Thesis (Ph.D. (Pastoral Studies))--North-West University, Potchefstroom Campus, 2008.

Background IKEA Communications (ICOM) is IKEA’s communication company which creates communication tools, such as the IKEA catalogue and brochures. The company also functions as IKEA’s internal communication agency. In 2008, ICOM went through a reorganization adopting a matrix structure. This imposes challenges since the employees report to different leaders in different situations. The competence leaders (CL) have the traditional staffing responsibility while project leaders (PL) are the operating leaders and responsible for leading the projects. Purpose We will investigate how the leadership in terms of role clarification and area of responsibility of the CLs can be made more distinct in relation to their employees. Second, we investigate how the relationship between PLs and CLs can be further developed in terms of feedback. This involves sharing employee performance review and individual development after a project as well as how the CL can conduct employee performance review meetings. Method The study was performed with a qualitative method. A number of 13 semi-structured interviews were conducted with employees and leaders at the production department at ICOM. Conclusion Two areas of development have been identified at ICOM. It is evident employees are confused regarding the CL’s role and area of responsibility. The role of the CLs is clear in theory but not in practice. Hence, the first area of development is to increase the distinction of CL’s leadership in terms clarifying their role and responsibility. The study also discovered there is no common feedback routine used between PL and CL where they exchange information regarding employee’s performance within a project. The second area of development is regarding the usage of a structured feedback routine for providing this information.

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In the 21st century employers put a higher value than ever before on the interpersonal and thinking competencies of employees such as skills of teamwork, problem solving, and communi-cation, and the capability of creativity as the most important abilities (A. Herrington & J. Her-rington, 2006; Ramsden, 2003). Based on some of these learning theories, J. Herrington and Oliver (2000) further developed an authentic learning framework (p. 30). In this study, I re-ferred to their framework to build a rationale for my research design. The elements of critical thinking, problem solving, and collaboration, expressed in this authentic learning framework, are the core concepts in my study.<p> My past teaching experiences in China sparked my interest in the study because I wit-nessed an inconsistency between teaching practices in higher education and the needs of students in schools and workplaces. Further, my learning experiences in Canada as a full-time student deepened my research interest. Thus, I devised the purpose of my study to probe the perceptions of professors in the University of Saskatchewan about their philosophies and practices with re-spect to their undergraduate teaching. I wanted to examine the perceptions of their teaching re-garding the authentic learning process in terms of critical thinking, problem solving, and collabo-ration. My study was a qualitative case study and I used semi-structured interviews to collect the data from six participants with diverse backgrounds from three different disciplines.<p> I organized the findings of the data in the following categories: Understanding of Authentic Learning (which provides the introduction to understanding the authentic learning process); themes of Context, Diversity of Perspectives, and Relationship; and the special theme of Dinas Belief Construction. There were similarities and variations emerging from the data. The varied backgrounds of participants such as their discipline, class size, teaching level, and administrative position appeared to exert influence on the participants perceptions of their teaching. Most of the differences occurred within themes of context and relationship. Apart from the pre-existent features, personal belief was another factor that might be seen to have led to some different perceptions.<p> The data findings provided a foundation to address the level of consistency between the findings and the literature. The discrepancy between my research findings and literature primarily consisted of the conflicting perceptions of teaching practices in relation to collaboration and problem solving. Collaboration was an important area in the literature but the participants per-ceptions of their teaching practices concerning collaboration varied. The adoption of technology in the teaching of my participants (e.g., the use of the Internet and video) was an unexpected finding in my study. Most participants described that the blending of technology in their teaching practices reinforced the cultivation of critical thinking, problem solving, and collaboration.<p> Some implications rendered from the discussions are noteworthy for future research. In the belief construction, Dina (2007) described how implicit and explicit beliefs steered students thinking, transformed their behaviors, and eventually enhanced students abilities in critical thinking, problem solving, and collaboration. From the constructivist perspective, Dina and Mary (2007) viewed learning as a process of constructing the understanding of diverse contexts in a community. Some teaching practices described by the participants were the special features of a particular discipline. Technology was a new focus in much of the literature of the past 10 years, which was closely linked with real life and collaboration nowadays. In addition, I found that each component of authentic learning (i.e., critical thinking, problem solving, and collabora-tion) deserved further exploration in the future. Although some deficiencies existed, I learned how to design a qualitative case study and these research experiences will become valuable ref-erences for my future research.

This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

Persons 65 years or older are the fastest growing demographic in Canada (Government of Canada, 2011) and the need for 24-hour care and LTC support will continue to rise. An association is typically drawn between death and dying and the movement into LTC homes. Leisure can alternatively be important for promoting “living” and supporting wellness in residents. The notion of “living” in LTC shifts emphasis away from illness and death to placing value on wellness. This participatory action research (PAR) study aims to understand wellness from residents’ perspectives and the role leisure plays in their wellness. PAR stakeholders (family/care partners, staff, and residents) collaboratively discuss how to best attain, interpret, and disseminate resident perspectives on wellness and required supports. The PAR process highlights the necessity for academics and practitioners to involve residents in decisions about their care experience. Guiding questions include: (1) What does wellness mean to residents living in LTC? (2) What does a ‘well’ LTC home look like to residents? (3) What is the nature of the relationship between leisure and wellness from a resident perspective? (4) How can those involved in LTC support resident wellness? From the perspectives of residents living in LTC homes, findings inform a resident wellness model and provide insights into how wellness and “well” LTC homes can be better supported. Thus, filling a gap in the literature and shifting focus to living ‘well’ in LTC.

This study investigated three francophone adolescent girls� experiences with singing. A qualitative, narrative research approach (Bogdan & Biklen, 2003; Murray, 2003) was used to increase understanding about the benefits of singing, with a particular interest in exploring singing as a potentially positive means for adolescent minority-culture girls to successfully negotiate multiple aspects of identity, that is, adolescence, gender, and culture. Semi-structured interviews provided an opportunity for the participants to share their experiences, and describe what it is like for them to sing. Data were analyzed with The Listening Guide (Gilligan, Spencer, Weinberg, & Bertsch, 2003), a relational analysis responsive to the narrative and authentic voices of participants, and used to generate �I� poems and identify themes. Three ways of singing were identified � private informal, social informal, public formal � as well as three themes, evoked with the metaphors of: Rhythm (singing and experiences of identity), Harmony (singing and relationships), and Melody (singing, wellbeing, and strength). Findings confirm and extend the small but growing research literature on the psychology of singing, and have implications for those interested in working with youth using a strength-based perspective focused on positive youth development (Larson, 2000).

In the 21st century employers put a higher value than ever before on the interpersonal and thinking competencies of employees such as skills of teamwork, problem solving, and communi-cation, and the capability of creativity as the most important abilities (A. Herrington & J. Her-rington, 2006; Ramsden, 2003). Based on some of these learning theories, J. Herrington and Oliver (2000) further developed an authentic learning framework (p. 30). In this study, I re-ferred to their framework to build a rationale for my research design. The elements of critical thinking, problem solving, and collaboration, expressed in this authentic learning framework, are the core concepts in my study.<p> My past teaching experiences in China sparked my interest in the study because I wit-nessed an inconsistency between teaching practices in higher education and the needs of students in schools and workplaces. Further, my learning experiences in Canada as a full-time student deepened my research interest. Thus, I devised the purpose of my study to probe the perceptions of professors in the University of Saskatchewan about their philosophies and practices with re-spect to their undergraduate teaching. I wanted to examine the perceptions of their teaching re-garding the authentic learning process in terms of critical thinking, problem solving, and collabo-ration. My study was a qualitative case study and I used semi-structured interviews to collect the data from six participants with diverse backgrounds from three different disciplines.<p> I organized the findings of the data in the following categories: Understanding of Authentic Learning (which provides the introduction to understanding the authentic learning process); themes of Context, Diversity of Perspectives, and Relationship; and the special theme of Dinas Belief Construction. There were similarities and variations emerging from the data. The varied backgrounds of participants such as their discipline, class size, teaching level, and administrative position appeared to exert influence on the participants perceptions of their teaching. Most of the differences occurred within themes of context and relationship. Apart from the pre-existent features, personal belief was another factor that might be seen to have led to some different perceptions.<p> The data findings provided a foundation to address the level of consistency between the findings and the literature. The discrepancy between my research findings and literature primarily consisted of the conflicting perceptions of teaching practices in relation to collaboration and problem solving. Collaboration was an important area in the literature but the participants per-ceptions of their teaching practices concerning collaboration varied. The adoption of technology in the teaching of my participants (e.g., the use of the Internet and video) was an unexpected finding in my study. Most participants described that the blending of technology in their teaching practices reinforced the cultivation of critical thinking, problem solving, and collaboration.<p> Some implications rendered from the discussions are noteworthy for future research. In the belief construction, Dina (2007) described how implicit and explicit beliefs steered students thinking, transformed their behaviors, and eventually enhanced students abilities in critical thinking, problem solving, and collaboration. From the constructivist perspective, Dina and Mary (2007) viewed learning as a process of constructing the understanding of diverse contexts in a community. Some teaching practices described by the participants were the special features of a particular discipline. Technology was a new focus in much of the literature of the past 10 years, which was closely linked with real life and collaboration nowadays. In addition, I found that each component of authentic learning (i.e., critical thinking, problem solving, and collabora-tion) deserved further exploration in the future. Although some deficiencies existed, I learned how to design a qualitative case study and these research experiences will become valuable ref-erences for my future research.

Since the Industrial Revolution onward, the technology involved in the music arts caused the works to be a lot of copies, production and distribution. Like early LPs, cassettes, and recent CDs, digital format files and so on, not only changed the way of listening and media habits of audience, but also affected the artists' creative thoughts. For this phenomenon, Adorno and other Frankfurt School members who advocated the concept of ¡§culture industry¡¨ thought mass production could lead to a decline in music quality, resulting in kitsch, superficial cultural goods, and losing its authenticity. Is the situation really so pessimistic? Nowadays, the conception of production and consumption of music has been very different from the past. Do we living in the digital age be able to distinguish which is kitsch, and further to interpret the contemporary authenticity of music arts? In this study, I want to focus on the two core concepts: kitsch and authenticity, and the characteristic of music arts to explain. From Benjamin and Adorno's theoretical context, I try to explore how the evolution of technology eliminate the ¡§aura¡¨ of traditional works, and then caused qualitative changes to the classical music and the popular music as representatives of high culture and popular culture. The boundary between the two is getting indistinct with the advent of postmodern context. In addition, I want to reveal the inherent authenticity of the popular culture by discussing the aspect of its rebellious and subversive ideology, and give another interpretation of the kitsch colure in Adorno¡¦s point. Furthermore, the technology revolution provides new perspectives and techniques for musical creation, and also transforms the meaning of kitsch culture. Here, I attempt to clarify producers / creators how to construct the contemporary music aesthetics, and find out the forward strategy of getting rid of kitsch, returning to the populace. Another approach in this study is consumers¡¦ listening models, including attentively static listening and dynamic body senses, to develop a multi dimension authenticity according to the individual¡¦s different situations and listening attitude. Finally, I explore how the special mobile listening model in the postmodern consumer society associated with the Baudrillard's consumption theory, and try to figure out, in the shadow of late capitalism, how to reject integration and incorporation of kitsch culture, and discover the possible practice of being authentic.