Educational studies in the Scottish Universities : 1870-1970

In 1876, after an enthusiastic campaign by the main teachers' organisation, Edinburgh and St. Andrews became the first English-speaking universities in the world to establish permanent chairs of Education. Half a century later Scotland became the first country in the British Isles to demand university graduation of all male and secondary teachers in the public sector, except for those involved in art, crafts and physical education. Yet by the 1970s the Education Departments in the Scottish Universities were considerably smaller than in most English universities and,indeed,St.Andrews had abandoned the study of Education altogether. The thesis suggests that the primary reason for this course of events lay in the persistent refusal of the Scottish Education Department, except for a few years at the turn of the century ,to allow the universities any role in the professional, as opposed to the general higher education of teachers. With the training role denied them, the universities had thus to seek other tasks in the field of Educational Studies, notably the teaching of a postgraduate honours degree, unique within Britain,the old Scottish Bachelor of Education. Established at the end of the first world war, this degree was also recognised as a professional qualification by the British Psychological Society and during the next fifty years it not only provided a major stimulus to the professional development of school-teachers, training college lecturers and educational administrators but also became a key factor in the development of mental testing and of the educational psychology service throughout the United Kingdom. The final chapters of the thesis explore the· nature and teaching. If this degree along with the eventual career patterns of graduates. This exploration is based on the hitherto unpublished findings of a questionnaire survey and series of interviews carried out by the author during the late 1960s

BC Law Magazine Fall/Winter 2008

https://lawdigitalcommons.bc.edu/bclsm/1072/thumbnail.jp

What Are the Visible and Invisible Archaeologies of Conflict in the Irish Landscape of Donegal and How May These Be Contextualised and Represented Through Arts Practice

The research question - What are the visible and invisible archaeologies of conflict in the Irish landscape of Donegal and how may these be contextualised and represented through arts practice? has been addressed through textual and historical research and through arts practice, using lens-based media in the exploration of an historic series of military circumstances, in the contemporary Irish landscape of County Donegal. The research undertaken and the resulting outcomes are presented as a textual narrative and as visual arts practice. The thesis material is composed of five chapters, each of which discusses selected arguments in the fields of, respectively; the modification of human sight through opticality and the emergence of modern photography, origins of the geographical discipline and the visual influence on formations of cultural landscape, a contemporary archaeological approach to sites of conflict and examples of relevant artwork, and a characterisation and discussion of Ireland\u27s position of neutrality during the Second World War, including a critical review of the images produced on this topic. This fourth chapter is intended to function as context and framework for the fifth chapter, the re-imagining of the landscape through the arts practice, shown in the Arc of Fire website, which is composed of selected visual material from the live research phase and the site-specific exhibition installed in Fort Dunree in the Inishowen peninsula. The conclusions form the final part of the thesis. Photography and lens based processes, explored as a critical history and employed as a working method of my professional arts practice, is fundamental to the research project

Bostonia

Founded in 1900, Bostonia magazine is Boston University's main alumni publication, which covers alumni and student life, as well as university activities, events, and programs

Scottish Journal of Residential Child Care : Vol 20 No.2

Welcome to the autumn/fall 2021 issue of SJRCC. This is the second issue of our new two issues per year (spring and autumn) format. Regular readers will have spotted that we have a new strapline - 'an international journal of group and family care experience' – to emphasise our international reach and a scope that encompasses all care experience

Intentions & effects : the rhetoric of current cultural policy in England

As its title suggests, this thesis - the critical commentary together with a body of published works - questions the effectiveness of cultural policy with respect to museums and galleries in England. Its focus is on cultural policy under New Labour, and its implementation through the Department for Culture, Media and Sport (DCMS) in particular. The department was established within months of the 1997 election and was intended to ensure the effective delivery of government objectives from the outset. This entailed the department's 'comprehensive reform' of the `cultural framework', its pursuit of an instrumentalist agenda and its desire to determine and direct the effectiveness of its sponsored bodies. This effort was predicated on the assumption that there is an implicit and highly determined relationship between policy, funding, implementation and outcomes. Nevertheless, however strategic DCMS's actions might have been, there is little hard evidence of its effectiveness. The process of converting intention into effect appears to have proved more problematic than the rhetoric suggests. In setting out and supporting that proposition, this thesis describes those policies which have determined support for the cultural sector since 1997, particularly in respect of museums and galleries. It considers their background and implementation, summarises the financial value of the support provided and interrogates the evidence as to their outcomes. It argues that, as yet, many of the objectives shared by DCMS and its so-called 'family' of sponsored bodies have not yet been delivered, and that many of the claims made for the subsidised cultural sector more generally remain unsubstantiated. It also points to recent signs that suggest that the department is now wavering on its original ambitions.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Intentions & effects: the rhetoric of current cultural policy in England

As its title suggests, this thesis - the critical commentary together with a body of published works - questions the effectiveness of cultural policy with respect to museums and galleries in England. Its focus is on cultural policy under New Labour, and its implementation through the Department for Culture, Media and Sport (DCMS) in particular. The department was established within months of the 1997 election and was intended to ensure the effective delivery of government objectives from the outset. This entailed the department's 'comprehensive reform' of the `cultural framework', its pursuit of an instrumentalist agenda and its desire to determine and direct the effectiveness of its sponsored bodies. This effort was predicated on the assumption that there is an implicit and highly determined relationship between policy, funding, implementation and outcomes. Nevertheless, however strategic DCMS's actions might have been, there is little hard evidence of its effectiveness. The process of converting intention into effect appears to have proved more problematic than the rhetoric suggests. In setting out and supporting that proposition, this thesis describes those policies which have determined support for the cultural sector since 1997, particularly in respect of museums and galleries. It considers their background and implementation, summarises the financial value of the support provided and interrogates the evidence as to their outcomes. It argues that, as yet, many of the objectives shared by DCMS and its so-called 'family' of sponsored bodies have not yet been delivered, and that many of the claims made for the subsidised cultural sector more generally remain unsubstantiated. It also points to recent signs that suggest that the department is now wavering on its original ambitions

The language problem in European cinema: Discourses on 'foreign-language films' in criticism, theory and practice

The thesis describes a range of discourse on language in cinema as they have emerged in film reception, production and exhibition contexts in Europe, and assesses their implications for the critical construction of European cinema. The thesis argues that the ‘problem’ of language is constituted in a number of pervasive but seldom acknowledged discourses which have circumscribed the ways in which the category ‘European cinema’ is understood. The primary sources utilised in the research, which date from the 1920s to the present day, are film magazines and journals, trade journals, policy documents and interviews. The thesis pays particular attention to the exhibition and reception cultures surrounding ‘foreign-language films’ in Britain. It takes a historical approach in addressing the cineaste attitudes promoted in the magazines Close-Up and Sight and Sound, and reflects upon the reaction against the film appreciation tradition communicated by the journal Screen. The thesis also explores the positioning of European cinema at film festivals and contemplates the translation issues therein, including the contemporary correspondence between the practice of subtitling and rhetoric on the ‘original version’ and the culturally ‘authentic’ film. It examines how language is implicated in the argument for a ‘cultural exception’, which was used in defence of European film industries during the 1993 GATT negotiations, and considers how filmmakers in Denmark have attempted in their production activities to test the parameters of this discourse on exceptionality by producing Dogma ’95 and English-language ‘cross-over’ films. The thesis finally looks at the relationship between Scottish cinema exhibitors and the European Commission, organisations which are institutionally linked through the Europa Cinemas network, and suggests that a similar ethics of consumption is articulated by each with respect to European cinema. The thesis argues that while the status of European cinema as foreign-language cinema is rarely addressed, its framing as such nonetheless impinges significantly upon the ways in which European films are consumed