This study investigated teaching and learning, and the classroom learning environment in which the electricity topic was taught by the regular class teacher within the prescribed Grade 9 syllabus in a Secondary School in Papua New Guinea. The study was motivated by the perceived problems students had with understanding science concepts and the lack of classroom-based studies that provide a better understanding of teaching and learning science and the influence of the classroom learning environment on students' learning. An interpretive with embedded case study was conducted in a Grade 9 class over a period of 12 weeks in which data was gathered using mixed and multiple methods. Findings of the study revealed the presence and influence of aspects of the indigenous traditional teaching and learning approach impacting on the formal modern Western oriented teaching and learning approach in this particular classroom. The study recommended that in order to maximise students' learning and understanding of science concepts in the classroom observed, cultural sensitivity should be incorporated in the pedagogy.

Essa dissertação relata, a partir de um estudo etnográfico, a experiência de duas oficinas de fotografia pinhole de que participei igualmente como pesquisadora e professora da técnica, realizadas nos bairros Partenon e Lomba do Pinheiro na cidade de Porto Alegre. A partir das experiências vividas com os alunos dessas atividades, analisam-se aspectos sobre itinerários urbanos e a troca de olhares e imagens na paisagem urbana. A técnica pinhole consiste na utilização de câmeras sem lentes que, pelo princípio da câmara escura, permite a obtenção de imagens de maneira bastante simplificada. As câmeras são construídas a partir de latas de tintas forradas de preto, onde a passagem da luz é controlada por um pequeno furo de agulha. As oficinas, ministradas pelo grupo de fotógrafos Lata Mágica, serviram como ponto de partida para a análise desse ato fotográfico diferenciado abordado a partir das “artes de fazer” dos alunos ao construírem suas imagens de forma mais artesanal do que na fotografia convencional. Assim, a fotografia pinhole é considerada enquanto uma ruptura em relação à fotografia que utiliza câmeras com lentes e é significada pelos alunos das oficinas de acordo com a construção de seus olhares. Consideram-se suas relações com a imagem que construíram e com o artefato fotografia enquanto um objeto de apropriações sociais, evocando o trabalho da memória e suas trajetórias conformadas por visões de mundo e estilos de vida diferenciados. O olhar apresentado nas imagens possibilita a reflexão sobre os alunos enquanto habitantes do espaço urbano da cidade de Porto Alegre e suas relações com os locais, nos termos de espaços vividos, e pessoas que fotografaram. / Based on an ethnographic study, this paper tells the experience of two pinhole photography workshops taken place in the locations of Partenon and Lomba do Pinheiro, in the city of Porto Alegre. Having taken part of such workshops, both as a researcher and as a teacher of this technique, I have analysed some aspects of urban itineraries and the trade of sights and images of the urban landscape considering the experiments lived by the students of such activities. Pinhole technique consists on the use of lenses-free cameras, which allow the obtainance of images through the camera obscura principle in a rather simplified manner. These cameras are manufactured out of black covered paint tins, where the light goes through controlled by a small hole made with a pin. The workshops, given by a team of photographers called Lata Mágica (Magic Tin), were taken as start line for the analysis of this differential photographic act, based on the arts of making of the students while building the images more hand-craftily than in conventional photography. Thus, pinhole photography is considered to be a burst related to photography obtained through cameras provided of lenses and it is meant by the workshop students while building their sights. The relations to the built image and the photography artefact are considered as an object of social appropriation, evoquing memory work and its trajectory conformed to different world views and lifestyles. The sight presented in the images allows the reflection on the students as inhabitants of the urban zone of Porto Alegre and their relations to the locations, in terms of lived spaces, and the photographed people.

Essa dissertação relata, a partir de um estudo etnográfico, a experiência de duas oficinas de fotografia pinhole de que participei igualmente como pesquisadora e professora da técnica, realizadas nos bairros Partenon e Lomba do Pinheiro na cidade de Porto Alegre. A partir das experiências vividas com os alunos dessas atividades, analisam-se aspectos sobre itinerários urbanos e a troca de olhares e imagens na paisagem urbana. A técnica pinhole consiste na utilização de câmeras sem lentes que, pelo princípio da câmara escura, permite a obtenção de imagens de maneira bastante simplificada. As câmeras são construídas a partir de latas de tintas forradas de preto, onde a passagem da luz é controlada por um pequeno furo de agulha. As oficinas, ministradas pelo grupo de fotógrafos Lata Mágica, serviram como ponto de partida para a análise desse ato fotográfico diferenciado abordado a partir das “artes de fazer” dos alunos ao construírem suas imagens de forma mais artesanal do que na fotografia convencional. Assim, a fotografia pinhole é considerada enquanto uma ruptura em relação à fotografia que utiliza câmeras com lentes e é significada pelos alunos das oficinas de acordo com a construção de seus olhares. Consideram-se suas relações com a imagem que construíram e com o artefato fotografia enquanto um objeto de apropriações sociais, evocando o trabalho da memória e suas trajetórias conformadas por visões de mundo e estilos de vida diferenciados. O olhar apresentado nas imagens possibilita a reflexão sobre os alunos enquanto habitantes do espaço urbano da cidade de Porto Alegre e suas relações com os locais, nos termos de espaços vividos, e pessoas que fotografaram. / Based on an ethnographic study, this paper tells the experience of two pinhole photography workshops taken place in the locations of Partenon and Lomba do Pinheiro, in the city of Porto Alegre. Having taken part of such workshops, both as a researcher and as a teacher of this technique, I have analysed some aspects of urban itineraries and the trade of sights and images of the urban landscape considering the experiments lived by the students of such activities. Pinhole technique consists on the use of lenses-free cameras, which allow the obtainance of images through the camera obscura principle in a rather simplified manner. These cameras are manufactured out of black covered paint tins, where the light goes through controlled by a small hole made with a pin. The workshops, given by a team of photographers called Lata Mágica (Magic Tin), were taken as start line for the analysis of this differential photographic act, based on the arts of making of the students while building the images more hand-craftily than in conventional photography. Thus, pinhole photography is considered to be a burst related to photography obtained through cameras provided of lenses and it is meant by the workshop students while building their sights. The relations to the built image and the photography artefact are considered as an object of social appropriation, evoquing memory work and its trajectory conformed to different world views and lifestyles. The sight presented in the images allows the reflection on the students as inhabitants of the urban zone of Porto Alegre and their relations to the locations, in terms of lived spaces, and the photographed people.

Essa dissertação relata, a partir de um estudo etnográfico, a experiência de duas oficinas de fotografia pinhole de que participei igualmente como pesquisadora e professora da técnica, realizadas nos bairros Partenon e Lomba do Pinheiro na cidade de Porto Alegre. A partir das experiências vividas com os alunos dessas atividades, analisam-se aspectos sobre itinerários urbanos e a troca de olhares e imagens na paisagem urbana. A técnica pinhole consiste na utilização de câmeras sem lentes que, pelo princípio da câmara escura, permite a obtenção de imagens de maneira bastante simplificada. As câmeras são construídas a partir de latas de tintas forradas de preto, onde a passagem da luz é controlada por um pequeno furo de agulha. As oficinas, ministradas pelo grupo de fotógrafos Lata Mágica, serviram como ponto de partida para a análise desse ato fotográfico diferenciado abordado a partir das “artes de fazer” dos alunos ao construírem suas imagens de forma mais artesanal do que na fotografia convencional. Assim, a fotografia pinhole é considerada enquanto uma ruptura em relação à fotografia que utiliza câmeras com lentes e é significada pelos alunos das oficinas de acordo com a construção de seus olhares. Consideram-se suas relações com a imagem que construíram e com o artefato fotografia enquanto um objeto de apropriações sociais, evocando o trabalho da memória e suas trajetórias conformadas por visões de mundo e estilos de vida diferenciados. O olhar apresentado nas imagens possibilita a reflexão sobre os alunos enquanto habitantes do espaço urbano da cidade de Porto Alegre e suas relações com os locais, nos termos de espaços vividos, e pessoas que fotografaram. / Based on an ethnographic study, this paper tells the experience of two pinhole photography workshops taken place in the locations of Partenon and Lomba do Pinheiro, in the city of Porto Alegre. Having taken part of such workshops, both as a researcher and as a teacher of this technique, I have analysed some aspects of urban itineraries and the trade of sights and images of the urban landscape considering the experiments lived by the students of such activities. Pinhole technique consists on the use of lenses-free cameras, which allow the obtainance of images through the camera obscura principle in a rather simplified manner. These cameras are manufactured out of black covered paint tins, where the light goes through controlled by a small hole made with a pin. The workshops, given by a team of photographers called Lata Mágica (Magic Tin), were taken as start line for the analysis of this differential photographic act, based on the arts of making of the students while building the images more hand-craftily than in conventional photography. Thus, pinhole photography is considered to be a burst related to photography obtained through cameras provided of lenses and it is meant by the workshop students while building their sights. The relations to the built image and the photography artefact are considered as an object of social appropriation, evoquing memory work and its trajectory conformed to different world views and lifestyles. The sight presented in the images allows the reflection on the students as inhabitants of the urban zone of Porto Alegre and their relations to the locations, in terms of lived spaces, and the photographed people.

A literatura machadiana apresenta uma dualidade entre a tragicidade e a comicidade que esta dissertação pretende explorar e entender. A apuração de tais aspectos foi dividida em duas partes: a primeira trata da obra machadiana como um todo, sem atentar para qualquer texto em especial; e a segunda aponta, através da análise de três contos, a convivência dessas duas características contrastantes. Como Machado adota uma miscelânea nos gêneros literários, será preciso analisar o teatro e a sátira menipéia dos quais se serviu para a confecção de tais contos, disso decorreu nossa preocupação em avaliá-los / Machado de Assis literature presents a duality between tragic and comic, which this dissertation aims to explore and understand. The investigation of such aspects has been divided in two parts: the first one approaches Machados work as a whole, with no focus on any text in particular; the second part, through the analysis of three short stories, points out the coexistence of those two contrasting characteristics. Since Machado adopts a variety of literary genres, we deem it necessary to analyse both the theater and the menippean satire he has put into use to create such short stories, thus our concern in evaluating them.

In 2018, the Sweden Democrats party has gained 17.5 per cent of the votes during the Swedish general elections. Consequently, with this success, they became the third largest party in the riksdag. However, the party’s rapid growth has created several questions in the political arena and the Swedish society about the party’s ideological affiliations and evolutions. The political scientists, Mudde (2010) and Widfeldt (2008) argue that in order to understand a party’s improvements, it is important to explore a party’s ideological evolution. Scholars have argued that Sweden Democrats have normalized their ideas and values; adopted liberal values in some policy areas in order to attract a large number of voters, succeed and survive in the political system. The aim of this study is to explore the party’s idea/ideology changes since its creation in 1988 until present 2019. Hence, the main purpose is to find out if the core ideologies of the Sweden Democrats - that is nativism, authoritarianism and populism- as expressed in their party programs respectively electoral manifestos, are characterized by continuity or by normalization, and adaptation to liberal values. Using Marie Demker’s (1993) concept of ideology, ideal types for radical right populism and liberalism have been constructed as analytical tool. The study shows that throughout the years, the party’s nativist world view and strategy have been changed and normalized, the authoritarian world view has mainly been constant but the strategy has had major changes; shifted to liberal values, and finally regarding populism; both world view and strategy are characterized by continuity.

The purpose of this thesis is to examine how a theology regarding artificial intelligence best could be formulated in concern of consequences for a christian view of human nature. This purpose is examined by means of a comparative study of consequences derived from four different perspectives on the emergence of AI and the theoretical implications of its relation with mankind. As premise for what is considered a desired, respectively an undesired consequence, the minimum amount of human suffering is used conditioning the possibility of living a good life. In conducting the analysis, Leslie Stevensons theory of humanity in relation to God is used to interpret the christian view of human nature and a general wide theory of AI based on Cornel Du Toits definition is applied. My assessment of the researched consequences ends in a proposal for a constructive christian theology which argues for the necessity of placing a high value on a human capacity for vulnerability. This is because it enables invaluable human qualities such as empathy and compassion. Qualities that also should  lead the way and be modeled into a concern for all of creation, whether it is considered natural or artificial.

Целью исследования является определение роли мифологии фэнтези в формировании мировоззрения современного человека. Первая глава работы посвящена анализу специфических черт мифа, в частности, миф описывается в ней как основа эпических жанров. Во второй главе анализируются взаимоотношения мифологических и романтических компонентов в литературе фэнтези и способ их влияния на мировоззрение читателей. В третьей главе описывается социологическое исследование. В этой части работы выявляются специфические черты влияния фэнтези на мировоззрение читателей. / The purpose of this research is to define role of mythology of fantasy in the formation of world view of contemporary people. In the first chapter devoted to specific features of myth. Myth is described as base for epic genre. In the second chapter is analyzed relation of mythological and romantic components in the fantasy literature, and the way to influence on world view of readers. In the third chapter is described sociological research. In this part of dissertation are revealed of specific features of influence of fantasy on reader’s world view.

This research is premised on Armstrong's (1990:7) argument that „every interpretive approach reveals something only by disguising something else, which a competing method with a different assumption might disclose.‟ This statement indicates that preference or marginalisation of some literary theories impedes progress in African-language literary criticism because different literary theories tend to focus on one or a few selected aspects of a work art. This flows from the assumption that no literary theory can unearth all aspects and meanings of a literary text. This research comes against rigidity, conservatism and narrow-mindedness of those literary critics and scholars who refuse to open up and embrace literary theories which they are opposed to. The research is an attempt to demonstrate the benefit of flexibility and ability to accommodate even those opposing literary views that can make positive contribution in the field of African-language literary criticism. The research further calls for pragmatism, tolerance and co-existence of opposing literary views for the benefit of progress in the field of African-language literary criticism. This research is an acknowledgement of the fact that no literary theory is infallible because all literary theories have their own strong and weak points. In this research, a survey of literary approaches commonly applied in African-language criticism is conducted. This is followed by an analysis of a Tshivenḓa novel (i.e. A si ene) from different literary angles to prove that every literary theory can help to unmask a particular meaning of a literary text which no any other literary theory can do. For example, the intrinsic literary approaches will, most certainly, unlock the meaning of a literary text differently from the way the extrinsic literary theories do because diverse literary approaches focus on different aspects or elements of a work of art. This research is an endorsement of the argument that through multiple-reading of a literary text, readers‟ understanding of the same literary text is broadened and deepened. / African Languages / D. Litt. et Phil (African Languages)

This research investigates organisational capabilities and cultures of both partners as potential explanatory factors of co-operative R&D projects outcomes. Contributions to theory are (1) a justification for the existence of organisational capabilities and 'world views', (2) a parsimonious typology of 'world views' and (3) a method to measure organisational capabilities. The survey covers 514 projects in the electronics industry, in Germany, France, the United Kingdom and Finland. It obtains 120 full answers, each of which coupling responses from a matched pair of project managers having co-operated on the same R&D project. The survey refers to the organisation's capabilities, to those of the partner, to its 'world view', and to project outcomes. None of the traditional explanatory factors (geographic distance, difference in nationality, size or legal status, strategic compatibility) has any significant influence on any of the outcomes being studied (save one). The explanatory factors introduced by the research (organisational capabilities and 'world views') have a significant influence on almost all outcomes being considered of the co-operative R&D projects: attainment of concrete results, compliance with budget and schedule, creation and transfer of knowledge, learning (modification of capabilities). Cultural diversity, 'absorptive capacity', and teaching effects, selective according to the capability in question, are evidenced. Commonalities between partners are shown to be more important than distance. These results validate empirically organisational capabilities and 'world views' as descriptors of inter-organisational capabilities, and their operationalisation.