Les musiques afro-brésiliennes font aujourd’hui partie du riche paysage culturel français. Elles sont pratiquées massivement dans le monde associatif et utilisées comme dispositif à fort potentiel pédagogique par un nombre croissant de professeurs de musique. Mais l’analyse de ces productions musicales révèle la disparition du suíngue brasileiro, une organisation microrythmique morphophorique panafricaine qui participe de la fondation du répertoire afro-brésilien. Questionnant les raisons d’une telle absence, on met en œuvre un triple éclairage méthodologique convoquant tour à tour puis en articulation musicologie, didactique des disciplines et psychologie-cognitive. Appuyé sur un cadre de pensée issue de l’anthropologie cognitive et favorisant un dialogue fertile entre Théorie Anthropologique du Didactique et Théorie des Situations Didactiques, on montre que le suíngue brasileiro constitue un objet musical intriqué dans une praxéologie où la perception cognitive de l’enseignant est critique pour en assurer la transmission. / Afro-Brazilian music are now part of the rich French cultural landscape. They are heavily practiced in the associative world and used as a mean with high educational potential by a growing number of music teachers. But analysis of these musical productions reveals the disappearing of the suíngue brasileiro, a pan-African morphophoric microtiming phenomenon that participates to the founding of the Afro-Brazilian repertoire. Questioning the reasons for this absence, we implements a triple methodological lighting calling together musicology, disciplinary didactics and cognitive psychology. Based on a theoritical framework from cognitive anthropology and enabling a fertile dialogue between Anthropological Theory of Didactics and Theory of Didactic Situations, we show that the suíngue brasileiro is a musical object intricated in a praxeology where cognitive perception of the teacher is critical to ensure its transmission. / Durante muitos anos, as músicas afro-brasileiras irrigaram uma parte da cultura musical francesa.Participando de uma modificação da educação musical escolar em França, elas estãoassim utilizadas como um dispositivo com um potencial educativo importante (sobretudo noplano do jogo coletivo, e da oralidade), pelo um número crescente de professores de educaçãomusical da escola do 1° grau . No entanto, elas têm características únicas (especialmente musicaise didáticas) que as tornam a priori incompatíveis com o nosso sistema educativo. Naverdade, na mudança de paradigma induzido pela passagem de uma transmissão informal endógenapara um ensinamento formal exógeno, postulo que o conceito de transposição didáticapode ser utilizado como uma ferramenta para a compreensão do ato educativo considerado,com a condição de realizar algumas adaptações. Chamados de "transculturais", alguns saberesfundamentais e implícitos são filtrados pela percepção cognitiva ocidental : é o caso do nossoobjeto de pesquisa, uma organização microrítmica que participa da fundação do repertórioafro-brasileiro. Por isso, acredito que, na sua esperança benevolente para fazer descobrir aoaluno a música do outro, o professor é confrontado com as suas próprias (etno)centrações soba forma de inferências cognitivas e culturais "inadaptadas" sobre aqueles objetos musicaisverdadeiramente exóticos. Essas percepções enviesam sua própria aprendizagem e induzemtransformações duráveis dos saberes no meio ambiente de recepção. Baseado sobre uma perspectivaantropo-cognitiva, a nossa problemática é pluridisciplinar por essência : ela integraconceitos da musicologia, das ciências cognitivas, da antropologia e, claro, da ciência da educação.

This study aims to identify my personal choreographic approach to physical theatre-making and then to experientially expand on it by engaging with Joanne Butterworth‘s five-tier Didactic-Democratic spectrum model for choreography. Being accustomed to, and trained predominantly in, one mode of approaching choreography has become limiting. Butterworth‘s model may aid me in expanding choreographically in the context of physical theatre-making. My research is located in a qualitative paradigm. I use an auto-ethnographic, practice-as-research approach to conduct my research. To apply my practice-as-research approach, I use concrete experience, reflective observations, abstract conceptualisation and active experimentation as outlined by Kolb‘s Experiential Learning Cycle. Kolb‘s model provides an overall structure to this study, but is also the way in which I frame and read each of the three separate choreographic processes that I use in the study. The concrete experience I consider in this study is The Entertainer, a work which I choreographed in 2017. To establish a baseline for my research, I retrospectively reflect on The Entertainer to locate it on Butterworth‘s model by using units of analysis that link to the five tiers of the model. These units of analysis are the choreographer‘s role; performer‘s role; choreographer‘s input; performer‘s input; pedagogical positioning of social interaction; instruction methods; and the pedagogical positioning of performers. By using these units of analysis to consider The Entertainer, I position my initial approach to physical theatre choreography along the spectrum of Butterworth‘s model. I then use Kolb‘s abstract conceptualisation to plan how I will move beyond my initial approach to choreography as located on Butterworth‘s model. I do this by selecting tiers that lie to the extremes of my initial approach on the model. I employ Kolb‘s active experimentation, to choreograph two works, WALK and Swem, that each align with one of the extremes. I utilise the extremes since they are the furthest removed from each other and, as a result, challenge me to approach choreography in two ways that are not just completely different from each other, but also from my initial choreographic approach. Each of the three choreographic processes in this study (consisting of a choreographic approach and a resulting choreographic product) starts a new cycle of Kolb‘s Experiential Learning. I use each rehearsal period, along with panel and performer reflections, to create a thick description by means of a choreographic score based on the choreographic approach of each work. To create these three choreographic scores (the physical documentation of the rehearsal period), I also utilise other auto-ethnographic tools, such as journaling and reflective questions. Each score serves as concrete experience that I retrospectively analyse to locate the choreographic approach on Butterworth‘s model. To choreograph WALK and Swem, I utilised a rehearsal period spanning three weeks with the same three performers to calibrate reflection by asking them to complete reflection sheets based on rehearsals. Three panel members were required for expert analysis and therefore have at least a Master_s degree (with choreography as focus) and at least three years‘ experience of choreographing in physical theatre. These panel members attended two rehearsals of each choreographic work and, like the performers, completed reflection sheets in order to mediate my subjective experience of each choreographic approach for a thicker description of the choreographic instance. The panel also completed reflection sheets based on choreographic tracks (see following paragraph) observable in performance to mediate their experience of each choreographic product with my own subjective view. I identify similarities between a greater range of inputs (my own perspective, the perspective of the performers and the panel), to layer my thick description of the choreographic process as a whole. Since Butterworth‘s model is focused on choreographer-performer interaction and roles, it focuses on the choreographic approaches (rehearsals) and not on the choreographic products that result from each approach. I therefore highlight choreographic tracks that link to Laban Movement Studies. These are the treatment of the theme; general space usage; approach to the kinesphere; utilisation of shape; dynamics of movement (Effort); application of elements of choreographic craft; incorporation of soundscape; arrangement of choreographic structure; and integration of structural components/ assimilation methods. / Dissertation (MA (Drama))--University of Pretoria, 2019. / Drama / MA (Drama) / Unrestricted

South Africa is one of the leading countries globally when it comes to mining and extracting minerals from the Landscape. Mining companies in South Africa are not satisfying their legal responsibilities by effectively “closing down” mines. Derelict mine sites occur all over the country and are not rehabilitated or reused at all. These mines leave behind a trail of idle landscapes, influencing the environmental and social structure of its context. This dissertation investigates the role of the landscape architect in the revival of an abandoned dumping site on the Johannesburg mining belt, in the south of the city, within the proposed Corridors of Freedom Framework. It seeks ways of transforming derelict mining spaces into spaces for opportunity as proposed by the Johannesburg Spatial Development Framework and the Urban Framework for Turffontein. The two main issues caused by the derelict mining sites in Turffontein are that of unemployment and environmental pollution. The hypothesis states that landscape design can respond to the site’s socio-environmental issues through a: didactic landscape intervention that creates awareness of the unemployment and environmental pollution; and a programme that focuses on skills development, material generation and rehabilitation. In order to test the hypothesis, research was done on key contextual and site-specific issues through on site mapping and available desktop information. Existing urban frameworks and Spatial Development Frameworks regarding the future plans of the Turffontein precinct were consulted, along with a literature review and precedent study in order to identify made use of informal interviews to solutions and opportunities at a wide range of scales. The author gather insight on the site and context related matters. In conclusion, it is argued that a didactic landscape intervention, focused on skills development, remediation, and material generation can address the key social and environmental issues of the Turffontein area. The design programme directly responds to the contextual needs, while the experience of the site design is educational. By respecting the genius loci of the place, didactic moments are created along a route in the landscape to create awareness with the users of the socio-environmental constraints challenges of the site and context. The aim is to allow future generations to experience and learn through the design intervention that confronts them with the immediate challenges and creates opportunity for growth and change. / Mini Dissertation ML(Prof)--University of Pretoria, 2018. / Architecture / ML(Prof) / Unrestricted

Early childhood development (ECD) is a critical stage of development that forms the foundation for the future welfare and edification of children (UNICEF 2017:1). A key principle in this development is the notion that everything which surrounds the child, both visible and invisible, has an impact on the child (Cook & Cook 2009; Steiner Waldorf Education 2014). In this dissertation the impact of the architectural environment on early childhood development is addressed, bringing together the fields of pedagogy and architecture. The research determined the development of a set of design principles and guidelines that acts as a catalyst to generate architectural design solutions that can improve early childhood development, allowing children to engage in their spatial environments through active play and everyday use. Therefore, their early childhood development is enhanced as a result of reconfigured experiential built environments and spatial arrangements, where the environment acts as a third teacher and gives a heightened role to architecture as a medium for child development. / Vroeë kinderontwikkeling is ‘n kritieke stadium van ontwikkeling wat die fondament vir die toekomstige welsyn en opbou van ‘n kind vorm. ‘n Sleutelbeginsel in hierdie ontwikkeling is die begrip dat alles wat ‘n kind omring, beide sigbaar en onsigbaar, ‘n inslag op die kind het (Cook & Cook 2009; Steiner Waldorf Education 2014). In hierdie dissertasie word die inslag van die argitektoniese omgewing op vroeë kinderontwikkeling aangespreek, en sodoende word die velde van pedagogie en argitektuur saamgevoeg. Die navorsing het die ontwerp van ‘n stel ontwerpbesginsels en riglyne bepaal wast as katalisators optree om argitektoniese ontwerpoplossings te genereer. Hierdie oplossings kan vroeë kinderontwikkeling verbeter, en kinders toelaat om deur middel van aktiewe spel en alledaagse gebruik by hul ruimtelike omgewings betrokke te raak. So word hulle vroeë kinderontwikkeling versterk deur middel van ‘n hersaamgestelde proefondervindelike bou-omgewing en ruimtelike ordening, waarin die omgewing as ‘n derde onderwyser funksioneer, en ‘n verhoogde rol aan argitektuur as medium vir kinderontwikkeling toegeken word. / Mini Dissertation MArch(Prof)--University of Pretoria, 2018. / Architecture / MArch (Prof) / Unrestricted

En Chine, la recherche sur la didactique de la grammaire française est en retard et sur ce thème il n’existe pas un seul ouvrage de référence rédigé par des Chinois ; nous manquons de méthodes efficaces ; nous manquons de professeurs expérimentés. D’où l’idée de notre thèse et la question qui nous intéresse spécifiquement : « Comment enseigner la grammaire française aux étudiants chinois ? ». Pour répondre à cette question, nous avons fait des recherches dans le département de français de la faculté des langues étrangères de l’Université de l’Anhui. Nous proposons trois hypothèses :1. Dans l’enseignement de la grammaire française, il faut selon les objectifs de chaque cours varier les méthodes en appliquant une méthodologie éclectique. 2. À l’Université de l’Anhui il est impossible d’introduire dans l’enseignement de la grammaire du français l’intégralité des concepts d’enseignement du CECR. 3. Pour les étudiants chinois en Langue et littérature françaises de l’Université de l’Anhui, la grammaire déductive est plus efficace que la grammaire inductive.Tout d’abord, il faut signaler que les deux programmes nationaux chinois sont des documents officiels qui donnent des directives sur l’enseignement de la grammaire française. Mais, souples comme le CECR, ils ne préconisent pas l’utilisation d’une méthode précise et conseillent en revanche aux professeurs de tenir compte avant tout des besoins de l’enseignement pour faire leur choix parmi toutes les méthodes existantes. Par ailleurs, nous avons remarqué que, dans les parties grammaticales des deux tests nationaux chinois (le TFS4 et le TFS8), les questions portent plutôt sur les connaissances grammaticales mémorisées au détriment de la compétence grammaticale. Cette manière d’évaluation influence fortement le mode d’enseignement des professeurs et les amène inévitablement sur le chemin de la méthodologie traditionnelle.Nous analysons ensuite un certain nombre de travaux scientifiques traitant de l’enseignement de la grammaire. Dans ce cadre, il s’agit de comparer la grammaire linguistique à la grammaire pédagogique, la grammaire explicite à la grammaire implicite, la grammaire déductive à la grammaire inductive, d’analyser la place de la grammaire dans les différentes méthodologies, d’interpréter l’enseignement de la grammaire française dans la perspective psycholinguistique et neurolinguistique.De plus l’analyse des interviews et des questionnaires que nous avons effectués auprès des étudiants et des professeurs de l’Université de l’Anhui ainsi que l’observation de six cours de grammaire donnés par différents professeurs nous amène à faire les observations suivantes : en milieu universitaire chinois les grammaires explicite et déductive sont dominantes dans l’enseignement du FLE ; la compétence communicative des étudiants chinois est faible ; les connaissances grammaticales qu’ils apprennent en classe ne peuvent pas se transformer en compétence grammaticale leur permettant de parler et d’écrire correctement. Quant aux méthodes de français ou manuels de grammaire utilisés dans les universités chinoises, nous avons constaté que les manuels bilingues rédigés par des Chinois insistent sur l’exhaustivité, les explications grammaticales sont en général détaillées et précises, tandis que dans les manuels monolingues rédigés par des Français, le métalangage utilisé est généralement simple pour faciliter la compréhension des apprenants.Il est à noter enfin qu’en Chine les cultures d’enseignement des professeurs et les cultures d’apprentissage des étudiants sont particulières, chaque professeur enseigne différemment et chaque étudiant apprend différemment. Nous pensons donc qu’il est raisonnable de combiner plusieurs méthodes - en s’inspirant de leurs avantages respectifs et en dépassant leurs inconvénients - et d’appliquer dans l’enseignement de la grammaire française à l’Université de l’Anhui une méthodologie éclectique. / In China, the research on the didactics of French grammar is lagging. There exist such problems as the lack of experienced teachers, effective teaching methods, and lack of reference materials written by the Chinese on this subject. Hence, the idea of this thesis specifically tackles the following question “how should Chinese students be taught French grammar?”To answer this question, research has been carried out in the French Department of the School of Foreign Languages of Anhui University. Through this research, three hypotheses are proposed as follows. 1. It is necessary to apply eclectic methodology when teaching French grammar. Methods must be changed timely and appropriately according to different objectives of courses. 2. It is impossible to fully introduce the CECR teaching concepts into the teaching of French grammar in Anhui University.3. For Chinese students majoring French Language and Literature in Anhui University, deductive grammar is more effective than inductive grammar.After having presented our field of research and analyzed practical needs, objectives and particularities of our students majoring French Language and Literature, we enter into the theoretical framework of our work. First of all, it should be noted that two Chinese national programs are designated as official documents and give instructions on the teaching of French grammar. But like the CECR, both of them are quite flexible. They don’t designate teachers to apply certain teaching approaches; instead, teachers are advised to choose freely among all the existing methods according to the practical teaching need.Secondly, results showed that, in the grammatical parts of two Chinese national tests (TFS4 and TFS8), questions are designed to evaluate students’ grammatical knowledge rather than grammatical competence. Such evaluation approach greatly affected teachers’ teaching methods, and inevitably makes them adopt traditional teaching methodology. Thirdly, analysis on a number of scientific works on French grammar teaching was carried out. In this context, several questions merit attention and further analysis, such as comparing linguistic grammar with pedagogical grammar, explicit grammar with implicit grammar, deductive grammar with inductive grammar; analyzing the role of grammar in different methodologies, interpreting the grammar teaching from psycholinguistic and neurolinguistic perspectives.Fourthly, after the detailed analysis of interviews and questionnaires towards students and professors of Anhui University and the observation of six grammar lessons taught by different teachers, we found that the explanatory and deductive methods dominate the teaching of FLE in Chinese universities. Concerning Chinese students, their communicative competence is rather poor, and the grammatical knowledge they learn in class can not be transformed into grammatical competence, allowing them to speak and write correctly.Fifthly, as for French methods or grammar books used in Chinese universities, we found that bilingual textbooks, written by Chinese, focus on completeness and include detailed and precise grammatical explanations, while in monolingual textbooks written by French, the metalanguage used is generally simple to facilitate the comprehension of the learners.Finally, it should be noted that compared with their counterparts in European countries, the teaching culture of Chinese teachers and the learning culture of Chinese students are quite different. Each teacher teaches differently and each student learns differently. We therefore argue that it is reasonable to combine several teaching methods (such as, traditional methodology, communicative approach, action-oriented approach and so forth) with several grammars by making best of their advantages and overcoming their disadvantages, and applying an eclectic methodology in the teaching of French grammar in Anhui University.

Presenters will describe an approach to teaching and learning group counseling. Emphasized is the value of experiential approaches as a way for students to become actively involved in learning how groups function. Some of these experiential methods include: observing live demonstrations by the instructor with students in the group course; viewing and discussing video programs on group counseling; opportunities to co‐lead a small group with supervision as part of the course; and by appropriately dealing with studentsʹ personal concerns that might enhance or inhibit their ability to function as group counselors. Emphasized are ways to provide supervision and feedback for students, as well as methods of evaluation.

This study assessed the effects of BST and DT on the treatment integrity scores of four direct care staff (DCS) conducting a multiple stimulus without replacement assessment with confederates. A concurrent multiple baseline design showed that BST was effective in achieving mastery level treatment integrity scores for all participants and that these scores generalized to adults with disabilities and remained at mastery levels after a 2-week generalization phase.

Studies show that the use of narratives enhances the lecture method of teaching. The model and manual developed in this study focus on the needs of lecturers who require creative guidance in all aspects of creating and using didactic narratives. This study suggests that the subject content of a lecture has a deep structure that can be used to generate the surface structure of a didactic narrative. The model and manual are informed by theories and models from a variety of disciplines that have been adapted for analyzing subject content, transforming subject content structure into a parallel narrative structure, and integrating the narrative into lecture.

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This study focuses on how the religion of Christianity has been covered in Swedish textbooks between the years 1968 and 2018. The study further aims to compare and highlight the similarities and differences that time has had on how Christianity is covered, with regards to number of pages dedicated to the religion, what is said about the religion et cetera. Further the analysis shows that there are traits in the books that survive through time, and others that does not. A critical element to understanding these traits that highlights the description of Christianity, is understanding the tendencies that each textbook displays. The tendency in question varies from example not including women in certain aspects, only focusing on the good that Christianity stands for but choosing not to account for the “dark spots” in the history of this religion such as the crusades or the Spanish inquisition. Finally, there are also an interest in this study to show how the chosen textbooks also treats the didactic questions to see in what way that some fundamental aspects are covered.   In short it can be said that the book that represents the “earlier” period in this study shows signs or tendency to promote Christianity a bit more than the others. The meaning of this is simply put, that the textbook from 1968 praises the religion more and gives it a lot of space in the book, compared to the other ones. The textbook from 1997 however shows signs of the complete opposite. In fact, the 1997 textbook tended to show less of Christianity as a whole and give more room to acknowledging the “dark history” that happened in the name of Christianity, for example the crusades. The textbook from 2018 shows signs of a more “balanced” approach to Christianity of the three. A sort of middle path where there are signs of a better proportioned number of pages is given to the religion, and a recognition to both the good that Christianity stands for as well as the bad that has happened in the name of said religion.