995 resultados para DEWEY, JOHN


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Syftet med denna uppsats är att undersöka hur och med vilka medel det skrämmande i John Ajvide Lindqvists Låt den rätte komma in skapas, hur detta förmedlas till läsaren och vilka konsekvenser detta får samt att undersöka på vilket sätt vampyren Eli skiljer sig från den traditionella vampyren.Utgångspunkt i romanen är den mänskliga kroppen och särskilt fokus läggs vid kroppsvätskor, kroppslukter, det sexuellt avvikande och den deformerade kroppen. Gestaltningen av detta handlar om ett brytande mot tabun och etablerade normer som finns i vårt samhälle i dag. Detta skapar känslor av obehag och äckel hos läsaren. Ajvide Lindqvist använder sig av det groteska i syfte att illustrera de obekvämligheter som vi inte vill kännas vid.Eli skiljer sig från den traditionella vampyren genom att vara ett barn och genom att kunna uppfattas som flicka. Här finns också en komplexitet vad gäller kön, då Eli kan sägas vara intergender – av ett odefinierbart kön som ligger bortom de vanliga kategorierna "man" och "kvinna".

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This thesis deals with the use of inquiry-based approaches in primary school science. The aim is to investigate the goals and purposes that are constituted by the curriculum and by the teachers in interviews and through their teaching in the classroom. The results are used to develop conceptual tools that can be used by teachers’ in their work to support students’ learning of science when using an inquiry-based approach. The thesis is comprised of four papers. In paper one a comparative analysis is made of five Swedish national curricula for compulsory school regarding what students should learn about scientific inquiry. In paper two 20 teachers were interviewed about their own teaching using inquiry. Classroom interactions were filmed and analyzed in papers three and four, which examine how primary teachers use the various activities and purposes of the inquiry classroom to support learning progressions in science. The results of paper one show how the emphasis within and between the two goals of learning to carry out investigations and learning about the nature of science shifted and changed over time in the different curricula. Paper two describes the selective traditions and qualities that were emphasized in the teachers’ accounts of their own teaching. The results of papers three and four show how students need to be involved in the proximate and ultimate purposes of the teaching activities for progression to happen. The ultimate purposes are the scientific purposes for the lesson (as given by the teacher or by the curriculum), whereas the proximate purposes are the more student-centered purposes that through different activities should allow the students to relate their own experiences and language to the ultimate purpose. The results show the importance of proximate purposes working as ends-in-viewin the sense of John Dewey, meaning that the students see the goal of the activity and that they are able to relate to their experiences and familiar language.

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If John Martyn Harlow is known at all in the neurosciences, it is because he was the physician who attended Phineas Gage and followed up his case. Although Harlow's brief but insightful accounts of the changes in Gage's personality are fairly well recognized, and his skill in treating Gage often acknowledged, Harlow himself is, for the most part, the shadowy figure caught by the self-depreciatory characterization of the subtitle of this paper. Although his contribution to the neurosciences was singular, literally and figuratively, he deserves a place in the history of the subject. Harlow's training in antiphlogistic therapy can be seen in his treatment of Gage and in his evaluation of its results. As a medical student, he was also exposed to phrenological doctrine, the influence of which can also be seen in his  appreciation and explanation of some aspects of Gage's behaviour.  Manuscript materials, newspaper reports, and other little known material are used here to evaluate Harlow's contributions to medicine and to the medical, political, and civic life of Cavendish, Woburn, and the Commonwealth of Massachusetts.

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Feyerabend, 1975; Feyerabend, 1981 and Feyerabend, 1987 takes J. S. Mill’s On Liberty to support the proliferation of theories in science and to emphasize the fallibility of scientific knowledge. On Liberty, according to Feyerabend, contradicts and overthrows Mill’s major study of science, A System of Logic. Staley (1999) reads the 2 works of Mill as giving complementary accounts of science. The present author rejects these interpretations of Mill, arguing that A System of Logic and On Liberty are mutually compatible since On Liberty concerns the nature of non-scientific knowledge and the methods that Mill believes are appropriate to expanding and assessing that knowledge.

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In July 2003 an important one-volume text, Forget about Flinders: A Yanyuwa atlas of the south west gulf of Carpentaria produced in a limited edition of 14 copies, returned to Yanyuwa country and to the families who collaborated with John Bradley and artist Nona Cameron on the project. Subsequently, a second edition of 20 copies has been released, mainly to institutions. It is the most comprehensive attempt yet to restore Yanyuwa names to country and to produce a multilayered, dynamic, history-rich, and bilingual representation of how country is known in this community, and how the central song cycle texts intersect with Yanyuwa tradition. What follows is a condensed and edited interview with Frances Devlin-Glass, in which John Bradley discusses the motivations, the hybridised methodologies employed, the innovations of this new genre, and the pedagogical ends served by this latest iteration of Yanyuwa song cycles.

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Film technology, in the broadest sense, embraces a vast array of knowledge, skills, tools, and systems. These include the codes and conventions of screen representation at the centre of much screen scholarship. The electro-mechanical tools of filmmaking are less often the focus of academic study than these codes and conventions, but they are central to them and to the daily work of artists and educators in the field of screen production. This paper traces the scope and significance of technical change, for independent film making, over the past four decades. Melbourne documentary filmmaker John Hughes provides a varied and expansive oeuvre through which to arrange an historical equipment list.

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Background and Purpose-: Little is known about any variations in resource use and costs of care between stroke subtypes, especially nonhospital costs. The purpose of this study was to describe the patterns of resource use and to estimate the first-year and lifetime costs for stroke subtypes.

Methods-: A cost-of-illness model was used to estimate the total first-year costs and lifetime costs of stroke subtypes for all strokes (subarachnoid hemorrhages excluded) that occurred in Australia during 1997. For each subtype, average cost per case during the first year and the present value of average cost per case over a lifetime were calculated. Resource use data obtained in the North East Melbourne Stroke Incidence Study (NEMESIS) were used.

Results-: The present value of total lifetime costs for all strokes was Aus $1.3 billion (US $985 million). Total lifetime costs were greatest for ischemic stroke (72%; Aus $936.8 million; US $709.7 million), followed by intracerebral hemorrhage (26%; Aus $334.5 million; US $253.4 million) and unclassified stroke (2%; Aus $30 million; US $22.7 million). The average cost per case during the first year was greatest for total anterior circulation infarction (Aus $28 266). Over a lifetime, the present value of average costs was greatest for intracerebral hemorrhage (Aus $73 542), followed by total anterior circulation infarction (Aus $53 020), partial anterior circulation infarction (Aus $50 692), posterior circulation infarction (Aus $37 270), lacunar infarction (Aus $34 470), and unclassified stroke (Aus $12 031).

Conclusions-: First-year and lifetime costs vary considerably between stroke subtypes. Variation in average length of total hospital stay is the main explanation for differences in first-year costs.

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Background and Purpose—— Accurate information about resource use and costs of stroke is necessary for informed health service planning. The purpose of this study was to determine the patterns of resource use among stroke patients and to estimate the total costs (direct service use and indirect production losses) of stroke (excluding SAH) in Australia for 1997.

Methods—— An incidence-based cost-of-illness model was developed, incorporating data obtained from the North East Melbourne Stroke Incidence Study (NEMESIS). The costs of stroke during the first year after stroke and the present value of total lifetime costs of stroke were estimated.

Results——
The total first-year costs of all first-ever-in-a lifetime strokes (SAH excluded) that occurred in Australia during 1997 were estimated to be A$555 million (US$420 million), and the present value of lifetime costs was estimated to be A$1.3 billion (US$985 million). The average cost per case during the first 12 months and over a lifetime was A$18 956 (US$14 361) and A$44 428 (US$33 658), respectively. The most important categories of cost during the first year were acute hospitalization (A$154 million), inpatient rehabilitation (A$150 million), and nursing home care (A$63 million). The present value of lifetime indirect costs was estimated to be A$34 million.

Conclusions—— Similar to other studies, hospital and nursing home costs contributed most to the total cost of stroke (excluding SAH) in Australia. Inpatient rehabilitation accounts for {approx}27% of total first-year costs. Given the magnitude of these costs, investigation of the cost-effectiveness of rehabilitation services should become a priority in this community.

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Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.

In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

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Non-reimbursed ‘out of pocket’ costs to stroke patients have not been included in existing cost of illness studies. We aimed to determine the nature and magnitude of ‘out of pocket’ costs to stroke patients during the first year after stroke. ‘Out of pocket’ costs during the first year after stroke were documented for 165 persons registered in a community-based stroke incidence study during 1996/1997. Virtually all cases reported some ‘out of pocket’ costs. The average cost over 12 months was A$1110. The highest cost items were home modifications, aids and equipment. The most commonly incurred expense was for prescription medications. Total ‘out of pocket’ costs incurred by first-ever stroke patients in Australia in 1997 were estimated to be A$29 million or 5% of the total cost of stroke. The majority of ‘out of pocket’ costs relate to post-acute care aimed at minimising disability and handicap rather than to ‘acute’ healthcare.

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