Codeship: Financing growth: Case study and Teaching note

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Discovering a history : the school of art at the University of Denver

Discovering a History: The School of Art at the University of Denver explores the early history of art education in Denver, and the significance of visual art education at the University of Denver within that history beginning in 1865, when the first classes in art were offered, and ending in 1929 when the University acquired the Chappell School of Art—an independent art school—and appointed Vance Kirkland as director. This paper also explores competing art institutions, which at times posed great hindrances to the University. Further, it illustrates how the artists who taught at the University of Denver School of Art, such as Ida De Steiguer, Preston Powers, Emma Richardson Cherry, and Henry Read, were amongst the great contributors to Denver’s burgeoning artistic culture.

Commonplace book of John Holyoke, 1662 - May 1663

This unbound commonplace book was kept by John Holyoke during 1662 and 1663. The volume contains chiefly religious quotations and sermon notes (possibly of sermons preached by Holyoke himself), in English, Latin and Greek. Both ends of the volume were used to begin writing: the front page reads “Johannes Holyoke, adjunctu occupatu, May-1663” and the rear page reads “Johannes Holyoke [illegible] 1662.” The texts do not follow a straight tête-bêche model, where one text is upside down in relation to the other; rather, the texts change direction several times within the volume. The volume also includes part of letter sent to Holyoke’s grandfather Pynchon, September 16, 16?? [date illegible], as well as a series of alphabetically arranged quotations.

Introducció a la recerca en història de l'art. El cas de les pintures del Prado dipositades al Museu d'Art de Girona

Amb l’objectiu de formar els estudiants d’Història de l’Art en el coneixement de la iconografia cristiana, la doctora M. Assumpta Roig va decidir dur-los a treballar al Museu d’Art de Girona. Allà, van poder conèixer de primera mà les obres amb les quals s’enfrontarien. Però les peces no es trobaven exposades a les sales, no eren obres conegudes. Dormien, gairebé totes, a la reserva. Els estudiants es disposaven a treballar amb les obres del Museu del Prado que, des de fa més d’un segle, hi ha en dipòsit al Museu

Les Imatges digitals en l'ensenyament de la Història de l'art: base de dades d'imatges d'art contemporani

L’objectiu d’aquesta comunicació és presentar el treball que s’ha vingut desenvolupant al llarg dels darrers anys en els estudis d’Història de l’art de la Universitat de Girona, i més concretament entorn de l’àrea de coneixement d’Art contemporani. Aquest treball, emmarcat en diversos programes d’innovació docent, va consistir, en una primera fase, en la digitalització del material visual utilitzat en la docència (les anteriors diapositives); i en la fase que actualment estem desenvolupant, en la creació i posta en marxa d’una Base d’imatges d’art contemporani en línia, que està actualment en fase de proves. Des del punt de vista docent, aquest projecte posa èmfasi en l’aspecte que nosaltres considerem clau en l’àmbit de la nostra tasca docent: el que hem intentat és crear una eina que faciliti la tasca dels nostres estudiants posant a la seva disposició tot el material visual treballat a les classes, de manera que el seu procés d’aprenentatge esdevingui molt més autònom i individualitzat. La valoració que els estudiants han fet de les fases del projecte executades fins ara ha estat molt positiva, i per això creiem que aquest projecte continua essent vàlid per al seu desenvolupament futur. Així mateix, aquesta eina s’està mostrant també molt útil pel que fa a temes de recerca, tant per als docents com per els estudiants, i voldríem aprofundir també en aquesta direcció. En la propera fase el que pretenem és afavorir molt més la implicació de l’estudiant, ja que posant al seu abast més recursos, esperem que els utilitzi també de forma més autònoma i creativa, i que això tingui una repercussió positiva en el seu procés d’aprenentatge. Així mateix, i partint del fet que tot aquest material serà disponible on-line, pretenem explorar les possibilitats de connectar el nostre recurs amb altres de similars que puguin altres universitats, amb l’objectiu d’optimitzar-ne l’ús i les potencialitats

Ut pictura poesis: artes plásticas y literatura: didácticas paralelas

Actualmente, la enseñanza de la historia del arte como disciplina se imparte en las universidades, en la mayoría de los casos, sin tener en cuenta otras manifestaciones artísticas paralelas en el tiempo y en el espacio. Nuestra propuesta, partiendo de una base teórica que relaciona las artes plásticas y la literatura, subraya las similitudes metodológicas del estudio de las dos disciplinas, sus intercambios de terminología, más común desde la literatura hacia la pintura que al revés, y propone una metodología didáctica que facilite y complemente la comprensión de la historia del arte. El objeto de la presente comunicación es demostrar la utilidad de la enseñanza paralela de la historia de la literatura y de la historia del arte, para mejorar la comprensión de la segunda, y establecer una metodología que permita crear conexiones y paralelismos entre ellas. Hay que aclarar que hablamos de la Historia del Arte por un lado y de la Historia de la Literatura por otro, ya que el término “literatura” es amplio y complejo

Teaching about the Holocaust : essays by college and university teachers

This collection of fourteen essays by renowned scholars in the field of Holocaust studies seeks to reflect on the experience of teaching and researching this complicated and emotional topic. Contained within are the pioneering stories of those presently engaged in the work of Holocaust education. Separately, they represent a variety of disciplines and orientations. Collectively, they give evidence of the strong commitment to continue this important work, and the moral and ethical demands such teaching, writing, and research place upon all who engage in it. Different perspectives from historical, philosophical, and religious frameworks come together to create a unique contribution to the literature on the Holocaust. Educators discuss what they teach, their methodologies and theoretical orientations and reflect on their own journeys that brought them to this field. The unique nature of these stories bring needed background to the field of Holocaust studies and also serve to inspire others to enlarge their thinking and understanding of previous work on this topic. The stories of these committed Holocaust educators will serve to inspire a new generation of thinkers, writers, and activists to engage in such work. In reading their stories, their collective commitment to make a difference today and tomorrow shines through. This volume will be a valuable resource for courses in the Holocaust, contemporary post-Holocaust realities, as well as courses in genocide. Scholars and anyone with an interest in enriching their understanding of the Holocaust will find much within to inspire them and provoke new ideas.

Exploring our nation's capital: exploring the role of cultural institutions in the teaching of history and social education in the primary classroom

Explores the role of cultural institutions in the teaching of history and social education in the primary classroom in Australia. Keys to effective teaching and learning of history; Potential of cultural institutions to foster historical interest, relevance, importance and significance; Practicalities of accessing cultural institutions.

Cultivating creative ecologies : creative teaching and teaching for creativity

Australian universities now commonly list creativity amongst the generic attributes that graduates are expected to have achieved or demonstrated upon graduation. While this reflects emerging local and global trends to encourage creativity at every educational level, creativity as a generic capability has special difficulties. These include problems of definition, its perceived value, the gap between espoused beliefs and practice, and tensions between standards and accreditation agendas and the desire to embed creative outcomes in the curriculum. Contextual and disciplinary differences also shape the expression of creative teaching and teaching for creativity. This paper explores these issues, acknowledging the role of information and communications technologies in shaping the technology-enhanced learning spaces where creativity may emerge. Csikszentmihalyi’s model of creativity as a system of interactions is presented as a useful foundation for furthering the discourse in this domain, along with the notion of creative ecologies as spaces for effecting change.

Teaching building services to architecture and building students

Building environmental services can often be categorised as ‘one of the least desirable courses’ in the curriculum of architecture and building. Nevertheless, it is also one of the most important and confronting subjects in the procurement of real building projects. The principal message to designers is that of spatial requirements while to the builders it may become one of capital cost, installation specifications and maintenance of equipment. Getting these concepts across in a creative, yet project oriented, manner can be challenging to the students and to the lecturer. This paper presents the developments of ten years of teaching the subject, as well as the methods of delivery which have proven to be successful.

Curriculum history of business computing in Victorian tertiary institutions from 1960-1985

Fifty years ago there were no stored-program electronic computers in the world. Even thirty years ago a computer was something that few organisations could afford, and few people could use. Suddenly, in the 1960s and 70s, everything changed and computers began to become accessible. Today* the need for education in Business Computing is generally acknowledged, with each of Victoria's seven universities offering courses of this type. What happened to promote the extremely rapid adoption of such courses is the subject of this thesis. I will argue that although Computer Science began in Australia's universities of the 1950s, courses in Business Computing commenced in the 1960s due to the requirement of the Commonwealth Government for computing professionals to fulfil its growing administrative needs. The Commonwealth developed Programmer-in-Training courses were later devolved to the new Colleges of Advanced Education. The movement of several key figures from the Commonwealth Public Service to take up positions in Victorian CAEs was significant, and the courses they subsequently developed became the model for many future courses in Business Computing. The reluctance of the universities to become involved in what they saw as little more than vocational training, opened the way for the CAEs to develop this curriculum area.

Learning approaches and student perceptions of teaching quality

This research investigated the links between students' personal characteristics, their approaches to learning and their perceptions of teaching quality in a first-year accounting unit. Significant learning differences were found between Australian and Chinese students, and strong inter-relationships between contextual factors, such as teaching quality, and learning approaches were identified.