Primena artefakata u nastavi filozofije - studija slučaja

Valuing the Education Mission: Implementing an Educational Value Units System

According to our experience, didactics as integration of method, subject (syllabi or curricula), and organisation of teaching on the one hand and of theory of and formation (Bildung) on the other hand is most likely to succeed by concentrating on the composition of Lehrstucke in a case-work manner, which mean not only construction but also composition of the regular teaching units of 10-25 lessons. These regular teaching units are usually thematically, methodologically, and organisationally coherent and now they are developed and composed in three plus one steps: Firstly, the Lehrkunstdidaktik selects only teaching units concerning culturally and educationally as well as personally central subjects, i. e. epochally important humane subjects. Secondly, the Lehrkunstdidaktik composes these teaching units according to, what Lehrkunst calls, the triad of exemplary-genetical-dramaturgical method. Thirdly, the organisation of teaching orients itself towards culturally authentic learning places, learning times and learning forms. Finally fourthly: all subjects, methods and organisations of teaching have to account for the claims of the theory of and formation (Bildung). Thus they have to stand the question whether such a teaching unit really has succeeded in combining the free development of the personality with a deep understanding of the world. Only then the teaching unit has become a Lehrstuck. In the designing of teaching units to Lehrstucke more than thirty Lehrstucke have arisen on the traces of Wagenschein within the last twenty years. In this process the working manner of the Kollegiale Lehrkunstwerkstatt, a collegial working group of teachers, has proven fine. The same goes for the compositional product of casuistic, enlightened subjective teaching reports, nearly novels of education as well as for an overall orientation of didactics not only to the sciences, but also to the arts, thus Lehrkunstdidaktik. In a lexicon of theatre plays there are many hundred works described; we are dreaming of a little lexicon of Lehrstucke. Lately the perspective has arisen that the teaching of Lehrstucke, Lehrstuckunterricht, can offer a contribution to the educational teaching development.

Research indicates that teachers’ beliefs about goals or purposes of science teaching, as one dimension of science teaching orientations, influence what happens in the classroom. The purpose of this research was to explore the self-reported and enacted goals or purposes of science teaching of four in-service Malawian science teachers using the curriculum emphases concept as a theoretical lens. This research used qualitative case study research design. Semi-structured interviews and classroom observations were used to explore teachers’ self-reported and enacted goals or purpose of science teaching, respectively. A deductive analysis approach was used to analyze interview and classroom observation transcripts, to understand the teacher’s goals or purposes. Results reveal that while teachers have multiple self-reported goals or purpose of science teaching, most of these are not enacted during teaching in the classrooms. This suggests the topic-specific nature of the goals or purposes. Results also show that all the teachers were not aware of the self-as-explainer goal or purpose of science teaching both during interviews and instruction. These findings are discussed, and implications are proposed for science in-service teacher professional development and pre-service teachers’ training programs. Keywords: science teachers’ beliefs, curriculum emphasis, goals or purposes, science teaching orientations, teacher professional knowledge

Teacher's reflections on experimenting with technology-enriched inquiry-based mathematics teaching with a preplanned teaching unit

Reflecting on my past two unsettling journeys of teaching in China and America produces questions about the teaching of truth in chapter one. The question of truth as it relates to the teacher’s role in the classroom raises not only issues of what and how we should teach, but challenges the very purpose of teaching. When I explored Martin Heidegger’s phenomenological perspective on (un)truth for insights into taken-for-granted assumptions about education and the purposes of teaching and learning, I noticed a strong resonance between his notion of “clearing” and the essential spirit of Taoism, “the Tao of inaction.” This led me to coin the word, “en-teaching” to express my idea of how teachers can teach through paradoxically non-teaching, without implying a binary opposition between teaching and non-teaching. In reviewing selected literature critical of the “teaching-as-telling” in America and China, I suggest in chapter two that the traditional direct teaching of truth has been entrenched in the public school systems in both countries as not only a teaching method but an implicit educational culture. The essence of this “teaching-as-telling” in both countries is the same – the will to control. What alternatives might there be to the method of teaching-as-telling? How can we teach otherwise? Or can we? Since I struggle with the question of truth related to teaching and this question “assumes the greatest urgency in Heidegger’s thought” (Sallis, 20), chapter three focuses on Heidegger’s complex explorations of (un)truth in clearings between brightness and darkness along with his concept of “let learn” through “always-being-in-the-world.” In chapter four, I go further to explore my notion of en-teaching based upon Heidegger’s thoughts of teaching and learning with insights from Lao Tzu and Dewey. In the last chapter, I try to not only reflect upon all previous chapters but respond to the practical question, “What does en-teaching mean to me as I face my class on Monday morning?”

Filmmaking is a creative practice. However, what do we mean when we use the term ‘creative practice’? This chapter explores the terms ‘creative’ and ‘practice’ by examining what has been called the creative system in action (McIntyre et al., The Creative System in Action – Understanding Cultural Production and Practice. Basingstoke: Palgrave Macmillan, 2016). Drawing on the research literature from psychology and sociology, a link to ‘filmmaking’ will be made through media and cultural production scholarship (McIntyre, Creativity and Cultural Production: Issues for Media Practice. New York: Palgrave Macmillan, 2012.). Using examples from independent documentary filmmaking (Kerrigan, Using Fort Scratchley (DVD), Fort Scratchley. Australia: PhD Productions, 2008; Journal of Media Practice, 14(2), 111–127, 2013) and fictional television serial production, this discussion will illustrate how creative filmmaking practices are aligned with confluence models of creativity (Csikszentmihalyi, Implications of a Systems Perspective for the Study of Creativity. In R. Stenberg (Ed.), Handbook of Creativity, Cambridge (pp. 313–335). Cambridge: Cambridge University Press, 1999), group creativity models and staged creative process theories (Bastick, Intuition, How We Think and Act. Chichester/New York: Wiley, 1982; Csikszentmihalyi, Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins, 1996). Examining the complexity of the daily choices made by the conditioned agent, in this case a filmmaker, the discussion will focus on the decision-making process of factual and fiction filmmaking and how it connects to creative practice (Kerrigan in McIntyre et al., The Creative System in Action – Understanding Cultural Production and Practice. Basingstoke: Palgrave Macmillan, 2016). This will necessarily involve the methods and processes used by the filmmaker, as they develop an intuitive approach to their practice which becomes embodied knowledge that enables them to work within a collaborative, social and cultural system. This scholarly approach to the term ‘creative practice’ will provide an understanding of how a filmmaker can apply work from other disciplines to bring new insights to ways of regarding filmmaking as a creative practice.

In this study, we explored how learning progressions were established in a context-based science teachingunit. A science class in secondary school was followed during a teaching unit in Biology, in which theEbola disease was used as context. Teaching was planned using the didactical model organizing purposes.Learning progressions were studied as continuity between teaching purposes, the science content andthe context in four sequential lessons. The analysis of teaching evidenced a considerable variation inhow learning progressions were constituted within lessons and showed how learning progressions coulddevelop between lessons through the combination of different teaching activities. By consistently mentioningand referring to Ebola, the teacher had a pivotal role in establishing relations between teachingpurposes, the content and the context. Furthermore, our results evidence the important role of the contextin supporting students’ learning of science content. Finally, we discuss concrete actions in the planning ofthe unit to improve lessons that evidenced a weaker connection to the context.

This research study discusses the integration of artificial intelligence (AI) in Early Childhood Education (PAUD) units to improve play and game activities for children as well as innovation in implementing AI-based learning. AI technology has very good prospects and potential in changing teaching and learning activities in educational units with its ability to think and learn like humans, understand human feelings, find solutions in complex decision making, and so on. However, this is sometimes not in line with the application of AI in early childhood education units which are still in their early stages, especially in developing countries like Indonesia. The method used in this research is qualitative research, the data collection technique is from various journal articles about the benefits and impact of AI on early childhood play and play activities. With the support of AI, PAUD units can improve the results of their teaching and learning activities by facilitating more diverse play experiences, increasing operational efficiency, monitoring children's play and play results in real time. Although progress in the application of AI has been seen, there appear to be challenges and shortcomings, including limited AI research in fields outside of STEAM (Science, Technology, Engineering, Arts, and Mathematics), the lack of AI theories and models in play and gaming activities, and resistance in adopting AI in a child's play activities. It is important for PAUD units to integrate AI more optimally in the process of playing and playing activities for children, as well as providing training to educators, education staff and PAUD students to optimize the education system in the future

This heuristic, cross-cultural study explored how transformative teachers embody, nurture, and convey their pedagogical purposes in the classroom. Transformative teachers challenge the status quo in an area of personal importance, whether it be teacher-student relationships, teaching for social change, teaching for personal growth and meaning, or teaching beyond traditional academic standards. Participants included eight secondary and post-secondary teachers from North America and Lithuania. Because participants were selected through a student nomination process as being educators who inspired learners to change personal circumstances, join a political or social movement, or develop a purpose in life, they represented not only different academic areas, but they articulated multiple philosophical orientations and broad gender, political, social, and cultural perspectives. Following interview and journal exercises, a portrait of each participant was constructed giving focus to biography and to the effects of turning point experiences on the teacher's pedagogical life and purpose. Themes that emerged from the teachers' lives that illuminated the nature of transformative teaching included: the embodiment and conveyance of passionate interests and convictions in the classroom, the tendency to view reflection as a source of professional knowledge, the embodiment of a pedagogical intent toward learners, the ability to be genuinely present to learners, the tendency to balance passion for knowledge with compassion for learners, the recognition and conveyance of the subjective nature of truth and knowledge, and the tendency to encourage intuitive as well as rational understanding. The results of the study indicated support for viewing teachers as a rich source of knowledge about transformative teaching because their insights did not get entangled with theoretical jargon. Sharing from personal experience and perception, they operationalized what critical, liberatory, and feminist theorists have only advocated. In addition, the results indicated support for additional cross-cultural educational research. The contribution of the Lithuanian educators provided an explicit example of teaching for social change and a fresh, illuminating view of transformative pedagogy. Finally, the results of the study indicated support for re-examining teacher education programs in order to give more attention to nurturing and sustaining the transformative purposes persons bring to teaching.

<p>The focus of this thesis is on visual communication design (VCD) students’ engagement with creative design process learning within a transnational context. The context is an international partnership between a higher education institution in New Zealand and Hunan City University (HNCU) in China. The Chinese government is currently positioned in a third wave of an internationalisation strategy which encourages cooperative agreements with foreign or overseas institutional partners situated within Chinese universities. For design institutions in particular, the Made in China government initiative has led universities to actively engage with design education approaches imported from the west. The aim for Chinese institutions is to encourage student creativity in order to build on government aspirations to move China from a manufacturing, to an innovation and design led economy. Cultural historic activity theory (CHAT) was used to analyse data from a VCD studio classroom at HNCU in China. A three-level hierarchy of artefacts model was developed for the analysis, which by extention offers a CHAT approach for creative design scenarios. The study had two phases. The first comprised two project-based case studies exploring how creative design process learning occurred when the students were exposed to design thinking. Students were organised into dyads to foster collaborative work for the projects, a branding project, and a cultural project involving illustration design. Data gathered through video stimulated recall interviews with eight dyad participants (sixteen VCD students) and 200 written reflections were analysed. The second phase of the research focused on understanding the cultural and historic pedagogical context. Eight semi-structured interviews were conducted with local teachers at HNCU, and observations were undertaken in Chinese language medium classrooms. Underpinning the findings, are the ways in which Chinese design education practices at HNCU are shaped by an interweaving of Confucian thought within contemporary social and political tenets (e.g., striving for perfection). The analysis revealed that familiar and unfamiliar learning practices, including previous models encountered by students in the classroom, together with an adjustment to new practices, directly impacted student actions. Imported educational practices resulted in tensions and contradictions between step-by-step and iterative design thinking processes, and collaboration within the division of labour. Non-creative and creative activity outcome conclusions were drawn, and it is argued that a fresh perspective emerged. A creative craft practice situated within its historic and cultural context exists at HNCU. Key to the idea of creative craft practice is that historic and current sociocultural contexts participate in the creative process and contextual elements such as materiality, and teaching practices which use imitation, repetition and precedents, are assembled. The practice contained deeply intertwined student object-oriented motives of product over process, and productions of excellence or perfection. Over time, the efficacy of these motives, alongside drawing from examples for conceptual development, led to enhanced student agency and engagement. This overall finding challenges the creativity deficit belief about students from China, and the originality syndrome imposed on VCD students. The contribution is timely owing to a dearth of studies about graphic or VCD education in general and the potential influence of transnational teaching on creative design process learning in China.</p>

<p>The focus of this thesis is on visual communication design (VCD) students’ engagement with creative design process learning within a transnational context. The context is an international partnership between a higher education institution in New Zealand and Hunan City University (HNCU) in China. The Chinese government is currently positioned in a third wave of an internationalisation strategy which encourages cooperative agreements with foreign or overseas institutional partners situated within Chinese universities. For design institutions in particular, the Made in China government initiative has led universities to actively engage with design education approaches imported from the west. The aim for Chinese institutions is to encourage student creativity in order to build on government aspirations to move China from a manufacturing, to an innovation and design led economy. Cultural historic activity theory (CHAT) was used to analyse data from a VCD studio classroom at HNCU in China. A three-level hierarchy of artefacts model was developed for the analysis, which by extention offers a CHAT approach for creative design scenarios. The study had two phases. The first comprised two project-based case studies exploring how creative design process learning occurred when the students were exposed to design thinking. Students were organised into dyads to foster collaborative work for the projects, a branding project, and a cultural project involving illustration design. Data gathered through video stimulated recall interviews with eight dyad participants (sixteen VCD students) and 200 written reflections were analysed. The second phase of the research focused on understanding the cultural and historic pedagogical context. Eight semi-structured interviews were conducted with local teachers at HNCU, and observations were undertaken in Chinese language medium classrooms. Underpinning the findings, are the ways in which Chinese design education practices at HNCU are shaped by an interweaving of Confucian thought within contemporary social and political tenets (e.g., striving for perfection). The analysis revealed that familiar and unfamiliar learning practices, including previous models encountered by students in the classroom, together with an adjustment to new practices, directly impacted student actions. Imported educational practices resulted in tensions and contradictions between step-by-step and iterative design thinking processes, and collaboration within the division of labour. Non-creative and creative activity outcome conclusions were drawn, and it is argued that a fresh perspective emerged. A creative craft practice situated within its historic and cultural context exists at HNCU. Key to the idea of creative craft practice is that historic and current sociocultural contexts participate in the creative process and contextual elements such as materiality, and teaching practices which use imitation, repetition and precedents, are assembled. The practice contained deeply intertwined student object-oriented motives of product over process, and productions of excellence or perfection. Over time, the efficacy of these motives, alongside drawing from examples for conceptual development, led to enhanced student agency and engagement. This overall finding challenges the creativity deficit belief about students from China, and the originality syndrome imposed on VCD students. The contribution is timely owing to a dearth of studies about graphic or VCD education in general and the potential influence of transnational teaching on creative design process learning in China.</p>

In Sweden, the occurrence of fictional texts in various media formats, including TV series, films, and computer games, most of which are in English, is constantly growing. In an increasingly digitalised society, there is a need for teaching that understands and meets the demand for aesthetic values as well as multimodality and creativity. Highlighting the aesthetic dimension of literary studies, this article reports on a small-scale practice-based study that explores students’ experiences of working with a teaching unit that focuses on text universes, literary productions, and creative learning. It argues for an innovative type of course design with the potential to strengthen students’ engagement in, and their self-assessed understanding of, literary texts, which can inspire future English teachers to adopt similar approaches in their own teaching practice. The teaching unit was included in a programme for upper-secondary subject teachers in English. The empirical data consists of 14 students’ responses to a questionnaire that was conducted after the completion of the unit. The study shows that although some students initially found the teaching unit challenging, they later acknowledged having acquired significant insights into their own and their peers’ creative processes. Because student autonomy and student responsibility are central aspects when teaching for creativity, the teaching unit provided the students with a model that addresses the what and the how of literature teaching and learning, a model that they themselves want to use in their future careers as English teachers at the upper secondary level.

One of the challenges that primary school teachers have is teaching science lessons and their beliefs have an essential role in teaching science. Therefore, this study focuses on primary school pre-service teachers’ orientation toward science teaching including beliefs about the purposes of science teaching, beliefs about science teaching and learning, and beliefs about the nature of science (NOS). Data were collected from seven pre-service primary teachers (PST) through semi-structured interviews to reveal their beliefs and analyzed by using deductive and inductive coding. The primary analysis showed PSTs focused on everyday coping, affective domain, and improving skills like social skills as beliefs about the purpose of science teaching. Teachers mainly had teacher-centered beliefs (e.g. traditional) and transitional beliefs. Also, they mainly held naïve NOS beliefs. Further analysis showed that the teachers having teacher-centered beliefs had teaching purposes like the correct explanation, solid foundation, and science process skills. These teachers also had naïve NOS understandings. The teacher having informed beliefs in the nature of science held student-centered beliefs and also focused on the structure of science as a teaching purpose, unlike other teachers. Discussions and implications are presented considering the beliefs forming teachers’ orientation toward science teaching in primary schools.

Information and communication technologies (ICTs) have been provided by higher education authorities to ensure that teachers use ICT to enhance their teaching, learning, and research outcomes. However, ICT has been found to be underutilized, especially by teachers. To investigate this issue, the technology adoption and gratification (TAG) model was validated and used to examine Malaysian university teachers’ adoption and gratification of ICT for teaching and research purposes and then used to investigate the moderating effect of universities in different regions. The 397 teachers from the west and east Malaysian universities were surveyed using a stratified random sampling technique. The research data were analyzed using the three-stage structural equation modeling. There were focused use factors: 1) academic purpose; 2) research purpose; and 3) teaching purpose. The TAG model was useful in explaining differences in ICT uses. West Malaysian teachers’ perceived usefulness and ease of use mediated the relationships between computer self-efficacy, gratification, and intention to use ICT, respectively. However, for east Malaysian teachers, only perceived ease of use did not mediate the relationship between computer self-efficacy and gratification. Finally, west and east Malaysian teachers’ intentions to use ICT mediated the relationships between actual use, perceived usefulness, and ease of use. This paper confirms the utility of the TAG model for comparing teachers’ adoption and gratification of ICT. In addition, this paper provides a basis for the targeted professional development of teachers in the east and west Malaysian universities which were selected based on the known differences.

The late 20th and early 21st centuries have been described as an age of creativity in affluent Western societies because of the increased popularity of the visual arts and the expansion of the global sector of the creative and cultural industries (CCI). The psychology of creativity has contributed new conceptualisations of creativity and creative processes, challenging associations that derive from the elite arts. This article investigates the implications of these changes for the gendering of creativity and creative practice. It asks if contemporary reconceptualisations of creativity open new possibilities for women to identify as creative practitioners. The article presents a critical discursive study of interviews with UK women maker-artists. The analysis shows how the women emphasise the practical applications or utility of their creative practice. A claim of utility can function to justify the practice. In addition, a claim of therapeutic utility, for others and for the artist herself, potentially addresses the neoliberal priority that people take responsibility for their personal well-being. However, the justification of utility contrasts with the creative vocation associated with the masculine elite artist who pursues “art for art’s sake”. The justification can therefore be seen to undermine the women’s creative identifications, reinstating the conventionally masculine status of creativity and the arts.