Drama Grammatik: Dramapädagogische Ansätze für den Grammatikunterricht Deutsch als Fremdsprache

This dissertation introduces and evaluates dramagrammar, a new concept for the teaching and learning of foreign language grammar. Grammar, traditionally taught in a predominantly cognitive, abstract mode, often fails to capture the minds of foreign language learners, who are then unable to integrate this grammatical knowledge into their use of the foreign language in a meaningful way. The consequences of this approach are manifested at university level in German departments in England and Ireland, where the outcomes are unconvincing at best, abysmal at worst. Language teaching research suggests that interaction plays an important role in foreign language acquisition. Recent studies also stress the significance of grammatical knowledge in the learning process. Dramagrammar combines both interactive negotiation of meaning and explicit grammar instruction in a holistic approach, taking up the concept of drama in foreign language education and applying it to the teaching and learning of grammar. Techniques from dramatic art forms allow grammar to be experienced not only cognitively but also in social, emotional, and bodily-kinaesthetic ways. Dramagrammar lessons confront the learner with fictitious situations in which grammar is experienced 'hands-on'. Learners have to use grammatical structures in a variety of contexts, reflect upon their use, and then enlarge and enrich the dramatic situations with their newly acquired or more finely nuanced knowledge. The initial hypothesis of this dissertation is that the drammagrammar approach is beneficial to the acquisition of foreign language grammar. This hypothesis is corroborated by research findings from language teaching pedagogy and drama in education. It is further confirmed by empirical data gained from specifically designed dramagrammar modules that have been put into practice in German departments at the University of Leicester (England), the University Colleges Cork and Dublin (Ireland), the University of Bologna (Italy), as well as the Goethe-Institute Bratislava (Slovenia). The data suggests that drammagrammar has positive effects on both understanding of and attitudes towards grammar.

Work and play in management studies: a Kleinian analysis

This paper takes some of Melanie Klein’s ideas, which Bion (1961/1998) previously used to understand group dynamics, to analyse the discipline of management studies since its ‘birth’ in the United States in the late 19th century. Specifically, it focuses on the idealisation of work and play, and argues that at its inception, for idiosyncratic historical reasons, the discipline was rooted in a ‘paranoid-schizoid’ position in which work was idealised as good and play as bad. The paper maps out the peculiar set of factors and influences that brought this about. It then examines how and if, again following Klein, the discipline has evolved to the ‘depressive’ position, where the idealisations are replaced by a more ambiguous, holistic semantic frame. Seven different relationships between work and play are then described. The paper contends that the originary splitting and idealisation is foundational to the discipline, and provides an enduring basis for analysing management theory and practice. It concludes by using this splitting to map out five potential future trajectories for the discipline.

Talk and silence: instantiations and articulations

This paper considers the desire for unity, reconciliation and consensus underpinning three models of talking – namely, 'the meeting', 'the dyadic love relationship', and 'the psychoanalytic session'. We highlight the three domains’ shared intellectual and historical heritage wherein talk is seen as a mode of achieving unity (of the group, of the dyad, or of the self) and conversely 'silence' is seen as pathology. Through looking at the role of silence in the works of Lacan, Joyce, and Beckett, we then examine how conversations with a collective, an Other, the self, etc. can all be enriched by ambivalence, antagonism and, in particular, silence. In contrast to the conventional understanding, silence is not the 'end' of understanding, but rather a new beginning. From this perspective, silence can be the basis upon which we can begin to imagine a principled relationship with the Other.