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In this paper, the repertory grid is presented as a technique to explore novice programmers' experiences within the context of an action research project. The theoretical and methodological aspects of the technique are discussed. The findings from the technique that combined quantitative and qualitative data analysis methods are provided. These findings relate to the learning process, learning content, and learning support as experienced by the students in an introductory object-oriented programming course. The repertory grid technique is then appraised for its relevance and usefulness to the project, and for its contribution to the diversity of computer science research methods. Insights gained from the use of the technique are shared with the community of computer science educators.
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In the context of Asia, the changing dynamics of higher education has increased the visibility and significance of the group of intraregional education migrants. There are several methodological issues which need to be addressed in conducting research for this group of migrants. First, how does the particular type of migrant group and Asian context influence the research design? Second, in order to capture the scale and diversity of this migrant group, how should research be conducted across multiple sites? Third, how does a mixed method design allow researchers to learn more about the behaviour, practice and orientations of education migrants? Our paper aims to make contributions to the discussions on the methods of education migration research in Asia through answering these questions. We use research experiences and preliminary data from a multinational project to illustrate the issues involved in the selection of methods, research design and project management.
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Hong Kong and Macau were politically reunified with Mainland China in 1997 and 1999, respectively. These two cities culturally originated from Mainland China, but due to their own colonial experiences, the Chinese cultural identities within Hong Kong, Macau, and Mainland China became different. The nature of Chinese cultural identities within Hong Kong and Macau were hybridized, and they have formed their own Chinese cultural identities with their own peculiarities. The Internet is a popular communication medium and it facilitates cultural communication inside and outside of these three places. The high-speed development of modern technology leads to the variety of services that emerge in the Internet, such as discussion forum, Blog, Facebook, Twitter, etc. These new and open spaces serve as a platform for ordinary people to express themselves in different ways. General observations in the Internet reveal that the discussion on Chinese cultural identity among Hong Kong, Macau, and Mainland China exists. The combination of self-identity and reconstruction of self-cultural identity are happening in these differently colonized places. Some local Chinese people in Macau, and Taiwanese in Taiwan, share this kind of experience as well. Meanings in different issues via different symbols are formed and they can be seen from the photos that circulate in the Internet using threads posted in Blogs or discussion forums. All these kinds of images or contexts become symbols of recognizable identities. Internet use, therefore, has facilitated the cultural communication between Hong Kong, Macau, Mainland China, and Taiwan. It has also intensified the enlightenment of Chinese cultural identity, showing and highlighting in effect the remnants of recognizable traits in these territories that were once colonized by different states. In essence, they may arguably have formed heterogeneous Chinese cultural identities. This study presents the uniqueness of the formation of Macau identity in comparison to Hong Kong, and how different it was from Hong Kong after the end of the colonial period. This ‘awakening process’, it is argued, provides a new perspective for understanding the attendant connotations and evaluations of cultural identities, and the different perspectives used to understand how the Internet is reshaping the social world. The reconstruction of cultural identity is a global issue and cultural hybridity is an essential element for reconstruction of self-cultural identity in the postcolonial period. This study employs postcolonial theory, along with observation, in-depth interview and online data collection and content analysis that were adapted during the course of the research, in order to discuss this phenomenon
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For sustainability researchers and global policy makers it is lucid clear that a radical turnaround of modern societies is needed to approach sustainable development paths. Pope Francis takes his stand on a basic paradigm shift in his Encyclical Letter Laudato Si’: Care for our Common Home (2015). He calls for a radical shift of mindsets and ecological and cultural conversion which are needed for sustainability and a life in dignity for all. The author compares aspects from sustainability research and Laudato Si’ and shows how science and Francis spiritual-theological take converge. Both call for the need of new mindsets and spiritual resources to nourish just life-styles and sustainable societies.
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The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.
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