Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.C.A.)--University of Wollongong, 2004. / Typescript. Includes bibliographical references.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: David Holley; submitted to the School of Music. Includes bibliographical references (p. 83-88)

Le stage est aujourd’hui un moment privilégié de transition entre le monde universitaire et le monde professionnel. Cette thèse analyse l’expérience et les représentations des étudiants de l’enseignement supérieur pendant leur stage de master 1 ou 2. Le cadre conceptuel choisi est celui des sciences de l’éducation, de la psychologie socio-cognitive et de la sociologie du changement. L’objectif est de démontrer l’existence de stratégies de stagiaires. Sont d’abord présentés différentes conceptions du stage, les spécificités du monde de la formation supérieure, des entreprises et la situation de l’étudiant aujourd’hui. L’étude de 240 rapports de stage d’étudiants d’universités, d’écoles de commerce et d’écoles d’ingénieurs à programmes similaires permet de réaliser des analyses quantitatives et qualitatives des rapports aux stages des étudiants de ces différentes institutions. Les aspects les plus significatifs sont identifiés, en vue d’en dégager les singularités d’actions et de stratégies des stagiaires. Une triangulation permet de croiser les approches personnelles des stagiaires aux approches institutionnelles de formations en mouvance et d’un monde du travail en changement. Les stratégies ou logiques d’actions apparaissent liées à la personne de l’étudiant, aux institutions de formation supérieure et aux entreprises. Les résultats cernent le stage comme une transition particulière et illustrent l’action stratégique des stagiaires, en en proposant une typologie. / Internship is now a specific period of transition considered as a university-to-work transition. This thesis analyzes the experience and representations of students in higher education during training periods of master 1 and 2. The conceptual framework chosen is that of educational sciences, socio-cognitive psychology and sociology of change. The purpose is to demonstrate the existence of trainee’s strategies. First different approaches of internship are presented from general features to particularities of the higher education, professional and current student’s fields. The study of 240 placement reports are conducted upon higher education students from business schools, engineering schools and similar universities, in order to realize quantitative and qualitative analysis on these reports of different institutions. The most significant aspects are identified in order to show the singularities of actions and strategies of trainees. Through triangulation, personal approaches of trainees will be connected with higher education institutional and professional approaches, both in a moving state. Those strategies or logics of action appear to be directly linked to the student as an individual, but also to institutions of higher education and businesses. The results identify the training period as a particular transition, while illustrating the strategic action of trainees, especially by proposing a typology.

No description available.

The central purpose of this work is to present an inter-disciplinary conception of faith development that honours the strengths introduced by James Fowler's Faith Development Theory, while simultaneously suggesting both paradigm and process correctives that seek to update it. To that end, the following chapters present two main arguments: 1. Fowler's Faith Development Theory (FDT) is in need of revision. Although the three founding principles on which FDT is based (those of the importance of experience, the centrality of symbolic representation, and the grounding concept of knowing/construal) are considered cogent, they do not find sufficient operational expression within the exposition of faith stages. The elucidation of a depth model of faith development that corrects this gap in FDT is required, in order to provide the field of pastoral care a more coherent framework through which to pursue the growth of faith with their careseekers. It is for this reason that we state that FDT is in need of revision. 2. The required correctives to FDT are addressed and constructively resolved in the concept of Faith Constitutive Pastoral Care (FCPC) -a depth model of faith development that is focused on questing and soul care while remaining integrous to current inter-disciplinary thought in ministry, ego psychology, and epistemology. Faith Constitutive Pastoral Care (FCPC) presents a construct of relational, intersubjective balance that, while holding to the same three founding categories of concern as FDT, retains the strengths of Fowler's larger original intention while correcting the deficiencies inherent in FDT's formulation. Spiritual leaders can use Faith Constitutive Pastoral Care as a practical guide m shepherding careseekers towards faithful maturity and growth. / Thesis / Doctor of Philosophy (PhD)

No description available.

This dissertation analyses the influence theatre space and the dramatic genre have on the design process, by examining three designs of Greg King: Aladdin (2007), a pantomime presented at the Playhouse Drama Theatre, Oleanna (2008) a drama at the Seabrooke's Theatre, and The Wizard of Oz (2008), a musical presented at the Elizabeth Sneddon Theatre. Through a semiotic analysis of the productions, the scenographic choices of King are interrogated to ascertain the ways theatre space and dramatic genre affected his design choices. The theories around sign systems in the theatre of Keir Elam (1980), Martin Esslin (1987), and Elaine Aston and George Savona (1991) are examined and used to decode King's designs. This dissertation theorises that the theatre space has influenced and continues to influence the decisions and choices of the scenographer, and it is this linkage that informs the discussion around the historical development of the proscenium arch theatre and the scenographer. The case studies offered in this dissertation highlight the challenges involved with the physical limitations of the theatre space, as each venue selected differs in size, shape, and the technical equipment available for the designer. The dramatic text provides the primary basis for both the director and the designer to develop a production concept. However, dramatic texts can be divided into many different genres and the following three genres, namely drama, musical and pantomime, provide the focus for this study. As these three genres have evolved from earlier forms, the historical development of the three genres is examined to ascertain how the genre affects the scenographic process. Atheatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. A theatre production is the result of a collaboration between many specialists and therefore, the relationship between the designer and other member of the production team is examined. A set design is a visual image of an imagined environment and many designers use symbols, consciously or subconsciously, to communicate their ideas. The work of three international designers, Josef Svoboda, Ming Cho Lee and Ralph Koltai is examined further to understand the influence theatre space and the dramatic genre have on the design process. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.

Thesis--University of Wisconsin. / eContent provider-neutral record in process. Description based on print version record. Bibliography, l 358-364.

In this thesis I examine the way in which the changing contexts of the Foundation Stage and Key Stage 1 affect children’s perceptions of school and of themselves when they make the transition from Reception to Year 1. Working with 11 children out of a class of 30 who made the transition from the Reception to Year 1 in a two form entry school situated in an outer borough of London, I employed a variation of the ‘Mosaic Approach’ (Clark and Moss 2001 ) to gather data with the children using photographs, tours, observations and conversations. In order to understand the changing context I gathered further information through interviews with the children’s teachers and parents and examined documentary evidence from government and school concerning the Foundation Stage and Key Stage 1. Focusing on the interplay between structure and agency, I undertook an iterative approach to analysis between the field data and literature, which indicated that even small adjustments in teaching styles effected changes in children’s ideas about learning through both play and work. The findings also point to links between children’s understandings of identity as being either fixed or flexible, their individual priorities and the way in which they experience the transition. The findings from this thesis support the view that it may be more important in Year 1 to focus on a pedagogy aimed at developing flexible mastery orientations to learning using children’s interests as a basis for planning than delivering pre-determined curriculum content.