5,583 research outputs found
Identity, Power, and Prestige in Switzerland's Multilingual Education
Switzerland is known for its multilingualism, yet not all languages are represented equally in society. The situation is exacerbated by the influx of heritage languages and English through migration and globalization processes which challenge the traditional education system. This study is the first to investigate how schools in Grisons, Fribourg, and Zurich negotiate neoliberal forces leading to a growing necessity of English, a romanticized view on national languages, and the social justice perspective of institutionalizing heritage languages. It uncovers power and legitimacy issues and showcases students' and teachers' complex identities to advocate equitable multilingual education
Strategies for Early Learners
Welcome to learning about how to effectively plan curriculum for young children. This textbook will address: ⢠Developing curriculum through the planning cycle ⢠Theories that inform what we know about how children learn and the best ways for teachers to support learning ⢠The three components of developmentally appropriate practice ⢠Importance and value of play and intentional teaching ⢠Different models of curriculum ⢠Process of lesson planning (documenting planned experiences for children) ⢠Physical, temporal, and social environments that set the stage for childrenâs learning ⢠Appropriate guidance techniques to support childrenâs behaviors as the self-regulation abilities mature. ⢠Planning for preschool-aged children in specific domains including o Physical development o Language and literacy o Math o Science o Creative (the visual and performing arts) o Diversity (social science and history) o Health and safety ⢠Making childrenâs learning visible through documentation and assessmenthttps://scholar.utc.edu/open-textbooks/1001/thumbnail.jp
The Disputation: The Enduring Representations in William Holman Hunt's âThe Finding of the Saviour in the Temple,â 1860
This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This âJewish presenceâ refers to characters within the painting, Jews who posed for the picture and the paintingâs portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 â 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. Stephensâs pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple âdisputationâ paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the paintingâs objectifying and spectacular properties, this thesis provides a new way to understand The Findingâs orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests
Songs without borders: complex interpretative song worlds and the audiences that inhabit them
The genre of music commonly referred to as art song often elicits emotionally charged responses in accounts of audience experiences. However, scholarship has largely neglected the object of inquiry where these responses and experiences materialise: the live art song event. The principal research task in this study is to investigate audience experience of live art song events in the UK. The audiences and events at the centre of this inquiry coalesce around the work of the art song promoter Oxford Lieder. Using a mixed method approach (questionnaire, diary methods and guided interviews), statistical and thematic analysis, and Interpretative Phenomenological Analysis, is applied to a dataset that utilises 82 individual participantsâ experiences of live art song events, including regular attendees and those experiencing live art song for the first time.
To frame the findings of this inquiry, this study establishes the concept of complex interpretative song worlds: defined as a collection of interactions that audience members draw upon to construct their experience of live art song events, through a dynamic and multi-faceted interplay with the system of possibilities afforded by live art song environments. In this study, complex interpretative song world theorising takes place across three levels of audiencing:
(1) Interactions with the live art song domain (the norms, behaviours, and conventions of live art song environments) are gathered under three themes. Collecting activity sees a desire for participants to scrutinise song objects, embrace familiar artists and repertoire, and adopt a connoisseur-like approach to knowledge acquisition. Connecting activity reveals a prized sense of close psycho-social resonance, which takes place between songs, performers, spaces and everyday experiences. Venerating activity foregrounds a view of songs as inviolable objects, where perceived changes to songs are deemed heretical by some, examined through the (re)introduction of sung English translations into the live art song corpus.
(2) Interactions with live art song objects (the lexical and musical features that make up songs) reveal the ways audience members process words and music, and prioritise either, or both features during live art song events. The presentation of these materials in ways that blur senses (sights and sounds), and time (before, during, and after performances), are shown to be as additive to audience member conceptualisations of the nature of lexical-musical relationships as they are disruptive.
(3) Interactions with live art song actors (performers, producers, and audiences) reveal processes of role formation at work, where vocal acts, non-vocal acts, and fixed and non-fixed traits complicate the way audience members derive impressions of performers. Art songâs hybridity as a genre, which is not a dramatic form, yet ânot notâ a dramatic form, reveals the imbricated way audience members construct identities of performers: as professional musicians; as human beings; and as inhabitants of roles defined textually through a songâs poetic content.
This interdisciplinary study draws predominantly on three overlapping areas of scholarship, and makes new contributions to knowledge in all three. For musicology, this inquiry develops deeper understandings of live art song objects to complement the hegemony of hermeneutic, musico-analytical and historiographical research that typifies much of the existing art song literature. For audience studies, these findings provide new audiencing insights, by examining an art form not yet analysed by empirical audience research methods, and one that simultaneously combines both words and music as a mode of expression. For translation theory, this inquiry responds to calls within the existing literature for more research to understand the reception of translation in music. This study also generates dividends outside of the academy, providing new insights for performers and promoters of art song to inform approaches to programming, presentation, production, marketing and audience development
Coding Christianity: Negotiating Religious Dialogue in Online Participatory Spaces
This dissertation examines rhetorical conditions and internet-mediated communication strategies that open and close dialogue between individuals with diverse and conflicting worldviews. The author illustrates this tension through sacred-secular interactions in college composition classrooms and online environments, positing that navigating conflict between these discoursesânamely those espoused by religiously committed students and public university instructorsâoften requires stepping outside of adversarial communication frameworks. This project makes a case for models of civic engagement that use more deliberative rhetorical approaches prioritizing empathy over defensiveness and understanding before persuasion. To develop these non-adversarial communication approaches for the composition classroom, the author looks to participatory media for insights and studies the negotiation strategies of Christian and atheist YouTube users who leverage the affordances of the video medium, internet logics, and invitational rhetorical strategies to engage ideological differences in their respective online communities. Through mixed methods research involving in-depth interviews with five YouTube vloggers, netnographic study of over 3,000 videos, and statistical analysis of 76,000+ user comments, Coding Christianity finds that perspective-taking in conflict-ridden environments can happen between netizens when content creators opt out of âflame warsâ and, instead, explicitly model critical openness and charitable listening to perceived âothers.â The author ultimately suggests that sacred-secular tension in both academic and digital environments be used, not diffused, to negotiate conflicting values and engage in rigorous, civil dialogues
The Angel of Art Sees the Future Even as She Flies Backwards: Enabling Deep Relational Encounter Through Participatory Practice-Based Research.
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 âsplittingâ, (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-Rossâ proposes that there is a âmother shaped hole in the art worldâ and that, âas with the essence of the doughnut â we donât need another hole for the doughnut, we need a whole new recipeâ (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 Ettingerâs (2006; 2015) notions of maternal, cohabitation and carrying; architect and phenomenologist Juhani Pallasmaaâs (2012) views on sensing and feeling; child psychoanalyst Donald Winnicottâs (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 âPhasesâ are: Phase 1: Courtship â Digital Dialogues; Phase 2: Intercourse â Performative Encounters; Phase 3: Gestation â Screen Narratives; Phase 4: Birth â Relational Artworks. The framework also contains six researcher-only âStagesâ: 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, âMinor Projects 1-5â, (2015-16) and Final Major Project, âTransformational Encounters: Touch, Traction, Transformâ (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 Edmondsâ PbR processes are originally combined with a form of Fritz and Laura Perlâs Gestalt Experience Cycle (1947). This innovative fusion I come to term as a form of âFeeling Architecture,â 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 governmentâs Social Prescribing and Arts and Health initiatives. My original framework offers future researchersâ 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
Love Between Worlds: Edward Burne-Jones and the Theology of Art
This dissertation explores the theological formation of Edward Burne-Jones (1833-1898) and argues that his artistic vision was shaped by and became a practice of theology. Burne-Jones was drawn to the controversial Oxford âTractarianâ Movement and pursued education at the University of Oxford to become an Anglican priest. He was inspired by John Henry Newman, who lived and preached in Birmingham during Burne-Jonesâs adolescence. Contrary to most scholarship, I argue for the continuing prevalence of the Tractarian theological perspective in his art, even after he decided not to preach or practise conventional religion. His art is deeply informed by the complex theological principles he studied. This becomes what I identify as a theology of art that considers and presents theological ideas not in words but in art.
I have conducted archival research into Burne-Jonesâs personal history and education, and the theological figures, debates, and controversies that shaped him. This included letters and diaries of mentors and friends of Burne-Jones which have been scarcely accessed. Furthermore, Burne-Jonesâs own university notebooks and letters have shown direct evidence of Burne-Jonesâs theological knowledge. I have also pursued extensive research into theology and church history, particularly of Anglicanism before and in the nineteenth century. To understand how this translates into his artistic practice, I have researched and interpreted various works and projects of Burne-Jones, emphasising his methods of design. This has led to a wide-ranging assessment of his drawings in print rooms across Britain. Ultimately, I argue for the recurrence of the theological and artistic theme I call love between worlds, a concept connecting Burne-Jonesâs study of the Tractarian notions of incarnation, sacramentality, and Godâs love expressed through the economy of salvation in Christ, and the subject of the pursuit of romantic love that pervades Burne-Jonesâs artistic projects
Heideggers holy and quiet joy: body hermeneutics of two paintings by Lawren S. Harris
How would our lived human body experience Heidegger's holy? This dissertation uses a phenomenological method of body hermeneutics to develop a lived experience of the notion of the holy from Heidegger's later thought with the help of two paintings by Lawren S. Harris.
Body hermeneutics, developed by Samuel Mallin, is a method of systematically feeling out and describing the experience of phenomena through the four regions of the lived body: the perceptual, the motor-practical, the affective, and the cognitive/linguistic. The artworks hold the phenomena and create situations through which the viewer can repeatedly access and explore the phenomena. The artworks also speak to the whole body, not just to the cognitive aspect of our being, and thus make it much easier for us to recognize and overcome our cognitive preconceptions and to develop a fuller bodily experience of the phenomena.
The first part of the dissertation, working with the painting Beaver Swamp, Algoma, explores how one can phenomenologically experience and describe that which is not an entity, since both being and the holy in Heidegger's understanding are not entities. By describing the contrasts between the experience of figures and lines in the painting on one hand and colour and light fields on the other, a new bodily attitude can be felt and developed that is quite different from our everyday attitudes towards phenomenology and perceiving things in general. This new bodily attitude is helpful for describing phenomena like being and the holy as understood by Heidegger.
The second part of the dissertation, with the help of the painting Northern Lake, further develops the understanding of the new bodily attitude. It explores a particular kind of darkness to better understand the phenomena of depth and abyss, and a particular kind of light to describe the haleness as the experience of the holy
A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964
The thesis examines the emergence of Peter Lanyon as one of the few truly innovative British landscape painters this century. In the Introduction I discuss the problematic nature of landscape art and consider the significance of Lanyon's discovery that direct description and linear perspective can be replaced with allusive representational elements by fusing the emotional and imaginative life of the artist with the physical activity of painting. Chapter One concentrates on the period 1936-8 when Lanyon was taught by Borlase Smart, a key figure in the St Ives art colony between the wars. Chapter Two examines the influence of Adrian Stokes and the links between Lanyon's painting and the theories developed in books such as Colour and Form and The Quattro Cento. Chapter Three analyses the period 1940-45 when Lanyon was directly influenced by the constructivism of Nicholson, Hepworth and Gabo. I look closely at their approaches to abstraction and assess Lanyon's relative position to them. The importance of Neo-Romanticism and the status of St Ives as a perceived avant-garde community is also addressed. In Chapter Four I discuss how Lanyon resolved to achieve a new orientation in his art on his return from wartime service with the RAF by synthesising constructivism, and traditional landscape. The Generation and Surfacing Series demonstrate his preoccupation with a sense of place, a fascination with the relationships between the human body and landscape and his struggle to find a technique and style that was entirely his own. His sense of existential insideness is discussed in Chapter Five through an examination of the work derived from Portreath, St. Just and Porthleven - key places in Lanyon's psychological attachment to the landscape of West Penwith. In Chapter Six I examine Lanyon's attachment to myths and archetypal forms, tracing the influence of Bergson's vitalist philosophy as well as his use of Celtic and classical motifs. Chapter Seven is a discussion of the malaise evident in Lanyon's work by 1955 and the impact of American Abstract Expressionism at the Tate Gallery a year later. In the summer of 1959 Lanyon joined the Cornish Gliding Club and Chapter Eight looks at how this necessitated a dynamic, expanded conception of the landscape and a re-thinking of relations within the picture field. The ability to dissolve boundaries encouraged him to break down distinctions between painting and construction so that abstract sculptural elements were now assembled into independent works of art. Finally, Chapter Nine assesses Lanyon's overall position in relation to his early influences and to St Ives art as a whole, his response to new directions in art coming out of London and NewYork in the early 1960s and the importance of travel as a stimulus for further realignment in his artistic and topographical horizons. His pictorial inventiveness and vitality remained unabated at the time of his death and would undoubtedly have continued to be enriched by travel abroad and contact with new movements in modem art on both sides of the Atlanti
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