and by regulatory standards for teaching and non-teaching spaces. In developing a methodology that can stimulate and facilitate communication between architects, educators, policy-makers and readers, this thesis offers a valuable contribution to the ongoing challenge of improving school design for practitioners and pupils.