Investigating practitioner self-efficacy in an era of mathematical reform

The purpose of this study is to explore teacher self-efficacy at a time of radical mathematical reform. Project Maths – the new initiative which was rolled out nationwide in 2010 differs from previous attempts at innovation in that it targets a much closer connection between curriculum and pedagogy. Gone are the days of well-rehearsed routines where the role of the mathematician was essentially that of demonstrator. Teaching for understanding is now the main ‘official’ pedagogical focus, with emphasis on the practitioner playing the part of mediator between subject-matter and student. Mathematical instruction is not merely concerned with the transmission of knowledge and skills which is a particular pedagogical position to take. It is also an emotional practice (Hargreaves, 1998) that colours and expresses the feelings and actions of practitioners. While emotion plays a key role in teachers’ commitment to curricular reform, it is also shaped by the social and cultural contexts of mathematical change, alongside with the attitudes and beliefs of the mathematical teaching community. Inspired by Bandura’s theory of learning (1986), this investigation aims to shed light on the complex interplay between so-called mastery and vicarious experiences, social persuasion and physiological states. Vygotsky’s view of learning (1978) as a socio-cultural process is also drawn upon, as it provides a useful structure against which teacher self-efficacy and professional development can be examined. Finally, Hiebert’s theory (1986) is used to examine mathematics teaching self-efficacy and mathematics self-efficacy.

Elizabeth Bowen and the art of visuality

This thesis is the first sustained assessment of Elizabeth Bowen’s writing from a visual perspective. By first compiling a visual biography of the author, I argue that Bowen’s responsiveness to art, her relationships with artists, and her knowledge of modern and traditional aesthetics are formative influences on her work. Investigating her assertion that she was a “visual writer,” my discussion develops into an examination of her technique of “verbal painting” through which she reinvents traditional visual modes as a personal modernist idiom. Close textual analysis of Bowen’s fictions forms the dominant methodology of this thesis and facilitates my delineation of her engagement with the Futurist and Surrealist aesthetics in addition to broader aspects of her visuality, including her treatment of the “vividly visual” dream-state to the distinct ocularcentricity of her writing. Ultimately, this thesis seeks to advance our knowledge of Bowen’s visual method and to offer a new approach in which to nuance our understanding of her modernism