Matching Items (3)
Filtering by
- All Subjects: curriculum development
- Creators: Fischman, Gustavo
Description
In this dissertation I attempt to find elements of education and curricular perspective in the Qur'an. I argue that there is little research in the field of curriculum instruction that discusses the Qur'an's educational aspects and, as a result, much ignorance of the Qur'an's material that deals with education and curricular perspective in the Qur'an. Researchers may find many materials that deal with reading, memorizing, and reciting the Qur'an, along with references that deal with science and math in the Qur'an. Therefore, this dissertation answers the question: What curriculum exists within the Quran? This dissertation is divided into five chapters exploring various aspects of the curriculum. The word "curriculum" is used in one chapter to mean developing the person as a whole in all aspects of life whether spiritual, social, or mental while in the other chapter curriculum is used to refer to methods of instruction. I concluded that curriculum in the Qur'an uses different methods of instructions to develop the individual as a whole in all aspects of life while granting freedom of choice.
ContributorsRisha, Sarah (Author) / Margolis, Eric (Thesis advisor) / Fischman, Gustavo (Committee member) / Ali, Souad (Committee member) / Arizona State University (Publisher)
Created2013
Description
Examining the elements of the hidden curriculum in theatre education allows theatre educators the opportunity to reflect on their own pedagogy and its effects on the learner. The hidden curriculum refers to the unspoken or implicit values, norms, and beliefs that are transmitted through tacit messages. When the hidden curriculum remains veiled, the impact on the learner's education and socialization process can perpetuate gender, race, and class inequalities. In order to understand how the hidden curriculum manifests itself in theatre classrooms, we have to look at schools as "agents of legitimation, organized to produce and reproduce the dominant categories, values, and social relationships necessary for the maintenance of the larger society" (Giroux, 1983, p. 72). This qualitative study examined the hidden curriculum in theatre at the secondary level and looked at theatre teachers' pedagogy in reproducing elements of the hidden curriculum. Interviews, naturalistic observation, and a researcher reflective journal were employed in the data collection process to better understand: a) the elements of hidden curriculum that appear in theatre education at the secondary level, b) how the pedagogical practices of theatre teachers support societal structures, and c) how the hidden curriculum in theatre reinforces gender, race, and social class distinctions. Data were then coded and analyzed to find emergent themes. Multiple theoretical perspectives serve as a conceptual framework for understanding the hidden curriculum, and provide a neglected perspective of the hidden curriculum in theatre education. The theatre classroom provides a unique space to view hidden curriculum and can be viewed as a unique agent of social change. Themes related to the first research question emerged as: a) privileges for older students, b) school rules, c) respect for authority, d) acceptance of repetitive tasks, and c) punctuality. Themes related to the second research question emerged as: a) practices, b) procedures, c) rules, d) relationships, and e) structures. Finally, themes related to the third question emerged as: a) reinforcement of social inequality, b) perpetuation of class structure, and c) acceptance of social destiny. The discussion looks at the functions of theatre pedagogy in the reproduction of class, inequality, and institutionalized cultural norms.
ContributorsHines, Angela R (Author) / Saldana, Johnny (Thesis advisor) / Malewski, Erik (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2013
Description
Through the disciplines of art education, anthropology and psychology the researcher examined research-based traits and characteristics of the creative process among a second year Title 1 urban high school art class. Within the theoretical framework of social justice, this micro-ethnographic study explored exactly what teaching and learning to be creative implies and proposes a potential resolution for art teachers learning how to enhance teaching children how to think creatively. The research proposition is that student creativity occurs as a function of a series of interrelated factors including a nurturing classroom context, strong teacher-student dialogue, strategic questioning, purposeful incorporation of visual culture, and manipulation of content in favor of student interests within the culturally situated context of the art classroom. Navigating teacher-student relationships at moments of creative origination produced results indicating that the art teacher alone is the single most influential factor for enhancing creative outcomes in a classroom. Through incorporation of a variety of collaborative activities and comparative analysis of dissimilar content-driven projects generated evidence that artistic skills and creativity do not necessarily go hand-in-hand. The study finds that the artworks produced evidence based nuances of the creative traits of originality, fluency, flexibility, and elaboration in which profoundly varied in character depending on the content and the context. The study concludes that creativity cannot be strictly taught or learned, but rather that it can be enhanced through teacher nurturing and manipulation of content to encompass a socially intelligent uptake in the culture of art-making. Broader implications are suggested focusing on the significance of creative education and the impact it can have for educational systems, schools and undergraduate programs in art education. The researcher proposes an art education curriculum model that fosters both creative thinking and the unique learning needs of Title 1 urban students. The curriculum suggests the art teacher begin initial instruction by teaching students about the traits, characteristics and obstructions of creativity prior to teaching artistic skills sets to serve as a foundation of creative awareness from the start.
ContributorsForeman, Angela (Author) / Young, Bernard (Thesis advisor) / Stokrocki, Mary (Committee member) / Fischman, Gustavo (Committee member) / Arizona State University (Publisher)
Created2014