How Much am I Expected to Pay for my Parents‘ Firm? An Institutional Logics Perspective on Family Discounts

Recent evidence suggests that successors do not simply inherit their parents’ firm, but have to pay a certain price. Building on institutional logics literature, we explore successors’ family discount expectations, defined as the rebate expected from parents in comparison to nonfamily buyers when assuming control of the firm. We find that family cohesion increases discount expectations, while successors’ fear of failure and family equity stake in the firm decrease discount expectations. Higher education in business or economics weakens These effects. On average, in our study comprised of 16 countries, successors expect a 57% family discount.

Fail But Try Again? The Effects of Age, Gender, and Multiple-Owner Experience on Failed Entrepreneurs’ Reentry

We investigate what leads failed entrepreneurs to reenter entrepreneurship by taking a developmental career perspective. Specifically, we hypothesize that the age of failed entrepreneurs has a nonlinear relationship with the likelihood of reentering entrepreneurship that follows different career stages (early, middle, and late). The gender of failed entrepreneurs and multiple-owner experience in the failed firm are hypothesized to be moderators of this relationship. We test our hypotheses using a database consisting of the Swedish population, including 4,761 entrepreneurs who failed between 2000 and 2004. Analyzing their career paths over the years following their failure offers support for our theoretical expectations.

A FORMAÇÃO INICIAL E O ESTÁGIO SUPERVISIONADO: AS REPRESENTAÇÕES DE ALUNOS SOBRE A PRÁTICA DO ESTÁGIO DE UM CURSO DE LETRAS A DISTÂNCIA

O estágio supervisionado é uma etapa primordial a ser cumprida pelos alunos de um curso de licenciatura, pois é durante seu cumprimento que o aluno poderá, de fato, experimentar sua profissão docente a partir da unidade teoria/prática. Contudo, muitas vezes, o estágio é visto apenas como uma questão burocrática do curso e não como uma ferramenta pedagógica, sendo o momento em que é possível observar as práticas em sala de aula, compará-las e refazê-las, além de ser uma experiência que contribui para a formação inicial desse aluno enquanto futuro professor. Esta pesquisa teve como objetivos verificar qual a representação que o aluno estagiário tem sobre o estágio, desvelando quais saberes docentes são adquiridos por meio dessa prática e como é estabelecida a relação entre a lei de estágio, o curso investigado e o aluno estagiário. Para tal, realizou-se uma pesquisa de revisão da literatura a fim de se obter um aprofundamento no referencial teórico e, posteriormente, uma pesquisa documental envolvendo estudos sobre os aspectos legais do estágio e sobre o Projeto Pedagógico do Curso. Com a intenção de constatar quais representações os alunos têm sobre o estágio, realizou-se uma pesquisa de campo com aplicação de um questionário a dezesseis alunos de um curso de Letras a distância de uma Instituição de Ensino Superior localizada na Grande São Paulo. As análises dos dados foram realizadas a partir da criação de cinco categorias de análise: As representações sobre a escola pública, As representações sobre os professores, As representações sobre o estágio, A carga horária e A relação teoria e prática. Os resultados apontam para representações bastante positivas sobre o estágio, representações estas que revelam no discurso dos alunos a valorização do professor e da escola pública, a aquisição de saberes docentes e o estágio enquanto momento de observação, reflexão e práxis docente. Além disso, embora a maioria dos estagiários considere excessiva a carga horária legalmente exigida, reconhecem a importância e relevância desse momento para sua formação acadêmica e profissional.

A study of the attitudes towards unethical selling amongst Chinese salespeople

The latter part of the twentieth century saw the Chinese economy moving towards a socialist market economy rather than a planned system. Despite growing interest in Chinese business ethics, little work has examined ethical issues concerning the Chinese sales force. This study draws from existing work on Chinese and Western business and sales ethics to develop hypotheses regarding the perceptions of unethical selling behaviour of modern Chinese salespeople. A survey of Chinese sales executives is conducted and statistically analysed. Results are compared with those reported in previous US-based research with regard to differences in perceptions of unethical selling behaviour. The results indicate that contemporary Chinese salespeople were more favourably disposed than expected towards unethical selling behaviour, and also more favourably disposed than previously studied US salespeople. Younger Chinese salespeople evaluated unethical behaviours more favourably than older ones. The results are discussed, along with implications for theory, practice and future work.

Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain

The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.

Bioenergy decision support systems:worth the effort?

The purpose of this research is to explore the disparity between the existing model-orientated bioenergy decision support system (DSS) functions and what is desired by practitioners, in particular bioenergy project developers. This research has compiled the published bioenergy project development models, to highlight the characteristics emphasised by academics. When contrasted against a UK practitioner’s perspective through the administration of a Likert style questionnaire, it is clear that the general DSS issues still persist. Finally, the research suggests how this ’theory-practice’ divide could be addressed. The research contribute

“It is through others that we become ourselves.” A study of Vygotskian play in Russian and Irish schools.

50 years after publishing his seminal work on play and its role in child development, Vygotskian theory is still highly influential in education, and particularly in early years. This paper presents two examples of full integration of Vygotskian principles into schools in two very different settings. Both report improvements in learning and in well-being, and exemplify the theory-practice-theory cycle, highlighting the development of new theoretical constructs arising out of putting theory firmly into practice. In both settings, the positive results have come from years of effort, in which school personnel who may have been skeptical at first, have been inspired by the impact of adopting Vygotskian play on the children they teach. The Northern Ireland study shows that at least some of the Golden Key principles (mixed-age play and enhanced home-school links) translate perfectly into very different cultural-historical contexts.

The Usability of a Commercial Game Physics Engine to Develop Physics Educational Materials: an Investigation

Commercial computer games contain “physics engine” components, responsible for providing realistic interactions among game objects. The question naturally arises of whether these engines can be used to develop educational materials for high school and university physics education. To answer this question, the author's group recently conducted a detailed scientific investigation of the physics engine of Unreal Tournament 2004 (UT2004). This article presents their motivation, methodology, and results. The author presents the findings of experiments that probed the accessibility and fidelity of UT2004's physics engine, examples of educational materials developed, and an evaluation of their use in high school classes. The associated pedagogical implications of this approach are discussed, and the author suggests guidelines for educators on how to deploy the approach. Key resources are presented on an associated Web site.

Drawing in Duos: The Journeys and Intersections Collaboration Project Between Istanbul and Worcester

This paper focuses on a collaborative drawing project carried out between two undergraduate drawing courses, one in İstanbul and the other in Worcester, during the Fall 2015 semester. Duos -teams of two working remotely- took turns to work on the same drawing in correspondence for three months by means of communication and sharing the changing images on-line with one another. The project introduced a collaborative method of learning based on drawing, initiated cultural exchange and cooperation. The role of drawing in the project was critical due to the direct but gradual nature of transmitting meaning onto paper. Outcomes of this project consisted of a flexible and playful creation process for students making use of the element of chance. They sought alternate ways to finalize a drawing and experienced the benefits of artistic co-production. The project has the capacity to inspire artists, instructors and others interested in creative partnership in different disciplines and can be of value as an educational model.

Fallbasiertes E-Learning durch dynamische Verknüpfung von Fallstudien und Fachinhalten. Neue Diskussionsansätze zu einem vernachlässigten Konzept

Der Einsatz von Fallstudien kann als wichtiges Bindeglied zur Verknüpfung von Theorie und Praxis betrachtet werden. Fallstudien ermöglichen die Anwendung theoretischen Grundlagenwissens und die Entwicklung überfachlicher Kompetenzen. Damit können sie einen wichtigen Beitrag zur beruflichen Handlungskompetenz genau dort leisten, wo praktische Erfahrungen im Rahmen der Aus-und Weiterbildung nicht möglich sind. Der Einsatz von Fallstudien sollte aus diesem Grund nicht nur den „klassischen“ Anwendungsdisziplinen wie den Rechtswissenschaften, der Betriebswirtschaftslehre oder der Psychologie vorbehalten sein. Auch im Bereich der Informatik können sie eine wichtige Ergänzung zu den bisher eingesetzten Methoden darstellen. Das im Kontext des Projekts New Economy1 entwickelte und hier vorgestellte Konzept zur didaktischen und technischen Aufbereitung von Fallstudien am Beispiel der IT-Aus- und Weiterbildung soll diese Diskussion anregen. Mit Hilfe des vorgestellten Ansatzes ist es möglich, unterschiedliche methodische Zugänge zu einer Fallstudie für eine computerbasierte Präsentation automatisch zu generieren und mit fachlichen Inhalten zu verknüpfen. Damit ist ein entscheidender Mehrwert gegenüber den bisherigen statischen und in sich geschlossenen Darstellungen gegeben. Der damit zu erreichende Qualitätssprung im Einsatz von Fallstudien in der universitären und betrieblichen Aus- und Weiterbildung stellt einen wichtigen Beitrag zur praxisorientierten Gestaltung von Blended Learning-Ansätzen dar.(DIPF/Orig.)

Verringerung von trägem Wissen durch E-Learning. Am Beispiel einer Akustik-Lern-CD

Die Entwicklung der Akustik-Lern-CD hatte das Ziel, den Anwendungsbezug von theoretischem Wissen bei Regelverstärkern zu fördern. Die Studenten konnten nach dem theoretischen Unterricht zwar Hüllkurven zeichnen und Kompressionsraten berechnen, hatten aber Probleme, in konkreten Situationen wie z.B. beim Übersteuern von Instrumenten den korrekten Regelverstärker auszuwählen. Um einen besseren Wissenstransfer zu erreichen, werden bei der Lern-CD dem Lerner Situationen angeboten, in denen eigene Konstruktionsleistungen möglich sind und in denen kontextgebunden, interaktiv gelernt werden kann.(DIPF/Orig.)

Multimediale, interaktive und patientennahe Lehrszenarien in der medizinischen Ausbildung

MeduMobile ist ein im Rahmen der Ausschreibung „Notebook-University“ vom bmb+f gefördertes Projekt. Ziel des Projektes ist es, die Ausbildung am Krankenbett im Medizinstudium zu verbessern, indem bestimmte Lehrveranstaltungen mit Hilfe von WLAN und Notebook ubiquitär auf dem Campus verfügbar gemacht werden. Hierzu werden neue, so genannte OnCall-Lehrszenarien entwickelt und erprobt, bei denen die auf Abruf bereit stehenden Medizinstudierenden alarmiert und zur Teilnahme gebeten werden, wenn akute und/oder seltene Fälle in die Klinik eingeliefert werden. Die Studierenden nehmen aktiv an den vielfach interdisziplinären Lehrveranstaltungen teil. Der Unterricht findet vor, während und nach der Live-Session statt. Der Hochschullehrer und die Studierenden können den Fall gemeinsam besprechen und die Diagnose bzw. Therapie u.a. an Hand bildgebender Verfahren (CT, Mikroskop, Röntgen, Ultraschall, ...) erarbeiten. Parallel dazu können die Studierenden Lehrmaterialen aus multimedialen Datenbanken, Medline und Internet nutzen sowie eigene Videokonferenzen für die Gruppenarbeit einsetzen. Eine solche Lehrveranstaltung kann somit mehrere didaktische Elemente beinhalten: instruktives, konstruktives, kognitives und kooperatives Lernen. An der Erprobung nehmen etwa 80 Studierende an Veranstaltungen aus 8 Fachgebieten teil. Es werden Studien zur Evaluation des didaktischen Mehrwerts sowie technischer und organisatorischer Qualität durchgeführt. Endgültige Ergebnisse werden Ende 2003 vorliegen.(DIPF/Orig.)

M-Learning im Notebook-Seminar

Das Notebook-Seminar stellte ein M-Learning-Szenario dar, welches durch die Integration des Notebooks in die Lehre eine Verbesserung derselben erwirken soll. Methodischer Schwerpunkt ist das projektorientierte Lernen, welches neben der Vermittlung von Fachinhalten zum Ziel hat, auch fachübergreifende Kompetenzen zu vermitteln. Auf Basis einer ein Semester umfassenden Projektaufgabe werden bestimmte Lernhandlungen von den Studierenden absolviert. Diese Lernhandlungen fassen bestimmte Lernziele, die in Fach-, Methoden und Sozialkompetenz aufgeteilt sind. Das Paper beleuchtet Aspekte des M-Learnings und konzipiert vor diesem Hintergrund das Notebook-Seminar. Danach wird das in die Praxis umgesetzte Konzept vorgestellt und die gemachten Erfahrungen, sowie die Ergebnisse der Evaluation diskutiert.(DIPF/Orig.)

Das Labor im Rucksack – mobile computing in der psychologischen Grundlagenausbildung

Mobile Notebooks, die einen campusweiten Zugriff auf das Hochschulnetzwerk erlauben, eröffnen neue Möglichkeiten der Integration netzbasierter Ressourcen in die reguläre Lehre. Es wird über Entwicklung und gebündelten Einsatz netzbasierter Tools in der psychologischen Grundlagenausbildung berichtet. Spezifische Funktionalitäten mobiler Notebooks wurden in vielfältigen Anwendungen – von Online-Feedback-Instrumenten bis zum virtuellen Experimentallabor – zur Förderung von Lehr-Lern-Prozessen nutzbar gemacht. Sie fördern die individuelle Wissenskonstruktion, indem sie selbstreguliertes und kooperatives Lernen vernetzen, unmittelbares Feedback gewährleisten sowie darüber hinaus die Entwicklung sozialer Bezugsnormen unterstützen. So schaffen sie einen Rahmen, in dem die Studierenden – dem Cognitive Apprenticeship Ansatz folgend – auf ihrem Weg in die wissenschaftliche Community experimentell arbeitender Psychologen von Mitlernenden und Lehrenden unterstützt werden. Innerhalb nur eines Semesters konnten mobile Notebooks und netzbasierte Tools erfolgreich in die reguläre Lehre integriert werden. Die kognitiven und affektiven Grundlagen einer nachhaltigen Verbesserung der Lehr-Lern-Qualität durch den Einsatz derartiger Instrumente werden diskutiert.(DIPF/Orig.)