An Investigation into the Use of Computer-based Simulation Games for Learning and Teaching in Business Management Courses

Computer-based simulation games (CSG) are a form of innovation in learning and teaching. CGS are used more pervasively in various ways such as a class activity (formative exercises) and as part of summative assessments (Leemkuil and De Jong, 2012; Zantow et al., 2005). This study investigates the current and potential use of CGS in Worcester Business School’s (WBS) Business Management undergraduate programmes. The initial survey of off-the-shelf simulation reveals that there are various categories of simulations, with each offering varying levels of complexity and learning opportunities depending on the field of study. The findings suggest that whilst there is marginal adoption of the use CSG in learning and teaching, there is significant opportunity to increase the use of CSG in enhancing learning and learner achievement, especially in Level 5 modules. The use of CSG is situational and its adoption should be undertaken on a case-by-case basis. WBS can play a major role by creating an environment that encourages and supports the use of CSG as well as other forms of innovative learning and teaching methods. Thus the key recommendation involves providing module teams further support in embedding and integrating CSG into their modules.

The Use of a Computer-Based Simulation Game (CSG) for Learning and Teaching

Introduction A computer-based simulation game (CSG) was used for the first time in a final-year undergraduate module. A change management simulation game was used in the seminar classes as a formative exercise that was linked to parts of the students’ summative assessment. The module evaluation suggests that most students learned from using the CSG.

Theatre History and Historiography Ethics, Evidence and Truth

This collection of essays is the first time a group of theatre historians have come together to consider the challenge of applying ethical thinking to attempts to truthfully represent the past. Topics include the life of the celebrated Restoration actor Thomas Betterton, the little-known records of hitherto forgotten women involved in Victorian theatre, amateur theatricals enjoyed by the British army in colonial India, the loss of a pioneering arts centre for African and Caribbean culture, performance art in Wales and present-day community arts in Northern Ireland. While confronting such difficult issues as the instability of evidence and the unreliability of memory, the contributors offer fresh perspectives and innovative strategies for fulfilling their ethical responsibility to the lived experience of the past.