Thesis (M.F.A.)--Montana State University--Bozeman, 2006. / Typescript. Chairperson, Graduate Committee: David Scheerer. Includes DVD. Includes bibliographical references (leaves 52-56).

<p> This qualitative study uses children&rsquo;s writing to explore the divide between a conception of Science as a humanistic discipline reliant on creativity, ingenuity and out of the box thinking and a persistent public perception of science and scientists as rigid and methodical. Artifacts reviewed were 506 scripts written during 2014 and 2016 by 5th graders participating in an out-of classroom, mentor supported, free-choice 10-week arts and literacy initiative. 47% (237) of these scripts were found to contain content relating to Science, Scientists, Science Education and the Nature of Science. These 237 scripts were coded for themes; characteristics of named scientist characters were tracked and analyzed. Findings included NOS understandings being expressed by representation of Science and Engineering Practices; Ingenuity being primarily linked to Engineering tasks; common portrayals of science as magical or scientists as villains; and a persistence in negative stereotypes of scientists, including a lack of gender equity amongst the named scientist characters. Findings suggest that representations of scientists in popular culture highly influence the portrayals of scientists constructed by the students. Recommendations to teachers include encouraging explicit consideration of big-picture NOS concepts such as ethics during elementary school and encouraging the replacement of documentary or educational shows with more engaging fictional media.</p><p>

This research studied changes in ten middle school students' scientific conceptions during interaction with a computer microworld designed adaptively for exploring phases of the moon. Following direct observations of lunar phenomena, five students participated in the development of the computer microworld. The researcher implemented software design requests from the students based on their real world and microworld experience. Five different students used the final revised microworld and provided additional feedback. All sessions were transcribed and analyzed. Evidence from this case study suggests that this constructionist activity was a good catalyst for inducing conceptual change in learners—especially the five who had considerable ownership in the software development. Implications for classroom teaching strategies and suggestions for future research are offered.

Thesis (M. Ed.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 104-108).

Thesis (M.A.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [47]-[48]).

Thesis (M.Ed.)--University of Hong Kong, 1997. / Includes bibliographical references (leaves 104-108). Also available in print.

The thesis uses a feminist approach to explore the representation of the cyborg in Japanese film and animation in relation to gender, the body, and national identity. Whereas the figure of the cyborg is predominantly pervasive in cinematic science fiction, the Japanese popular imagination of cyborgs not only crosses cinematic genre boundaries between monster, disaster, horror, science fiction, and fantasy but also crosses over to the medium of animation. In regard to the academic research on Japanese cinema and animation, there is a serious gap in articulating concepts such as live-action film, animation, gender, and the cyborg. This thesis, therefore, intends to fill the gap by investigating the gendered cyborg through a feminist lens to understand the interplay between gender, the body and the cyborg within historical-social contexts. Consequently, the questions proposed below are the starting point to reassess the relationship between Japanese cinema, animation, and the cyborg. How has Japanese popular culture been obsessed with the figure of the cyborg? What is the relationship between Japanese live-action film and Japanese animation in terms of the popular imagination of the cyborg? In particular, how might we discuss the representation of the cyborg in relation to the concept of national identity and the associated ideology of “Japaneseness”, within the framework of Donna Haraway's influential cyborg theory and feminist theory? The questions are addressed in the four sections of the thesis to explore the representation of the gendered cyborg. First, I outline the concept of the cyborg as it has been developed in relation to notions of gender and the ‘cyborg' in Western theory. Secondly, I explore the issues in theorising the science fiction genre in Japanese cinema and animation and then address the problem of defining science fiction in relation to the phenomenon of the cyborg's genre-crossing. Finally, I provide a contextualising discussion of gender politics and gender roles in Japan in order to justify my use of Western feminist theory as well as discuss the strengths and limitations of such an approach before moving, in the remainder of the thesis, to an examination of a number of case studies drawn from Japanese cinema and animation.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Dept. of Geography) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (Ph. D.)--Syracuse University, 2009. / "Publication number: AAT 3381583."

Thesis (Ph. D.)--University of California, San Diego, 2004. / Vita. Includes bibliographical references (leaves 597-653).