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My work deals with the development of visual literacy in pre-school age through art activities. The thesis is divided into two parts: theoretical and practical. The first chapter focuses on the pre-school age of children, their physical and mental development, the development of basic skills and skills, socialization and play. The second chapter focuses on the concept of visual literacy. The third chapter deals with the artistic activity in terms of its contribution to the personality of man. The fourth chapter describes how to develop visual literacy in practice through verbal and visual interpretation of visual arts. In the practical part of the diploma thesis I describe four art projects that I made with the children in the kindergarten. For each activity, the assignment, course of project, material, educational target, and final evaluation are given. The result of the thesis is the finding that the development of visual literacy is important for a person living in the 21st century. Visual art is a possibility how to develop visual literacy.

Les savoirs géographiques à l’école élémentaire se façonnent selon une variation en trois temps : d’abord les pulsations du contemporain, rapides et changeantes, dont les programmes et les inquiétudes qu’ils suscitent sont la partie visible ; puis le temps de chaque enseignant, dans sa classe, avec ses élèves, porté par ses propres savoirs géographiques, ses spatialités et ses représentations sur ce qu’est, ce qu’a été et ce que pourrait / devrait être l’enseignement de la géo à l’école ; enfin il y a le temps « quasi immobile » d’une solide, lointaine, mais essentielle fondation qui répond aux besoins de chaque être humain de se situer spatialement pour habiter et être-au-monde. Ces trois temporalités se recouvrent et, telles des couches géologiques, sont mouvantes (faites de divergences et de convergences, de glissements, de fissures et de failles, d’affleurements). Elles coexistent donc tout en étant parfois dissonantes et dysfonctionnantes. Pourtant, dans les classes, à l’école élémentaire, tous les jours que compte l’année scolaire, on fait de la géo-graphie. C’est donc l’énigme de cette coexistence que cette thèse se propose de résoudre.Chacun des deux tomes (Positifs et Négatifs) est organisé en trois mouvements (trois livres et trois corpus) qui peuvent être lus de manière autonome. Mais c’est l’ensemble du dispositif, conçu comme un laboratoire, qui permet le dénouement de l’intrigue. Fondé sur une observation participante de deux années dans une classe de CM1, sur des entretiens et une enquête dans l’univers des blogs tenus par des enseignants, ce dispositif fut élaboré au fil du temps de la thèse et délimite les contours d’un espace de recherche en sciences sociales, hybridant l’histoire et l’épistémologie de la géographie, les méthodes de l’anthropologie tout en mobilisant des savoirs relevant de la géographie, de l’histoire, des arts graphiques et plastiques, de la littérature ou de la philosophie. Je montre ainsi qu’il est possible d’étudier des savoirs comme des processus et de ne pas penser ceux-ci comme des savoirs scolaires déjà-là, assignés, mais comme des savoirs mêlant des faire et des dire qui se déploient dans un ensemble de gestes, de mots, d’images et d’imaginaires, de routines et de techniques.En proposant une Ethnographie des savoirs géographiques à l’école, j’ai voulu construire une méthode de recherche qui s’écarte des travaux habituellement menés dans le champ de la didactique disciplinaire pour envisager une analyse différente sur les savoirs transmis et par conséquent aussi sur ce que ces derniers représentent pour la communauté des géographes. Segmenter en deux mots distincts le préfixe geo et le suffixe graphie et les relier par un tiret est ainsi une manière d’identifier, par un procédé graphique et sémantique, l’élémentaire contemporain de la géographie que je définis donc comme des géo-graphies élémentaires. / Geographical knowledge in primary school is shaped according to a variation in three stages : first, the pulsations of present time, fast-moving, whose school curricula and the concerns they have raised, are the visible part ; then the time of each primary school teacher, in his classroom, with his pupils, driven by his own geographical knowledge, his spatialities and his representations on what is, what was and what could / should be the teaching of Geo at primary school ; finally, there is the "almost motionless" time of a solid, ancient but essential foundation that responds to the needs of each human being to situate himself spatially to inhabit and be-in-the-world. These three temporalities overlap and, like geological layers, are shifting (made up of divergences and convergences, sliding, cracks and faults, outcrops). They therefore coexist while being dissonant and dysfunctional. However, in the classrooms, in primary school, every day that counts the school year, geography is done. It is therefore the enigma of this coexistence that this thesis proposes to solve. Each of the two volumes (Positives and Negatives) is organized in three movements (three books and three corpus) which can be read autonomously, but it is the whole device designed as a laboratory that allows the outcome of the plot. Material drawn from a participative observation in a Year-5 class (CM1) in Paris, interviews and a survey in the world of teacher blogs. This apparatus has been shaped and elaborated over time of the thesis and delimits the contours an area of social sciences research hybridizing the history and epistemology of geography, methods of anthropology, while mobilizing knowledge related to geography, history, graphic and plastic arts, literature or philosophy. I thus show that it is possible to study knowledge as a process and not to think of it as school knowledge already assigned to it, but as knowledge combining making and speeches that unfold in a whole gestures, words, images and imaginations, routines and techniques.By proposing an Ethnography of geographical knowledge at school, I wanted to build a research method that deviates from the work usually carried out in the field of didactic in order to suggest a different analysis on the knowledge passed and consequently also on what the latter represent for the community of geographers. By proposing to divide the geo prefix and the graphic suffix into two distinct words and to connect them by a dash, I identify by a graphical and semantic process the elementary contemporary of geography, which I thus define as elementary geo-graphies.

Empathy and cultural understanding of groups that are marginalized due to religious, ethnic or sexual background is essential for peace in schools, neighborhoods, and society at large. Literacy classrooms can be a safe environment in which students can develop their own understandings and empathies. Although worthwhile, much of the research lacks details of student reactions to the people and cultures read about in historical narratives, as well as a focus on pedagogical practices that could give students a deep understanding of the culture. This study analyzed the empathetic responses of 13 sixth grade students to themes presented in a Mexican American narrative text, The Circuit. The purpose of this study was to understand the nature of student empathy and how empathetic responses reflect a rich historical and visual context. Key data sources of this interpretive study included large group discussions, small group discussions, written journal responses, and interviews. The results of this study indicated that students' empathetic responses are varied and complex and seem to reflect familiarity with topics in the text and personal background. Minimizing the cognitive demand of cultural content seemed to be a key pedagogical factor in helping students reach deeper levels of empathy. Suggestions are given for educators looking to teach empathy through cultural texts. Possible areas of research are recommended.

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Scientific external representations (ERs), such as diagrams, images, pictures, graphs and animations are considered to be powerful teaching and learning tools, because they assist learners in constructing mental models of phenomena, which allows for the comprehension and integration of scientific concepts. Sometimes, however, students experience difficulties with the interpretation of ERs, which· has a negative effect on their learning of science, . . including biochemistry. Unfortunately, many educators are not aware of such student difficulties and make the wrong assumption that what they, as experts, consider to be an educationally sound ER will necessarily promote sound. learning and understanding among novices. On the contrary, research has shown that learners who engage in the molecular biosciences can experience considerable problems interpreting, visualising, reasoning and learning with ERs of biochemical structures and processes, which are both abstract and often represented by confusing computer-generated symbols and man-made markings. The aim of this study was three-fold. Firstly, to identify and classify students' conceptual and reasoning difficulties with a selection of textbook ERs representing· IgG structure and function. Secondly, to use these difficulties to identify sources of the difficulties and, therefore, factors influencing students' ability to interpret the ERs. Thirdly, to develop a model of these factors and investigate the practical applications of the model, including guidelines fOf improving ER design and the teaching and learning with ERs. The study was conducted at the University of KwaZulu-Natal, South Africa and involved a total of 166 second and third-year biochemistry students. The research aims were addressed using a p,ostpositivistic approach consisting of inductive and qualitative research methods. Data was collected from students by means of written probes, audio- and video-taped clinical interviews, and student-generated diagrams. Analysis of the data revealed three general categories of student difficulties, with the interpretation of three textbook ERs depicting antibody structure and interaction with antigen, termed the process-type (P), the. structural-type (S) and DNA-related (D) difficulties. Included in the three general categories of difficulty were seventeen sub-categories that were each classified on the four-level research framework of Grayson et al. (2001) according to v how much information we had about the nature ofeach difficulty and, therefore, whether they required further research. The incidences of the classified difficulties ranged from 3 to 70%, across the student populations and across all three ERs. Based on the evidence of the difficulties, potential sources of the classified difficulties were isolated. Consideration of the nature of the sources of the exposed difficulties indicated that at least three factors play a major role in students' ability to interpret ERs in biochemistry. The three factors are: students' ability to reason with an ER and with their own conceptual knowledge (R), students' understanding (or lack thereof) of the concepts of relevance to the ER (C), and the mode in which the desired phenomenon is represented by the ER (M). A novel three-phase single interview technique (3P-SIT) was designed to explicitly investigate the nature of the above three factors. Application of3P-SIT to a range of abstract to realistic ERs of antibody structure and interaction with antigen revealed that the. instrument was extremely useful for generating data corresponding to the three factors.. In addition; analysis of the 3P-SIT data showed evidence for the influence ofone factor on another during students' ER interpretation, leading to the identification of a further four interactive factors, namely the reasoning-mode (R-M), reasoning conceptual (R-C), conceptual-mode (C-M) and conceptual-reasoning-mode (C-R-M) factors. The Justi and Gilbert (2002) modelling process was employed to develop a model of the seven identified factors. Empirical data generated using 3P-SIT allowed the formulation and validation of operational definitions for the seven factors and the expression of the model as a Venn diagram, Consideration ofthe implications of the model, yielded at least seven practical applications of the model, including its use for: establishing whether sound or unsound interpretation, learning and visualisation of an ER has occurred; identifying the nature and source of any difficulties; determining which of the factors of the model are positively or negatively influencing interpretation; establishing what approaches to ER design and teaching and learning with ERs will optimise the interpretation and learning process; and, generally framing and guiding researchers', educators' and authors' thinking about the nature of students' difficulties with the interpretation of both static and animated ERs in any scientific context. In addition, the study demonstrated how each factor of the expressed model can be used to inform the design of strategies for remediating or preventing students' difficulties with the interpretation of scientific ERs, a target for future research. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

This thesis reports on a collaborative action research case study into the teaching of visual literacy to Grade 10 learners in a rural high school in the Eastern Cape, South Africa. Visual literacy is one of the critical aspects that have been incorporated in the teaching of English First Additional Language as required by the National Curriculum Statement (Grade 10-12), which has been implemented in Grade 10 as from 2006. With the aim of improving learners’ performance in visual literacy I designed a visual literacy unit that consisted of lesson plans running over 7 periods in 10 school days. In implementing the unit the learners were first grouped and then exposed to visual grammar and visual texts and then they critically viewed such texts and designed their own. Data was collected daily in the form of individual learner journals, researcher’s journal/diary, and copies were kept of activities done by learners (individually or in groups). Also, two teachers were invited as non-participant observers to each visit a lesson. Learner focus groups were conducted and critical friends were interviewed, tape recorded and transcribed. A camera was used to take still photographs to show learner activities in groups and during group presentations. The data revealed that visual literacy could be taught meaningfully in a rural high school as the learners could identify, cut, paste and discuss elements of visual language and they finally designed their own advertisements in groups. In the analysis of data the following factors emerged as hindrances for successful teaching of visual literacy in a rural high school: lack of resources; learners’ lack of a foundation in visual literacy from Grades 7-9; and problems revolving around time management and pacing. As action research comes in spirals, this research represented the first one and the researcher found the study an eye opener and a foundation to build on in the second spiral (that is not part of this research).

This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-26T12:44:20Z No. of bitstreams: 1 andrelazaroferreiraaugusto.pdf: 1688273 bytes, checksum: af3a162669195b1697feca7d038ed872 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-09T12:18:10Z (GMT) No. of bitstreams: 1 andrelazaroferreiraaugusto.pdf: 1688273 bytes, checksum: af3a162669195b1697feca7d038ed872 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-09T12:18:29Z (GMT) No. of bitstreams: 1 andrelazaroferreiraaugusto.pdf: 1688273 bytes, checksum: af3a162669195b1697feca7d038ed872 (MD5) / Made available in DSpace on 2018-05-09T12:18:29Z (GMT). No. of bitstreams: 1 andrelazaroferreiraaugusto.pdf: 1688273 bytes, checksum: af3a162669195b1697feca7d038ed872 (MD5) Previous issue date: 2018-02-20 / Este trabalho tem como objetivo verificar se a recomendação de Kahan (2009), Sherwin (2011) e Silbey (2008) à alfabetização visual dos profissionais do Direito para a interpretação e a valoração da prova em vídeo é pertinente ao caso brasileiro. Para tanto, buscou-se analisar a argumentação do Promotor de Justiça, do Defensor Público, da Juíza-Auditora e do Ministro Relator do recurso de apelação em um processo criminal militar que tramitou na Auditoria de Juiz de Fora/MG. Tal análise teve como norte estudos de Silbey (2004) e referencial teórico da Linguística Textual, em especial Koch (1986, 2011, 2015) e Thompson e Hunston (2000). Inicialmente, realizou-se a revisão de literatura sobre o tema. Após, através do método do estudo de caso unitário e com suporte na análise qualitativa de dados, investigaram-se os recursos linguísticos argumentativos e o direcionamento da força argumentativa empregados. Assim, verificou-se o tratamento dispensado à prova em vídeo no que tange à sua admissão e valoração, influenciados pela natureza com que foi considerada (demonstrativa ou substantiva), a incidência da teoria da testemunha silenciosa na atividade interpretativa e a aptidão desses atores processuais em lidar com essa prova em formato audiovisual. Ao final, após a constatação da procedência da recomendação de Kahan, Sherwin e Silbey no âmbito pátrio, sugeriu-se a realização de novos estudos para auxiliar na atividade de interpretação do registro audiovisual. Tais estudos englobariam a análise da estrutura argumentativa presente na fala dos participantes, a investigação das marcas linguístico-discursivas existentes nessas falas e a transcrição multimodal da prova em vídeo de acordo com as convenções da Análise da Conversa Etnometodológica. / This paper aims to verify if the recommendation of Kahan (2009), Sherwin (2011) and Silbey (2008) to the visual literacy of law professionals for the interpretation and assessment of video evidence is pertinent to the Brazilian case. Hence, were analyzed the arguments of the Public Prosecutor, the Public Defender, the Military Judge and the Military Minister rapporteur for the appeal in a military criminal case that was processed in Juiz de Fora/MG’s court. This analysis was based on studies by Silbey (2004) and theoretical reference of Textual Linguistics, especially Koch (1986, 2011, 2015) and Thompson and Hunston (2000). Initially, the literature review on the subject was carried out. Afterwards, through the method of the unitary case study and with support in the qualitative analysis of data, were investigated the argumentative linguistic resources and the direction of the argumentative strength employed. Thus, it was verified the treatment of video evidence regarding admission and valuation, influenced by the nature with which it was considered (demonstrative or substantive), the incidence of the silent witness theory in the interpretive activity and the suitability of these procedural actors in dealing with this evidence in audiovisual format. In the end, after the verification of the recommendation of Kahan, Sherwin and Silbey at the country level, it was suggested to carry out new studies to assist in the audiovisual record interpretation activity. These studies could encompass the analysis of the argumentative structure present in the participants' speech, the investigation of the linguistic-discursive marks in these lines and the multimodal transcription of the video test according to the conventions of the Ethnomethodological Conversation Analysis.

Au XXIe siècle, les images sont partout. Les avancées technologiques rendent aujourd’hui la fabrication et la distribution des images accessibles à tous, et le temps passé devant les écrans ne cesse de croitre. Pourtant, malgré cette omniprésence, le besoin d’une éducation à l’image n’est pas encore ressenti. Alors que le cheminement scolaire veille à l’enseignement écrit, l’éducation visuelle semble être oubliée, notamment par le système d’éducation québécois. Face à ce problème, j’ai voulu explorer les capacités du cinéma comme outil dans l’enseignement de la littératie visuelle dans un mémoire de recherche-création. Ainsi, dans la première section, les concepts de littératie visuelle et de pensée critique sont définis et analysés, et leur place au sein du système d’éducation est examinée. La deuxième section traite du cinéma, notamment en tant que langage enseignable. La troisième partie couvre, sous divers angles, l’influence des images chez les spectateurs. La quatrième section offre quant à elle une réflexion sur la représentation des genres et son action sur les spectateurs du point de vue des goûts et du rapport aux genres. Enfin, la dernière section présente l’exercice pédagogique à la base de la création accompagnant ce mémoire. Cette création documentaire permet d’observer le processus d’apprentissage de participants dans leur processus d’exercice pédagogique et le développement d’une littératie visuelle. La double mise en abyme offre une opportunité de réfléchir à la capacité du cinéma comme moteur d’apprentissage face aux images. / In the 21st century, images are everywhere. Technological advances have made the production and distribution of visual media accessible to everyone; the time spent in front of screens keeps increasing. Yet, despite this ubiquity, the need for a visual education has not been felt. While the Quebec education system focuses on written language, the visual language seems to have been left apart. In light of this problem, this research-creation thesis intends to explore the potential of cinema to be a relevant tool for visual literacy. In the first section, I offer a definition and an analysis of the concepts of visual literacy and critical thinking, and examine their place in the Quebec education system. The second section covers how cinema can be considered as a teachable language. In the third section, I show different ways in which images can influence viewers. The fourth section reflects on how those influences affect the tastes and opinions regarding gender. As for the last section, it is a description of the pedagogical exercise created for this study. This written part is completed by a creation. My documentary film brings further reflections on visual literacy and how it can be acquired by the participants of the pedagogical exercise. This mise en abyme allows the viewer to look at how cinema can be a vector of learning in the face of visual media.