Kristillisen kodin aapinen

Tekijä: Rafael Ferdinand Saraste.

Man måste tänka själv : klasslärares uppfattningar av undervisning i de naturvetenskapliga läroämnena

A teacher´s perception of a school subject affects a teacher´s teaching and by extension pupils´ learning. The main purpose of this thesis is to describe the variation in the ways class-teachers perceive teaching within science subjects and to illustrate how these teachers choose to work and why they choose as they do. This purpose is operationalized into three central research questions concerning a teacher´s perception of teaching, teachers´ experiences of working methods in the subject and different aspects that are consciously present when the teacher makes his or her choice of working methods. These aspects are viewed from two different perspectives: a subject educational perspective and a teacher perspective. The theoretical background of the study is interdisciplinary. The thesis is a qualitative study where the research approach is phenomenographic. The empirical investigation was made as two separate studies: a semistructured interview study (N = 15) followed by a stimulated recall study (N = 3), a combined interview and video-observation. Results from the empirical investigation indicate that regarding aims for science education teachers wish to awaken or maintain the pupils´ interest in nature and science and that the pupils within the science subjects shall build a base for fundamental general knowledge. As motives for teaching the science subjects teachers view the subjects as a foundation for everyday life, planning and democracy but also for pupils´ further studies and a possible career in the field. The interdisciplinary key competences and the care for the pupils´ well being are aspects that are consciously present when teachers make their choice of working methods. A great variation can be found in the teachers´ perceptions of the science subjects as subjects and of the working methods within these subjects. Teachers describe lack of time on their own part as well as for the pupil´s learning. Results from the empirical investigation also indicate that teachers modestly focus on aims for the teaching and communication regarding these aims. There seems to be an existing need for increased and qualitatively improved inservice education within these subjects.

Utstillingens retorikk : et bidrag til en retorisk didaktikk for kunst og håndverk

The topic of this dissertation is the didactic exhibition in the Arts and Crafts subject. Exhibiting student work and art and form culture is part of a long professional tradition in the field. Yet, exhibition as form and as a way of learning are inadequately explored and debated. The didactic problem area of the thesis, where studies of formative practices are central, place it within the research field of Educational Slojd. The didactic standpoint and main theoretical perspective relate the project to the Arts didactics research field at the University College of Bergen where the aim is to develop an alternative didactics thinking for the arts; a rhetoric arts didactics. Didactic focus is shifted from the relationship between teacher – pupil – teaching materials, to studies of how knowledge is formulated in specific practices. The thesis has a premise that every exhibition has its own rhetoric and that didactics is inscribed in this rhetoric in the broadest and cultural sense. Through impulses from classical rhetoric and recent text theory, the thesis challenges the Arts and Crafts’s own idiom, its theoretical foundation and didactic grasp such as shown in the discourse established by the discipline and its specific exhibitive practices, as well as studying the relationship between verbal language and the discipline’s own register. The overall objective is to develop knowledge about exhibition rhetoric and its potential as a knowledge and learning arena in this field, and thereby contribute to developing a rhetoric didactics for the Arts and Crafts subject. This raises questions such as: How is an exhibition considered to be used and understood in the subject’s didactics texts and texts about didactics? How do different exhibition spaces inscribe conditions for exhibition work? How can a rhetoric perspective of didactics make aspects of an exhibition’s form register visible and contribute to knowledge of the creative processes in an exhibition? How do some selected exhibitions inscribe creativity and learning? What can a rhetoric perspective bring to the Arts and Crafts? A rhetoric didactics perspective includes knowledge of the tradition. A historical-ideological overview traces how exhibition, of both pupil/student work and of art and form culture, are used and considered as used in the discipline over time. This part can be read separately, but in this thesis, is primarily conceived as a backdrop for the development of the dissertation’s main rhetoric perspective. The empirical data are collected from my teacher training institution and consist of specific exhibition spaces and practices, of which my own production of two exhibitions can link the research to artistic development work. A rhetoric didactics is concrete, specific and contextual. The rhetoric readings are descriptive and show how culture and nature, temporality, materiality and technology are inscribed in the exhibition’s form. Didactic reflection develops from, and close to, the rhetoric readings of the exhibition’s form and content to finally arrive at a rhetorical concept for creativity and learning.