Natalie LeBlanc and Rita L. Irwin
Since its conception, a/r/tography has been described as an interdisciplinary, dynamic, and emergent practice, blending visual, narrative, performative, poetic, and other modes of inquiry with qualitative methodologies such as ethnography, auto-ethnography, autobiography, and participatory or educational action research. Although some a/r/tographers utilize traditional modes of data-gathering methods, such as interviews, transcripts, and field notes, not all practices of a/r/tography refer to the recording or collection of ideas as “data,” and if they do, they are used in combination with, or in relation to, art-making, creative writing, or performance. As an arts-based methodology grounded in the physicality of making and creating, a/r/tography is situated outside traditional research structures. It is framed by a continual process of questioning where understandings are not predetermined and where artistic contexts, materials, and processes create transformative events, interactive spaces in which the reader/viewer/audience can co-create in meaning-making. In short, a/r/tography is an arts-based form of inquiry that disrupts standardized criteria of research while evoking and provoking alternate possibilities for understanding.
As ways of making meaning in drama strongly resemble the ways that meanings are made in everyday social life, forms of drama learn from everyday life and, at a societal level, people in everyday life learn from drama. Through history, from the emergence of drama in Western culture, the learning that results at a societal level from the interactions of everyday social life and drama have been noted by scholars. In contemporary culture, electronic and digitized forms of mediation and communication have diversified its content and massively expanded its audiences. Although there are reciprocal relations between everyday life and drama, aspects of everyday life are selected and shaped into the various cultural forms of drama. Processes of selection and shaping crystallize significant aspects of everyday social relations, allowing audiences of and participants in drama to learn and to reflect critically on particular facets of social life. In the 20th century, psychological theories of learning have been developed, taking note of the sociocultural relationships between drama, play, and learning. Learning in and through drama is seen as being socially organized, whole person learning that mobilizes and integrates the bodies and minds of learners. Making signs and meanings through various forms of drama, it is interactive, experiential learning that is semiotically mediated via physical activity. Alongside the various forms of drama that circulate in wider culture, sociocultural theories of learning have also influenced drama pedagogies in schools. In the later part of the 20th century and into the 21st century, drama practices have diversified and been applied as a means of learning in a range of community- and theater-based contexts outside of schooling. Practices in drama education and applied drama and theater, particularly since the late 20th century and into the early 21st century, have been increasingly supported by research employing a range of methods, qualitative, quantitative, and experimental.
Emotion research in teaching and education more generally is a well-developed field of inquiry, offering suggestions for initial teacher education course development and practical suggestions for improving the working lives of teachers and schoolchildren. In contrast, emotion research in teacher education is an emergent and expanding area of inquiry. Preservice teachers, or university teacher education students, have unique emotional demands given that their teacher identities may still be in formative stages and their school-based practicum may not present the full complement of emotional experiences that full-time teachers encounter daily and for extended periods of time. Some specific objectives of past research in teacher education include explorations of preservice teachers’ emotions; preparing preservice teachers for the emotional demands of the job; developing understandings about the interplay between teacher–student relationships or social bonds, emotions, and learning; and addressing the strong emotions associated with practicum for preservice teachers, school-based teacher educators, and university-based teacher educators. A diverse range of theories are available for investigating emotion in preservice teacher education. This range presents different ways of conceptualizing what emotions are considered to be, stemming from disciplines including sociology, philosophy, psychology, critical studies, cultural studies, anthropology, and neuroscience. In addition to canvassing theories and traditions, dominant approaches to the study of preservice teacher emotions are addressed including early investigations, which relied on single self-report research methods to the more complex and dynamic multimethod and multitheoretical studies that have emerged in recent years. Suggestions are made for fruitful future lines of inquiry of preservice teachers’ emotional experiences and needs. Teacher attrition and burnout, particularly in the early years, continue to be vexing international problems. Research into preservice teacher emotions and emotion management are two important areas of inquiry that could address the related problems of burnout and attrition. Emotion management is also linked to social bonds, and better understandings of these connections are needed in the context of preservice teachers’ experiences and learning during practicums and within university courses. A focus on enacted classroom and staffroom interactions offers great scope for novel research contributions. Better understandings of structural conditions affecting emotions and preservice teachers’ learning are needed that include the bridging of macrosocial structural factors influencing work conditions with microsocial interactions in classrooms, staffrooms, and during parent-teacher interactions. New research adopting contemporary theories of emotion and methods is needed to explore preservice teacher identities. Combining this focus with the aforementioned lines of investigation into burnout, attrition, social bonds, and connections between macrostructural and microinteractional aspects of teaching and learning presents a third line of novel research. Guiding questions to prompt these and other lines of investigation are offered.
Mark D. Vagle
Post-intentional phenomenology is a phenomenological research approach that draws on phenomenological and poststructural philosophies. In its early conceptualization, post-intentional phenomenology was imagined as a philosophical and methodological space in which all sorts of philosophies, theories, and ideas could be put in conceptual dialogue with one another—creating a productive and generative cacophony of philosophies/theories/ideas that accomplishes something(s) that these same individual philosophies/theories/ideas may not be able to do, in the same way at least, on their own. Although this desire remains, post-intentional phenomenology now serves as more of an invitation for others to play with and among philosophies/theories/ideas to see what might come of such playfulness—and to have the work of the methodology itself potentially produce social change, however great or small. The post-intentional phenomenologist is asked not only to identify a phenomenon of interest, but also to situate the phenomenon in context, around a social issue. An underlying assumption of this methodology is that all phenomena are both personal and social—that is, phenomena are lived by individuals and are in a constant state of production and provocation through social relations. Such a methodological configuration can be of use to studies of teaching—as the work of teaching (as a post-intentional phenomenon) is lived, produced, and provoked by all sorts of entangled complexities that may or may not be conscious to the individual.
Walter S. Gershon
As its name suggests, sonic ethnography sits at the intersection of studies of sound and ethnographic methodologies. This methodological category can be applied to interpretive studies of sound, ethnographic studies that foreground sound theoretically and metaphorically, and studies that utilize sound practices similar to those found in forms of audio recording and sound art, for example. Just as using ocular metaphors or video practices does not make an ethnographic study any more truthful, the use of sonic metaphors or audio recording practices still requires the painstaking, ethical, reflexivity, time, thought, analysis, and care that are hallmarks for strong ethnographies across academic fields and disciplines. Similarly, the purpose of sonic ethnography is not to suggest that sound is any more real or important than other sensuous understandings but is instead to underscore the power and potential of the sonic for qualitative researchers within and outside of education. A move to the sonic is theoretically, methodologically, and practically significant for a variety of reasons, not least of which are (a) its ability to interrupt ocular pathways for conceptualizing and conducting qualitative research; (b) for providing a mode for more actively listening to local educational ecologies and the wide variety of things, processes, and understandings of which they are comprised; (c) ethical and more transparent means for expressing findings; and (d) a complex and deep tool for gathering, analyzing, and expressing ethnographic information. In sum, sonic ethnography opens a world of sound possibilities for educational researchers that at once deepen and provide alternate pathways for understanding everyday educational interactions and the sociocultural contexts that help render those ways of being, doing, and knowing sensible.
Lorin W. Anderson
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Education. Please check back later for the full article.
Although educational objectives have been around for some time, the arrangement of objectives into a taxonomic structure is a more recent phenomenon. The first discussions of the importance of developing one or more taxonomies of educational objectives took place in the late 1940s. Since that time, taxonomies of educational objectives have been developed in three domains: cognitive, affective, and psychomotor. Numerous taxonomies, as many as 20, have been formulated in the cognitive domain.
Taxonomies of objectives have been applied (and misapplied) to curriculum planning. Furthermore, there have been many criticisms of the use of taxonomies of objectives in curriculum planning. Taxonomies of objectives are more useful after larger curricular issues have been addressed (e.g., what’s worth learning? how should time be allocated? what constraints are in placement concerning assessment and evaluation?). One of the more important applications of taxonomies in curriculum planning is in the examination and improvement of curricular alignment.
Margaret L. Niess
The 21st-century explosion and decisive impact of digital media on education has highlighted the need for rethinking the required teacher knowledge for guiding students in taking advantage of improved technological affordances. The reformed teacher knowledge, called technological pedagogical content knowledge (TPCK or TPACK), is knowledge reflecting a dynamic equilibrium for the interaction of technology, pedagogy, and content. The intersection of these three knowledge domains reveals four additional subsets: technological pedagogical knowledge, technological content knowledge, pedagogical content knowledge and technological pedagogical content knowledge. The summation of these domains resides within the intellectual, social, and cultural contexts of education, to reveal the knowledge known as TPCK/TPACK. Teacher educators, researchers, and scholars have been and continue to be challenged with identifying appropriate experiences and programs for assessing and developing this teacher knowledge for integrating digital technologies as learning tools in reformed educational environments. Two questions guide this review of the literature surrounding the active, international scholarship and research toward understanding the nature of TPCK/TPACK and guiding the development of teachers’ TPCK/TPACK. The response to the first question describes the nature of this teacher knowledge for the digital age and how it differs from prior descriptions of teachers’ knowledge. The response to the second question explores the research and scholarship unveiling how this knowledge is developed and assessed at the pre-service and in-service teacher levels. From this scholarly work, three distinct views on the nature of TPCK/TPACK are proposed to explain various approaches in how this teacher knowledge is both developed and assessed in pre-service and in-service preparation programs. The integrated, heterogeneous vision recognizes the distinctness of the multiple subsets in the model and calls for specific preparation in each of the domains as key to developing the teacher knowledge for the digital age. The transformative, homogeneous vision considers the knowledge as a whole, composed through the integration of the multiple subset. Through the educational processes, the multiple subsets are rearranged, merged, organized, integrated and assimilated in such a way that none are any longer individually discernible. The third vision, called the distinctive vision, acknowledges the critical nature of the primary domains of pedagogy, content and technology and proposes the value of preparing teachers in each of these distinct domains. Supporting teachers for gaining the TPCK/TPACK-based knowledge, the preparation must respond to changes in content knowledge, pedagogical knowledge, and technological knowledge. These cumulative scholarly efforts provide a launchpad for future research focused on developing teachers’ knowledge for teaching in the digital age.