Yes / In this paper we consider how we can undercut the various binaries of gender and sexuality in archaeological practice, and particularly in our teaching. We argue that taking an assemblage theory approach enables us to look at the multiplicity of identities of those practicing archaeology as different and intersecting assemblages that bring one another into being through their connections at different scales. In particular, we examine how this approach can be applied to archaeological pedagogy and how this in turn enables us to move away from modern binary distinctions about sex and gender identities from the "bottom up", fostering an approach in our students that will then go on to be developed in professional practice.

The purpose of this study was to describe the effects of mid-course evaluations on teaching and student learning. A mixed methods approach was used, combining faculty and student surveys, faculty interviews, debriefing sessions, and a comparison of mid-course evaluations scores with end-of-semester scores. Out of 510 section mean scores (128 sections) from faculty members who participated in the study, 352 section mean scores (88 sections, 69%) showed students' perceptions of their own learning improved between the time they completed the mid-course evaluation and the time they completed the end-of-course student rating survey. Results showed when faculty administered a mid-course evaluation, students' perceptions of their own learning improved. Faculty members saw more improvement if they conducted a mid-course evaluation, read the feedback, and discussed this input with their students. Faculty members saw the most improvement in their ratings when they also made changes based upon student feedback. The results of this study should be encouraging to all faculty members and administrators who may feel they want to improve their teaching and increase student learning but have limited time to devote to course revisions.

A presente tese de doutorado tem o objetivo de responder a seguinte pergunta: Como preparar as pessoas para a produção criativa em ateliê de linguagens visuais? Isto é, Como acender a chama e mantê-la acesa pelo tempo necessário? A hipótese inicial do trabalho é que o processo de aquecimento pode ser uma forma de preparo das pessoas para a produção criativa, tal como afirmou Moreno. A tese relata experiências com o aquecimento em ateliê, escola e universidade; e também em eventos e cursos, conforme a pesquisa-ação delineou segundo Thiollent. Ainda, a tese reflete sobre diálogos com arte-educadores em música, teatro, artes visuais e performance, de acordo com a história oral temática de Meihy. Expõe reflexões teóricas e apresenta uma concepção de aquecimento na prática artística baseada em atitudes para o desenvolvimento da criatividade conforme Arieti. Conclui-se que aquecer é despertar, conscientizar e mobilizar os três níveis do ser humano (físico, anímico e espiritual nas palavras de Itten) -- a fim de possibilitar um estado maior de unidade consigo mesmo e de totalidade com o meio ambiente e com a natureza. O aquecimento é em si constitutivo do processo artístico como um todo. Descobriu-se que para além de um preparo para a produção artística, hipótese inicial, o aquecimento é fundante da prática artística. Por meio do movimento, o aquecimento, enquanto constitutivo da produção artística, trás a possibilidade de manifestar melhor a força vital do próprio ser na arte. / This doctoral thesis aims to answer the following question: How to prepare people for creativeness on visual language studio production? In other words, how to light the flame and keep it lit as long as necessary? The initial hypothesis of this study is that the heating process can be a way of preparing people for creative production, as states Moreno. The thesis reports heating experiences at the studio, at the school and at the university; but also at events and courses, as outlined from Thiollent\'s action-research method. Indeed, the thesis reflects from dialogues with art instructors in music, theater, visual arts and performance, according to the oral history of Meihy. It exposes theoretical analyses, and presents a heating design for artistic practice based on Arieti\'s concept of attitudes toward creativity development. It concludes that heat is awakening, promotes awareness and mobilizes the three levels of human being (physical, psychic and spiritual in the words of Itten) -- to allow a greater state of unity with oneself, with the vastness of environment, and with nature. Heating is itself constitutive of the artistic process as a whole. It has been found that heating, besides being a training for artistic production, which was the initial hypothesis, actually founds the artistic practice. Through movement, heating, as being constitutive of artistic production, provides the ability to better express the vital force of being-on-arts.

A presente tese de doutorado tem o objetivo de responder a seguinte pergunta: Como preparar as pessoas para a produção criativa em ateliê de linguagens visuais? Isto é, Como acender a chama e mantê-la acesa pelo tempo necessário? A hipótese inicial do trabalho é que o processo de aquecimento pode ser uma forma de preparo das pessoas para a produção criativa, tal como afirmou Moreno. A tese relata experiências com o aquecimento em ateliê, escola e universidade; e também em eventos e cursos, conforme a pesquisa-ação delineou segundo Thiollent. Ainda, a tese reflete sobre diálogos com arte-educadores em música, teatro, artes visuais e performance, de acordo com a história oral temática de Meihy. Expõe reflexões teóricas e apresenta uma concepção de aquecimento na prática artística baseada em atitudes para o desenvolvimento da criatividade conforme Arieti. Conclui-se que aquecer é despertar, conscientizar e mobilizar os três níveis do ser humano (físico, anímico e espiritual nas palavras de Itten) -- a fim de possibilitar um estado maior de unidade consigo mesmo e de totalidade com o meio ambiente e com a natureza. O aquecimento é em si constitutivo do processo artístico como um todo. Descobriu-se que para além de um preparo para a produção artística, hipótese inicial, o aquecimento é fundante da prática artística. Por meio do movimento, o aquecimento, enquanto constitutivo da produção artística, trás a possibilidade de manifestar melhor a força vital do próprio ser na arte. / This doctoral thesis aims to answer the following question: How to prepare people for creativeness on visual language studio production? In other words, how to light the flame and keep it lit as long as necessary? The initial hypothesis of this study is that the heating process can be a way of preparing people for creative production, as states Moreno. The thesis reports heating experiences at the studio, at the school and at the university; but also at events and courses, as outlined from Thiollent\'s action-research method. Indeed, the thesis reflects from dialogues with art instructors in music, theater, visual arts and performance, according to the oral history of Meihy. It exposes theoretical analyses, and presents a heating design for artistic practice based on Arieti\'s concept of attitudes toward creativity development. It concludes that heat is awakening, promotes awareness and mobilizes the three levels of human being (physical, psychic and spiritual in the words of Itten) -- to allow a greater state of unity with oneself, with the vastness of environment, and with nature. Heating is itself constitutive of the artistic process as a whole. It has been found that heating, besides being a training for artistic production, which was the initial hypothesis, actually founds the artistic practice. Through movement, heating, as being constitutive of artistic production, provides the ability to better express the vital force of being-on-arts.

Is it Smart to Use Smartphones in School? A Quantitative Research on Using Smartphones as English-Teaching & Learning Tools in Lower & Upper Secondary School. By: Ludvig Björk This study aims to examine how the smartphone, when used as a tool in the Swedish EFL classroom, is viewed and used by educators in both upper and lower secondary schools. Through a survey, 23 teachers were asked questions regarding how they view the smartphone as a teaching & learning (T&L) tool. This survey was sent to four different schools. The survey consists of ten questions. The results show that most teachers are positive towards the use of smartphones as teaching & learning tools, with some reservations. They find it hazardous to use the device too often. Through this, the smartphone is not used as much as some teachers would like. The device is also used twice as much in lower secondary school compared to upper secondary school. The results of the present study corroborate with previous findings that indicate that the smartphone is used as a supplement rather than an active tool in the classroom. Even though teachers may find the tool risky to use, they also consider it an effective tool since it can be used in several ways.

Cette thèse se propose d’étudier « l’enseignement et la diffusion du français en Afghanistan : bilan et perspective ». L’enseignement du français s’est développé depuis presque un siècle en Afghanistan. La langue française est enseignée au niveau secondaire, au niveau universitaire, à l’Institut français d’Afghanistan ainsi qu’aux centres privés en Afghanistan. Le présent travail a tenté très modestement de montrer quelles sont les démarches mises en œuvre pour l’enseignement et la diffusion de français en Afghanistan. Tout au long de ce travail, nous nous sommes fixées comme but fondamental d’explorer la situation d’enseignement/apprentissage du français, sa situation, les motivations des étudiants afghans pour l’apprentissage de cette langue, les représentations qu’ont ces étudiants de cette langue ainsi que les soutiens et les dispositifs mises en place pour l’enseignement, la promotion et la diffusion de cette langue en Afghanistan. La méthodologie de ce travail est basée sur des enquêtes menées à Kaboul (entretiens semi-directifs et questionnaires). Nos enquêtes ont été réalisées à l’aide des données recueillies par l’intermédiaire de deux outils de données : des enquêtes par questionnaires réalisées auprès des enseignants et d’apprenants (les élèves et les étudiants) du français et un entretien semi-directif auprès des professeurs du département de français de l’Université de Kaboul. Nos échantillons sont constitués par les étudiants du département de français (les étudiants spécialistes du français), les étudiants hors-département (les étudiants non-spécialistes du français), et les élèves des deux lycées francophones afghans (lycées Istiqlal et Malalaï), ainsi que par les enseignants de ces institutions : département de français et lycées Istiqlal et Malalaï. D’après le résultat de ces enquêtes, les étudiants afghans apprennent le français pour plusieurs raisons : instrumentales et personnelles. Le français est considéré comme une langue importante du point de vue professionnel d’une part et d’autre part, c’est la valeur culturelle et le prestige de cette langue qui donnent la possibilité aux Afghans d’accéder à une culture riche. Il est également perçu, d’après ces étudiants, comme une langue d’ouverture sur le monde, c’est pourquoi le français possède d’un statut privilégié en Afghanistan. Bien que les Afghans n’utilisent pas le français pour écrire, parler et pour la communication quotidienne et professionnelle, la persistance de cette langue est due aux raisons positives et les représentations qu’ont ces étudiants de cette langue. / This thesis proposes to study the "teaching and diffusion of French language in Afghanistan: review and perspective". The teaching of French has been developed for almost a century in Afghanistan; the French language is taught at the secondary level, at the university level, in the French Institute of Afghanistan as well as at in the private centers in Afghanistan. The present research has tried very modestly to show what are the approaches implemented for the teaching and the diffusion of French in Afghanistan. Throughout this work, we have set ourselves the fundamental goal of exploring the teaching and learning situation of French, the motivations of Afghan students for learning this language, the representations these students have of this language as well as the supports put in place for the teaching, the promotion and the diffusion of this language in Afghanistan. The methodology of this work is based on surveys conducted in Kabul (semi-structured interviews and questionnaires). Our surveys were conducted using data collected through two data tools: questionnaire surveys of teachers and students of French and a semi-structured interview with professors of the French Department of Kabul University. Our interviewees are made up of students from the French department (students specializing in French), students learning French as second language, and students from two French-speaking Afghan high schools (Istiqlal and Malalaï), and the French teachers of these institutions: Department of French and Istiqlal and Malalaï high schools. According to the results of these surveys, Afghan students learn French for several reasons: instrumental and personal. French is considered an important language from a professional point of view on the one hand, and on the other hand, it is the cultural value and prestige of this language that gives Afghans access to a rich culture. It is also perceived, according to these students, as a language of openness to the world, which is why French has a privileged status in Afghanistan. Although Afghans do not use French for writing, speaking and for daily and professional communication, the persistence of this language in afghan society is due to the positive reasons and the representations that these students have of this language.