9,328 research outputs found

    The Mission Statement of Jesus: Mark 1:15, Mark's Apocalyptically Charged Decision Motif

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    This dissertation examines the mission statement of Jesus in Mark 1:15: ‘The time is fulfilled, the kingdom of God is at hand, repent and believe in the gospel’. The statement will be examined from the perspective of the writer, Mark, who - it will be argued - crafted the statement as a rhetorical device to press his audience for a personal decision to accept Jesus as the Messiah and Son of God and as a call for them to be baptized. It will be argued that the mission statement was fully crafted by Mark rather than originating with the historical Jesus. The analysis examines the apocalyptic imagery that the writer invokes, and how he uses that imagery to charge a decision motif with tension and a call to action, prior to what was expected to be the imminent Parousia of Jesus. The statement in Mark 1:15 is examined from a textual, literary, and historical perspective, considering Mark’s literary style from a narrative perspective, his rhetorical goals, and the eschatological and apocalyptic expectations that were operating in the background at the time of the Gospel’s composition. Mark’s use of apocalyptic imagery for rhetorical purposes will be shown to be the product of his circumstances and of those experienced by his community during the first Jewish-Roman War. These circumstances led him to believe that the end of the age had come and that certain prophetic traditions regarding the ‘Day of the Lord’ were being fulfilled. This therefore led Mark to frame the mission statement as an imperative for early Christian believers to decide to commit themselves fully, through the act of baptism, to suffering discipleship and imminent death in the final moments before the return of Jesus

    Photography and Aesthetics: a critical study on visual and textual narratives in the lifework of Sergio LarraĂ­n and its impact in 20th century Europe and Latin America

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    The main focus of this study is a theoretical exploration of critical approaches applicable to the work of the Chilean photographer Sergio LarraĂ­n (1931-2012). It presents analytical tools to contextualise and understand the importance and impact of his work in photographic studies and his portrayal of twentieth-century Latin American and European culture. It inspects in depth a large portion of his photo work, which is still only partially published and mostly reduced to his "active" period as a photojournalist, aside from the personal photographic exploration of his early and late career (C. Mena). This extended material creates a broader scope for understanding his photographs and him as a canonical photographer. This study analyses the photographer's trajectory as discourses of recollection of historical memory in time (Mauad) to trace LarraĂ­n's collective memory associated with his visual production. Such analysis helps decode his visual imagery and his projection and impact on the European and Latin American culture. This strategy helps solve a two fold problem: firstly, it generates an interpretive consistency to understand the Chilean's photographic practice; secondly, it explores the power of images as an aesthetic experience in the installation of nationalist ideologies and the creation of imaginaries (B. Anderson 163)

    Actes du troisiĂšme colloque annuel du dĂ©partement d’anthropologie, UniversitĂ© de MontrĂ©al 2021

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    Regards croisĂ©s sur l’esprit est le troisiĂšme volume des Actes du Colloque Annuel du DĂ©partement d’Anthropologie de l’UniversitĂ© de MontrĂ©al (CADA). Le volume rassemble cinq des treize communications prĂ©sentĂ©es lors du colloque diffusĂ© exceptionnellement en ligne du 22 au 25mars 2021 en raison de la pandĂ©mie de la Covid-19. Cet Ă©vĂ©nement a montrĂ© que les confĂ©rences virtuelles reprĂ©sentent une alternative qui garantit le dynamisme de la recherche Ă©tudiante.Le monde des esprits chez les Maseual-Nahua de la Sierra Norte de Puebla, Mexique : le traitement de l’épouvante (nemoujtil) comme rĂ©vĂ©lateur / Pierre Beaucage ; Quand le chercheur voit des esprits /Deirdre Meintel ; L’Esprit saint : d’un espace d’intersubjectivitĂ© Ă  un acteur social / Guillaume Boucher ; Conscience de la mort : pensĂ©e symbolique, rites funĂ©raires et quĂȘte d’immortalitĂ© / Émilie Lessard et MĂ©lissa Bernard ; Aesthetics Before Art / Thomas Wyn

    A Consideration of Cooperative Learning to Enhance Pre-service Teachers’ Achievement in Tertiary English as a Foreign Language (EFL) Classrooms in Thailand

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    Cooperative learning has become a popular instructional practice around the world. It requires students working together in small groups to help support each other in maximising their own learning as well as that of others to accomplish a shared goal. A cooperative learning method, especially, Student Teams Achievement Divisions (STAD) developed by Slavin (1982) was implemented in the study. The study investigated the effectiveness of cooperative learning to enhance the English achievement of EFL (English as a foreign language) students in tertiary teacher education in Thailand. It also examined participants’ attitudes towards cooperative learning. The study began with a structured review of existing empirical studies to establish whether STAD could be a promising method to use in developing English proficiency in EFL and ESL (English as a second language) contexts. The review also helped identify the challenges and barriers to implementing the method and informed the primary research in terms of achievement tests, instructor training, time allowance for team study and material preparation. The review and synthesis of 28 studies revealed several beneficial suggestions regarding cooperative learning implementation in normal educational settings. However, the credibility of the overall evidence was weak, with most studies involving key methodological flaws. To examine the effectiveness of the method, a cluster randomised controlled trial (RCT) at the university level was used. The participants were 13 instructors and 614 students from 13 universities (forming 13 clusters). A total of eight universities that agreed to participate in the intervention were randomly assigned to experimental and control groups with four universities in each group. Another five universities agreed to complete the pre-test and post-test and are described in this thesis as an additional comparison group. The participating instructors were 13 Thai university instructors of English language from 13 Rajabhat Universities in Thailand. Their students were first-year pre-service teachers who were majoring in English in the Faculty of Education. The trial was carried out in one term consisting of 16 class sessions. The research instruments consisted of two parallel standardised English achievement tests, two attitude questionnaires (teacher and student) and classroom observations with ad hoc interviews. The results showed that the use of cooperative learning in tertiary EFL classrooms in Thailand is feasible. In terms of attitudes, both instructors and students were generally positive towards cooperative learning and supported its activities. Students in the treatment group did slightly better (ES = +0.09) when compared to all comparator groups. However, when considering the randomised experimental and control groups, the control group improved their post-test score (+0.26) while the experimental group declined (-0.20). Overall, cooperative learning showed no clear benefit for students’ English language achievement. The process evaluation revealed the key factors that facilitated the implementation were teacher training and support, preparation and availability of teaching resources and materials, teachers’ positive attitudes and the duration of cooperative learning instruction. Some barriers were also found, including students’ negative attitudes, inappropriate classroom settings and facilities, and instructors’ workload. Unfortunately, since the study was carried out during the COVID-19 pandemic, none of the universities were able to complete the course of 16 classes as planned. The number of classes students could meet in their normal classroom conditions was approximately 8 to 12. Different modes of lesson delivery (face-to-face, online and hybrid) were also reported. A replication of the study is needed for a more accurate assessment of the STAD method. Both the structured review and the cluster RCT suggest no strong evidence that the cooperative learning method, namely STAD, led to improved pre-service teachers’ English language achievement in Thailand. However, this does not necessarily mean the method does not work. The lack of impact might be due to the challenges faced in the delivery of the intervention during the pandemic. This was compounded by the lack of complete randomisation used in the study. It is, therefore, difficult to draw more definite conclusions about the effectiveness of STAD. It might be wise to conduct further robust evaluations involving a large number of educational institutions before any considerable investment can be made to introduce this method in higher education institutions in Thailand. In the meantime, there may be other approaches with a more promising evidence base which may enhance students’ English language achievement

    Graphical scaffolding for the learning of data wrangling APIs

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    In order for students across the sciences to avail themselves of modern data streams, they must first know how to wrangle data: how to reshape ill-organised, tabular data into another format, and how to do this programmatically, in languages such as Python and R. Despite the cross-departmental demand and the ubiquity of data wrangling in analytical workflows, the research on how to optimise the instruction of it has been minimal. Although data wrangling as a programming domain presents distinctive challenges - characterised by on-the-fly syntax lookup and code example integration - it also presents opportunities. One such opportunity is how tabular data structures are easily visualised. To leverage the inherent visualisability of data wrangling, this dissertation evaluates three types of graphics that could be employed as scaffolding for novices: subgoal graphics, thumbnail graphics, and parameter graphics. Using a specially built e-learning platform, this dissertation documents a multi-institutional, randomised, and controlled experiment that investigates the pedagogical effects of these. Our results indicate that the graphics are well-received, that subgoal graphics boost the completion rate, and that thumbnail graphics improve navigability within a command menu. We also obtained several non-significant results, and indications that parameter graphics are counter-productive. We will discuss these findings in the context of general scaffolding dilemmas, and how they fit into a wider research programme on data wrangling instruction

    The empty space in abstract photography: a psychoanalytical perspective

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    The aim of the research that this thesis is based on is to explore the theoretical problems raised by the concept of photographic abstraction. These consist in the tension between the two aspects of the photographic sign, the indexical and iconic, and are examined in the context of the particular exploration of the empty space in abstract photography which I have pursued through my practice. The investigation draws mainly upon the psychoanalytic theory of transitional phenomena as proposed by Winnicott, as well as other art theories (Deleuze & Guattari, Ehrenzweig, Fer, Fuller, Greenberg, Joselit, Kuspit, Leider, Worringer) of abstraction. It explores the relationship of the abstract photographic image to notions of exteriority and interiority as these relate to the transition from the unconscious to conscious reality. The development of this research suggests the psychoanalytical concept of potential space as a contribution to an aesthetic model of abstraction. This concept is employed as a methodological tool in the development of the practical work and creates a framework for its interpretation. The concept of potential space is based on Winnicott's ideas around "playing with the real" in an intermediate area of experience between the internal and external reality, where creativity originates as a zone of fictive play that facilitates the subject's journey from "what is subjectively conceived of' to "what is objectively perceived. " The outcome of this investigation constitutes the production of a series of photographs describing an empty abstract space, one that is invested with a psychic dimension that produces the effect of ambiguity between its representational and abstract readings. It provides a redefinition of abstraction in a space of tension between the iconic and indexical aspects of the sign and opens up the space of abstraction in photography as one in which the relationship between inner and outer reality can be performed and can become a space of action and intervention

    ‘Social care told me I had to’: Empowerment and responsibilisation in the Domestic Violence Disclosure Scheme

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    Domestic Violence Disclosure Schemes (DVDS), recently introduced in many jurisdictions, aim to empower victim-survivors of domestic abuse by giving them access to information about their partner’s criminal history. This paper presents findings from the largest study of the police implementation of the first such scheme, introduced in the UK in 2014. It finds that the disclosure process is increasingly being shaped by a child protection agenda that makes victim-survivors responsible for protecting their children from the harms of domestic abuse. It examines tensions and dilemmas this raises for police seeking to safeguarding and empower victim-survivors, and draws on feminist ethical theory to develop a more nuanced understanding of the dynamics between the professional spheres of domestic abuse and child protection

    The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research.

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    This research addresses the current lack of opportunity within interdisciplinary arts practices for deep one-to-one relational encounters between creative practitioners operating in applied arts, performance, and workshop contexts with participant-subjects. This artistic problem is situated within the wider culture of pervasive social media, which continues to shape our interactions into forms that are characteristically faster, shorter, and more fragmented than ever before. Such dispersal of our attention is also accelerating our inability to deeply focus or relate for any real length of time. These modes of engaging within our technologically permeated, cosmopolitan and global society is escalating relational problems. Coupled with a constant bombardment of unrealistic visual images, mental health difficulties are also consequently rising, cultivating further issues such as identity ‘splitting’, (Lopez-Fernandez, 2019). In the context of the arts, this thesis proposes that such relational lack cannot be solved by one singular art form, one media modality, one existing engagement approach, or within a short participatory timeframe. Key to the originality of my thesis is the deliberate embodiment of a maternal experience. Feminist Lise Haller-Ross’ proposes that there is a ‘mother shaped hole in the art world’ and that, ‘as with the essence of the doughnut – we don’t need another hole for the doughnut, we need a whole new recipe’ (conference address, 2015). Indeed, her assertion encapsulates a need for different types of artistic and relational ingredients to be found. I propose these can be discovered within particular forms of maternal love; nurture; caring, and through conceptual relational states of courtship; intercourse; gestation, and birth. Furthermore, my maternal emphasis builds on: feminist, artist, and psychotherapist Bracha Ettinger’s (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaa’s (2012) views on sensing and feeling; child psychoanalyst Donald Winnicott’s (1971) thoughts on transitional phenomena and perceptions of holding. Such psychotherapeutic and phenomenological theories are imbricated in-action within my multimodal arts processes. Additionally, by deliberately not privileging the ocular, I engage all my project participants senses and distil their multimodal data through an extended form of somatic and artistic Interpretive Phenomenological Analysis (IPA), (Smith, Flowers, and Larkin, 2009). IPA usefully focuses on the importance of the thematic and idiographic in terms of new knowledge generation, with an analytical focus on lived experience. Indeed, whilst the specifics of the participants in my minor and major projects are unique, my research activates and makes valid, findings that are collectively beneficial to the disciplines of applied and interdisciplinary arts; the field of practice-based research, and beyond. My original contribution to new knowledge as argued by this thesis, comprises both this text exposition and my practice. This sees the final generation of a new multimodal arts Participatory Practice-Based Framework (PartPb). Through this framework, the researcher-practitioner is seen to adopt a maternal role to gently guide project participants through four phases of co-created multimodal artwork generation. The four participatory ‘Phases’ are: Phase 1: Courtship – Digital Dialogues; Phase 2: Intercourse – Performative Encounters; Phase 3: Gestation – Screen Narratives; Phase 4: Birth – Relational Artworks. The framework also contains six researcher-only ‘Stages’: Stage 1: Participant Selection; Stage 2: Checking Distilled Themes; Stage 3: Location and Object Planning; Stage 4: Noticing, Logging, Sourcing; Stage 5: Collaboration and Construction; Stage 6: Releasing, Gifting, Recruiting. This new PartPb framework, is realised within a series of five practice-based (Pb) artworks called, ‘Minor Projects 1-5’, (2015-16) and Final Major Project, ‘Transformational Encounters: Touch, Traction, Transform’ (TETTT), (2018). These projects are likewise shaped through action-research processes of iterative testing, as developed from Candy and Edmonds (2010) Practice-based Research (PbR) trajectory. In my new PartPb framework, Candy, and Edmonds’ PbR processes are originally combined with a form of Fritz and Laura Perl’s Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of ‘Feeling Architecture,’ which is procedurally proven to hold and carry both researcher and participants alike, safely, ethically, and creatively through all Phases and Stages of artefact generation. Specifically, my new multimodal PartPb framework offers new knowledge to the field of Practice-Based Research (PbR) and practitioners working in multimodal arts and applied performance contexts. Due to its participatory focus, I develop on the term Practice-Based Research, (Candy and Edmonds, 2010) to coin the term Participatory Practice-Based Research, (PartPbR). The unique combination of multimodal arts and social-psychological methodologies underpinning my framework also has the potential to contribute to broader Arts, Well-Being, and Creative Health agendas, such as the UK government’s Social Prescribing and Arts and Health initiatives. My original framework offers future researchers’ opportunities to further develop, enhance and enrich individual and community well-being through its application to their own projects, and, in doing so, also starts to challenge unhelpful art binaries that still position community arts practices as somehow lesser to higher art disciplines

    “How can you have music therapy without humour?!”: a phenomenologically informed arts-based reflexive study exploring humour in music therapy with persons living with dementia

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    In music therapy practice, humour is closely linked to playfulness and play and is largely taken for granted by music therapists. Despite music therapists’ anecdotal interest, to date there has been little in-depth focus on humour in music therapy work. The two main studies written in the English language address the use of humour and its musical form and are positioned from music therapists’ perspectives. Thus, a need was identified for including the views of persons attending music therapy, along with more comprehensive study of relational experiences and therapeutic consequences of humour. A pilot phase of this study showed humour as relationally significant and invited the development of novel methods with which to investigate it. Subsequently, a phenomenologically informed reflexive-relational methodology was used to better understand 1. How humour enables contact in music therapy with persons living with dementia and 2. How music therapists perceive, embody and experience humour in music therapy. Interpretative methods of “interview-encounters” with persons living with dementia and their music therapists, and focus groups with music therapists, were used to gather data and arts-based reflexive methods of sense-making offered imaginal understanding of relational experiences of humour. Familiar verbal, non-verbal and embodied forms of humour, or “in-jokes”, were found to act as catalysts for intrapersonal and interpersonal contact between music therapists and persons living with dementia. These moments appeared to heighten experiences of presence in relation to self and other. In addition, contact through humour enabled a relational equality that was meaningful as well as individually agential. From music therapists’ perspectives, a tension was found between humour and a sense of professional identity and role in practice. This appeared to lead to anxiety when using or engaging with humour and meant that a sense of relational risk was embodied in performing humour in practice. The music therapists involved in the study had absorbed this sense of risk bodily through experiences of improvising with others whilst training. Important questions were therefore raised around the “tool-ness” of humour which also surfaced implicit power dynamics in music therapy relationships. Framing a sense of humour as a developmentally vital relational experience, this study suggests that a more sophisticated understanding of humour in music therapy is needed. This has broad implications for considering music therapy processes, pedagogy and practice

    The new age of fear: an analysis of crisis framing by right-wing populist parties in Greece and France

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    From the 2009 Eurozone economic downturn, to the 2015 mass movement of forcibly displaced migrants and the current COVID-19 pandemic, crises have seemingly become a ‘new normal’ feature of European politics. During this decade, rolling crises generated a wave of public discontent that damaged the legitimacy of national governments and the European Union and heralded a renaissance of populism. The central message of populist parties, which helped them rise in popularity or enter parliament for the first time, is simple but very effective: democratic representation has been undermined by national and global elites. This has provoked a wealth of studies seeking to explain the rise or breakthrough of populist fringe parties, without adequate consideration of how crises transform, not only the demand side, but also the supply of populist arguments, which has received scarce attention. This thesis seeks to address this imbalance by synthesising insights from the crisis framing literature, which facilitates an understanding and operationalisation of populism as a style of discourse. To assess how far-right parties employ this discourse, and the implications of this for their electoral prospects, a comparative case-study design is employed, exploring the discourse of parties, the National Rally (NR) in France and Golden Dawn (GD) in Greece. Their ideologically similar profile but differential electoral performance, allows for a more nuanced analysis of their respective framing strategies. The thesis examines the discourse of the two parties MPs on month by month basis over a four year period, 2012-2015 for GD and 2012-2013 and 2016-2017 for NR, via the use of the NVivo software. Their respective discourses are quantified and broken down into four key areas associated with Foreign Policy, the Economy, the Political System and Society, analysing the content, frequency and salience of key crisis frames. Discourse analysis of excerpts adds a qualitative element to the analysis that showcases the substantial differences between the two case studies. The analysis demonstrates that references to ‘the people’ and anti-elitism were the centrepieces of each case study’s discourse with strong nativist and nationalist elements. The two parties were extremely similar in the diagnostic stage of their framing and the way which they attribute blame for the crises. However, their discursive strategies diverge regarding their proposed solutions to the crises. Golden Dawn remained a single issue party in terms of discourse, since it never presented a comprehensive plan for ending the crises. As a result, Golden Dawn’s discourse remained one-dimensional throughout its brief period of success, being centred solely on attributing blame and attacking its political opponents and the European Union. On the other hand, National Rally’s framing was more elaborate and ambitious both in terms of the variety of issues raised and, especially, the proposed solutions if advocated. This, it is argued, contributed to the evolution of RN into a mainstream competitor that is no longer dependent on a niche part of the electoral market, while the inability of GD to develop equally successful crisis frames offers a unique understanding as to why the party failed electorally and was unable to enter Parliament in the 2019 elections. The overall analysis produces a rich framework that maps out the key elements of populist crisis discourse by far-right parties, which has implications for electoral politics and for our understanding of populism, more broadly
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