997 resultados para Cultural animation


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Dissertação de mestrado, Psicologia Social e das Organizações, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2015

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Relatório de estágio de mestrado, Ciências da Educação (Educação Intercultural), Universidade de Lisboa, Instituto de Educação, 2011

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Relatório de estágio de mestrado, Ciências da Educação (Educação Intercultural), Universidade de Lisboa, Instituto de Educação, 2011

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Tese de mestrado, Arte, Património e Restauro, Universidade de Lisboa, Faculdade de Letras, 2010

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Relatório de estágio de mestrado, Ciências da Educação (Educação Intercultural), Universidade de Lisboa, Instituto de Educação, 2013

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This paper proposes a taxonomy to develop culturally competent practitioners. Arguments about what this might mean and how this could be achieved are discussed first, identifying problems with multicultural and antiracist approaches. The model follows the cognitive, emotional and behavioural levels of Steinaker and Bell's experiential taxonomy. Five elements are proposed: cultural awareness, cultural knowledge, cultural understanding, cultural sensitivity and cultural competence. These could address, in increasingly sophisticated and increasingly praxis-oriented ways, issues of power and the construction of meanings and identities which go beyond essentialist notions of ethnicity.

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The Hong Kong subproject was supported by the Quality Education Fund of the Education Bureau in Hong Kong, whereas the Portuguese subproject was supported by the Portuguese Foundation for Science and Technology and by the Institute of Education of the University of Lisbon. The data of this paper were part of the data collected in a multinational project initiated by the International School Psychology Association.

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This chapter is a meditation on the popularity of the BBC TV motoring show Top Gear. Contrary to analyses that read Top Gear as a straightforward expression of casual sexism, it argues that the show (and the culture it exemplifies) can alternatively be read as having been modified in important ways by feminist critique. The chapter argues that feminism’s influence has changed the character of the phallus, that symbolic manifestation of masculinist authority, but that it nevertheless survives and is reinvigorated in our contemporary culture by masquerading as a ‘knob’.