Support teachers learning difficulties (STLD) have made a significant contribution to the provision of support for students experiencing learning difficulties and learning disabilities in Queensland state primary schools over almost forty years. During the 1990s with the implementation of an inclusive curriculum in schools, and in recent years, with changing systemic expectations of how academic performance might be improved, these teachers have increasingly participated in collaborative models with their classroom colleagues to provide for students experiencing various barriers to learning. This study focuses on the nature of exemplary practice as perceived through the eyes and voices of six exemplary STLD teachers. In keeping with this intent, a process of selecting the participants for in-depth study was instigated in a professional community of state primary STLD teachers located in a Brisbane education district to determine at the grass-roots what an exemplary STLD teacher might “look like”, and which six teachers in that community might contribute to the community‟s understanding of exemplary STLD teaching practice. These contributions are represented in six case studies, referred to as “portraits” and were co-constructed, that is through a dialogic process between the participant and me. Each portrait communicates an aspect of teaching practice and the experiential knowledge that underpins it. The term “exemplary” has been adopted consciously to denote “that serves as an example” (Harper, 2001) in contrast to the term “expert”, which frequently carries a technical connotation. A mixed methodology was adopted (Lincoln & Guba, 2003) in this qualitative study in anticipation of the need to draw upon various methods that in combination might assist in viewing, conceptualizing and harnessing the dynamic complexity expected to be evident in grassroots practice. First, various expressions of constructivism contributed, with the major influence being social constructivism to denote a “house” or a community of professionals in ongoing dialogue. 6 This provides the framework within which the study has been undertaken. Second, phenomenology, most particularly the work of Moustakas (1994) and van Manen (1990, 1994, 1995, 2007), is the primary source for the inspiration (van Manen) and the methods and tools (Moustakas) to explore the nature of their practice. Phenomenological approaches were adopted with the expectation they could assist in highlighting the essence of each individual‟s practice while allowing for the eliciting of experiential themes that are of importance to the professional community of STLD teachers. Finally, studies of practical teacher knowledge (Elbaz, 1983) in association with narrative inquiry (Connolly & Clandinin, 1988) have provided further insights into how the collective expression of these teachers might be displayed. The primary preoccupation of the portraits is the teachers‟ provision of support for individual students, and the nature and quality of the relationships enlisted in the service of making this provision. The teachers‟ transactions on behalf of these students are indicative of a raft of values, ideals, collaborative and communication skills which might be subsumed by the term relatedness, and the ability to see astutely the elements in various situations that need attentiveness. Their practice in action appears to be best encapsulated by Van Manen‟s (1995) term “pedagogical tact”, a term borrowed to capture the nature of the pedagogical relationships infused into their personal and professional selves. Three views of practice are provided to display and illuminate the nature of the six exemplary teachers‟ collective practice – View 1: “From the inside” which reveals the metaphors that inhabit their practice and the significance they have for their practice; View 2: “From the outside” which, through the vehicle of a narrative highlights a STLD teacher and a classroom teacher undertaking a collaborative process of providing for Dayne a student experiencing significant difficulties; View 3: “Thinking together” which provides an edited script elicited from a conversation of the participating exemplary STLD teachers. Collectively, the three views reveal what is at the heart of learning support for the six teachers. In addition, aspects of practical knowledge that are particularly pertinent to learning support practice are discussed. 7 Finally, the effectiveness of the methods adopted for the study is explored. First, the screening process successfully enabled the selection of participants who had developed their craft to a sophisticated degree enhanced by their own “personal signature” (Eisner, 1991). Second, the adoption of a combination of a social constructivist framework and phenomenological approaches provided appropriate vehicles to enable the construction of six portraits of practices that exemplified significant aspects of practice. Third, the difficulties of authenticating the portraits using a cohort of critical friends from the STLD community and forging links with the community are discussed. Finally, I raise the possibility of embedding the portraits in professional development contexts where early career STLD teachers may wish to reflect on their practice.

Much neglected is Heidegger's latter work in favor of the fundamental ontology of Being and Time. Consequentially, conceptions of Heidegger's question of Being are oftentimes misconceived. Currently three main models have been proposed: (1) existential phenomenology, exemplified by Joseph Langan in the 1950s; (2) the popular thought of Being model in the 1960s as developed by William Richardson; (3) and in counter distinction to these unified models Joseph Kockelmans offers in the 1970s the many ways model, touting the end of systems. These misconstruals have spawned much Heideggerian dialogue, and in recent years, has had its effect upon Western continental scholarship from structuralism to post-structuralism. <br>Rather than usual conceptual models, this dissertation proposes a new model of Heideggerian scholarship seen through the lens of "Being as Saying." Neither mystical nor incomprehensible Heidegger's; unique linguistic turn negotiates the inadequacies of modern conceptions of the subject, object and cognition. Through a careful reading of Heidegger's work from 1949-1976, I trace Heidegger's utter reliance upon language as the way-making of Being, "Sprache als Be-wëgen." More originary than ordinary language, Heidegger's Being as Saying arises from Nietzsche's insights on nihilism. For Heidegger Being is no-thing, and as such reveals itself as unconcealment. We hear it as a deep, unsettling silence. From Being's two-fold character of concealing and revealing and humanity's subsequent discomfit, we derive all forms of communication, including thought and logic, even our world as a response to, and evasion from this pervasive silence. <br>Most notably Heidegger unseats the preeminent stature of thought and subject, only to reincorporate them within language. To achieve this he develops notions of Ereignis and Geviert, at once simple and complex, by which Being manifests itself, no longer through Dasein as prime discloser, but through a crossing of four regions. What emerges is a dynamic gathering-as-separated dialogue, a far richer, relational understanding of the world and the person. Heidegger's new way can best be described as a phenomenology of the inapparent, wherein Being and humanity are in a relational dialogue of unconcealing and revealing. With this insight we can reengage the Western philosophical tradition meditatively. / McAnulty College and Graduate School of Liberal Arts / Philosophy / PhD / Dissertation

Thesis (Ph.D. (English)--North-West University, Potchefstroom Campus, 2008.

The goal of the paper is to develop a framework in which to ground the analysis of the aesthetics of Western concert dance, particularly contemporary concert dance, in order to help dancers, choreographers, critics, and the general dance audience understand and discuss dance from the perspective of a common intellectual ground. Examined are the relationship between epochs in concert dance and the corresponding aesthetic theories and the elements that differentiate and unify contemporary concert dance from other Western concert dance, including the unique spatiotemporal nature of dance and the simultaneous presentation of universal human-ness and individual truth via the kinesthetic empathy of viewer and dancer. A brief explanation of phenomenology and of its parallels to the consciousness required of dancer, choreographer and viewer supports a phenomenological approach to a theory of Western contemporary concert dance as most relevant at this time.

Psychological Momentum (PM) is a commonly recognized phenomenon in sport, yet remains one of the least understood (Taylor & Demick, 1994). Previous research examined PM using archival data (Gayton & Very, 1993; Gilovich, Vallone, & Tversky, 1985; Koehler & Conley, 2003; Silva, Hardy, & Crace, 1988), hypothetical and contrived scenarios (Eisler & Spink, 1998; Miller & Weinberg, 1991; Perreault, Vallerand, Montgomery, & Provencher, 1998; Vallerand, Colavecchio, & Pelletier, 1988), and actual performance (Mack, et al., 2008). More recently, Jones and Harwood (2008) used semi-structured interviews to examine participants’ perceptions of PM. However, their research was focused on the specific components of existing conceptual models. The purpose of this study was to explore athletes’ experiences of PM without a priori assumptions. In-depth phenomenological interviews were conducted with seven NCAA D-I intercollegiate and professional soccer, volleyball, basketball, and tennis players. Co-participants were asked the following open-ended question: “Think of a time that you experienced momentum in your sport and describe as fully as you can what stands out for you about that experience.” Audio-recorded interviews were transcribed verbatim. Qualitative analysis of the transcripts revealed a final thematic structure of five major dimensions that characterized these athletes’ experiences of psychological momentum: Instantaneous momentum, Created Momentum, Internal Indicators, External Indicators and Resistance. These major themes appeared against the contextual backgrounds of an Awareness of Momentum and Competitive Performance. Results were largely consistent with previous literature examining PM, but also included new findings not previously discussed in that research. For example, co-participants described experiencing Instantaneous Momentum from a single event. In addition, they also described a systematic approach to experiencing PM using strategies to alter performance leading to Created Momentum. Co-participants also described a critical level of Resistance required to experience PM. While perceptions of PM were described when this Resistance level was low, they were not described as having a significant impact on performance. Finally, co-participants described an Awareness of Momentum, suggesting they were aware of PM during competition but not directly focusing on it. Put simply, the strategies used during competition were directed towards performing more successfully, not towards the altering of PM.

p { margin-bottom: 0.08in; }a:link { color: rgb(0, 0, 255); Special needs sport literature is narrow-focused and generally focuses on the different disabilities of athletes (Howe & Jones, 2006). Additionally, cheerleading is generally researched in terms of disordered eating and body image (Thompson & Digsby, 2004), high injury risk (Jacobson, Hubbard & Redus, 2004; Jacobson, Redus, & Palmer, 2005), and over-sexualization of youth (Adams & Bettis, 2003). While several websites and resources for coaches of special needs athletes provide information for how a coach should feel, there is a lack of empirical research to support these claims (www.specialolympics.org; www.usasf.net). In the present study, a phenomenological interview approach was taken for eight coaches of special needs cheerleading squads. The interviews were thematized to reveal figure themes of: (a) enthusiasm; (b) parents; (c) us vs. “them”; and (d) improvements vs. struggles. Additionally, there were two sub-ground themes of the athletes and outside help. All of the figure themes and the sub-ground themes were encompassed by the ground theme of community. Connections to previous research, practical implications, and future directions of the present findings are discussed.

Thesis (Ph. D.)--Oregon State University, 2007. / Printout. Includes bibliographical references (leaves 279-295). Also available on the World Wide Web.

At the dawn of the Large Hadron Collider era, the Brout-Englert-Higgs mechanism remains the most appealing theoretical explanation of the electroweak symmetry breaking, despite the fact that the associated fundamental scalar boson has escaped any direct detection attempt. In this thesis, we consider a particular extension of the minimal Brout-Englert-Higgs scalar sector implemented in the Standard Model of strong and electroweak interactions. This extension, which is a specific, "twisted", realisation of the generic two-Higgs-doublet model, is motivated by a relative phase in the definition of the phenomenologically successful CP and custodial symmetries. Considering extensively various theoretical, indirect and direct constraints, this model appears as a viable alternative to more conventional scenarios like supersymmetric models, and gives grounds to largely unexplored possibilities of exotic scalar signatures at present and future collider experiments.

In this investigation, I discuss how students can examine and reflect on themselves through aesthetic practice in various pedagogic situations. The field study took place over two months in the international settlement of Auroville in the south of India, where I visited schools and observed various pedagogical methods. In this study, I focus on two of these pedagogical methods: Play of Painting and Awareness Through the Body. In both, the body is considered an important part of the student’s learning and development. These experiences form the background for this investigation. I investigated Play of Painting and Awareness Through the Body through focussing on one lesson from each method. I describe how the methods are organised and practised in Auroville schools with observations, visual material, and interviews from my field study.  In this investigation, I use a phenomenological and aesthetic perspective together with a brief introduction to the theory of Integral Education. I believe that aesthetics can be used in many different ways in a school context. In this thesis, I use the term aesthetic practices to understand and study Awareness Through the Body and Play of Painting. I see these methods as two examples of how aesthetic practices and conditions for aesthetic learning processes with different ways of reflection can be encouraged in an educational environment.  The children in Play of Painting and Awareness Through the Body learn about themselves through the experience of practising aesthetics with their whole bodies and senses. Through creating conditions for aesthetic practice as in Awareness Through the Body and Play of Painting, children can reflect on themselves together with others.  The purpose of this investigation is to research how aesthetic practices can be used in pedagogic situations through the methods Play of Painting and Awareness Through the Body. I focus on how pupils can examine and reflect on themselves through aesthetic practice in these two methods.

The pediatric intensive care unit (PICU) has been described as a stressful place for parents of critically ill children. Research to date has examined parents’ needs and stressors with a child in PICU. There is a paucity of research examining the experience for parents of a child who is transferred from the PICU to the hospital ward. Open-ended interviews were conducted with 10 parents within 24-48 hours after transfer from a PICU to a hospital ward at a children’s hospital in Canada to understand this experience. Parents revealed that the experience involved a search for comfort through transitions as expressed through the themes of: ‘being a parent with a critically ill child is exhausting’, ‘being kept in the know’, ‘feeling supported by others’, and ‘being transferred’. The findings from this study can help nurses and other health professionals working with parents to support them through the transition from PICU. Recommendations are made for the inclusion of family-centered care practices to assist parents through transitions.