This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

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The diploma thesis deals with an innovative method CLIL, which combines the teaching of subject matter with the teaching of a foreign language. The aim of the work is to use action research to verify the possibilities of applying CLIL in first class of chosen state primary school. The action research is a suitable tool to implement a new approach and contributes to improvement of the quality of teaching. The research is focused on the verification of different supporting strategies to create a set of functional scaffolding techniques, which help first graders to overcome the language barriers and achieve the learning objectives. The core of this thesis consists of detailed lesson plans and reflections, in which the used activities and scaffolding are analysed in terms of efficiency. The final part of the thesis includes several recommendations for practice from the perspective of the possibilities and boundaries of using CLIL method in Czech state schools. The research confirmed that the language level of pupils is not a necessary condition of teaching through CLIL and therefore it is possible to use CLIL from first class of primary school. Keywords: foreign language teaching, Content and Language Integrated Learning, action research, foreign language across the curriculum, innovative method.

臺灣華德福教育乃四一○教育改革浪潮之一環，宜蘭慈心華德福首先發展為K-12之完全學校，具指標意義。本研究為具自傳性、反思取徑之課程行動研究，帶有民族誌色彩。研究目的在以華語文課程為範疇，敘說慈心華德福中小學課程實踐暨轉化歷程，呈現華德福學校語文課程與教學，構思課程系統圖像，探究教師圖像與學校圖像。 　　本研究採參與觀察法、訪談法、文獻分析與自我研究法，由學校工作小組既有資料與研究我的反思書寫，採擷同仁觀點，形成「公開知識」、「我觀點」與「他者觀點」之理解視角。藉由實踐者即研究者的立場，研究者透過「敘說」交織兩條軸線，其一，基於行動研究之經驗基礎，本研究為「教學我」之教學敘說反思與華德福教育之「課程理解」與「課程轉化」；其二，本研究為個案研究，場域為「研究我」服務之慈心華德福學校，聚焦「人智學」（Anthroposophy）啟迪下之華語文課程發展與實踐，及其中浮現之課程系統圖像。 　　研究發現﹕華德福語文課程於小學主要表現為口述故事、肢體與韻律活動、藝術活動等，以之進行教與學；中學著重語文的功能、現實性與規則，亦注重傳記、歷史故事與青少年發展之關係；高中階段與各門知識形成綜合文化學習與自我探究。就主課程而言，人智學啟迪之華語文課程系統圖像：「夢境」（一至五年級：童話、神話）、「真實」（六至八年級：文法：形式之現實；歷史：內容之現實）、「詩與思」（九至十二年級：詩的歷史理解、詩與哲學）。就學習者，透過主體與世界之互動，可開採出「旅程」隱喻：在世界中尋求自我；由自我走向世界。十二年一貫統整課程實為學習者的「永恆樂園」，各個主課程都是一面世界之窗，個體之小宇宙與意識進化史之大宇宙呼應，可理解為「天人合一」，整體課程由小學至高中呈U型對映浮現學習者「聖盃」圖像；研究者推導華德福之語文觀，「人」不同於其他物種，「個人自成一類」，導出人必發展屬己的獨一無二之語言。教師由個人學習旅程之「英雄」，變衍為課堂中捨身之「基督」或「佛陀」；語文教師探索外在與內面世界，為透過創作分享眾生的「吟遊詩人」。慈心學校課程演化之經驗可以「西遊記」為隱喻。慈心學校發展由美感團體朝向求真團體。 研究結果有助於理解人智學如何形塑華德福課程與教學踐行。研究顯示，統整課程之理解為教學統整重要基礎，教育實踐的究竟思考引領教師成長並為課程理解基礎。社群互動與共好的文化氛圍為課程發展基礎。華德福華語文課程在地轉化應持續關注教育本質、自我認同與對華語文之理解的內在辯證。 / Waldorf education in Taiwan is one of the influence and result of the 410 Education Reform (四一０教改). Ci-Xin Waldorf School in Yilan is the first to develop into a K-12 complete school system, which is a significant achievement. This study is an ethnography-like action research combining also autobiographical and reflective approach. The purpose of this study is to narrate the process and practice of curriculum delivery and transformation in Ci-Xin, to demonstrate the reality of language lessons and teaching in Waldorf School, to construct a systematic structure of language curriculum, and finally to study the ideal picture of being a teacher and of a school. 　　The methods that are applied in this study include participative observation, interview, documentation analysis, and reflection on personal experiences. With data from working groups in Ci-Xin School, my own reflective writings, and the opinions contributed by my colleagues, there are three points of views formed, which are "public knowledge", "my viewpoints" and "others' viewpoints". As the researcher is also a practitioner, two themes are formed through "narration". Firstly, based on action research, the study consists of the researcher’s narrative reflection of his own teaching and of the understanding and internalization of Waldorf curriculum. Secondly, as the thesis is essentially a case study of CiXin Waldorf School where the researcher works at, it concentrates on the Chinese language curriculum development and practice under Anthroposophy ideas and the emerging picture of curriculum system. 　　The conclusions are as following. Under Waldorf pedagogical ideas, language teaching and learning in primary school focus on oral stories, movements, rhythmic activities, and artistic exercises. In middle school, the emphasis is on the functionality, actuality, and rules of language. The relationship between biographies, historical stories and adolescence development is another importance. In high school, Chinese language courses together with other subjects and knowledges are integrated and synthesized into wide-ranged cultural learning and self-exploration experience. In terms of main lesson in Chinese language area, "Dream" is the main them for grades 1 to 5 to allow the children to immerse themselves in abundant fairy tales and myths. "Reality" is the focus for grades 6 to 8. Pupils at this stage learn a lot of grammar which represents the forms of the reality, and history which is the content of the reality. For grades 9 to 12, “Poetry and Thought” is the major learning in which the young people have a glance at the history of poems and of poetry and philosophy. As to learners’ experience, through the interaction between the subject and the world, they may grasp the metaphor of "journey", that is, to seek their own egos in the world and to explore the world through stepping out of themselves. The 12-year curriculum is the ''eternal paradise'' for learners. Each main lesson is ''a window to the world''. The inner world (microcosms) of each individuals and the universe of consciousness evolution are interweaving, which can be understood as "the unity of man and nature". The whole curriculum from primary to high school forms a picture of U-shape which reflects the "holy grail" experience of the learners. The concept of language teaching in Waldorf education as deduced from the research is that "Humans" are different from other species; "Each individual is a separate category" and therefore will develop his or her own unique language. A teacher originally is the "hero" in his or her own journey of learning and then transforms him/herself into "Christ" or "Buddha" who gives out him/herself in the class. A language teacher explores the outer and inner worlds and becomes a "bard" through sharing his or her creation on the way. The story of “Monkey King” can be a metaphor to demonstrate the evolution of language curriculum in Ci-Xin Waldorf school. This school is developed from an aesthetic community towards a community of truth seeking. 　　The result of this research helps to clarify how Anthroposophy shapes the curriculum and teaching practice in Waldorf education. It shows that the overall understanding of Waldorf curriculum forms the grounded foundation of teaching integration. And the philosophical thinking towards the nature of education guides the teachers’ self-development and understanding of the curriculum. Healthy community interaction and cultural atmosphere towards ''common good'' are the pillars of curriculum development. To support the contextualization of Chinese language courses in Waldorf education, we shall relentlessly pay attention to the intrinsic dialectic in the thinking about the nature of education, the formation of self-identity, and the understanding of chinese language.