Thesis (M.A.)--Rowan University, 2006. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [376]-388).

This research explores the potential for engaging teachers in school-based environmental education curriculum development processes by using camera. The research, through its epistemological and ontological position, is closely linked to educational orientations associated with aspects of outcomes-based educational transformation in South Africa. A participatory approach that recognises teachers as co-researchers, each bringing to the inquiry her or his questions and constructions of meaning, was adopted. Participatory inquiry was initiated by setting up cluster meetings that allowed for teacher inputs through open dialogic processes. Fundamental to the inquiry is the notion that context shapes curriculum and curriculum development processes. It was from this orientation that a group of 13 teachers, using cameras to create visual narratives, explored their own diverse and complex contexts. These narratives (or stories) form the basis for further inquiry and development of sophistication with respect to the concept of environment. The research process is critically and reflexively documented as a series of field and research texts constructed from a variety of data sources gathered over the period of one year. The work is presented as a process of engaging critically with environmental education curriculum development and an opportunity to raise questions, rather than seek answers in this regard.

Pilařová, A.: Skupinový portrét v digitální době a jeho zpracování ve výtvarné výchově. [Závěrečná diplomová práce] Praha 2018 - Univerzita Karlova, Pedagogická fakulta, katedra výtvarné výchovy, 87 s The thesis focuses on photography, different kinds of photographic manipulations and viewer's ability to determine how much was the picture edited. On the theoretical and practical level, it deals with implementation of social networks into the fine art classes and its benefits for pupils. The didactic tasks concentrate on a photographic group work. Pupils apply their experiences and they consciously use artworks of other artists as a base for their own creations. The author uses photographic manipulations as a device to create a new image. These images are based on the didactic part; the social network serves as a place where the author meets viewers. KEYWORDS manipulation of photographs, social networks, usage of social networks in class, group portrait, photographing in art class