The Views Of Pre-Service Teachers About Creative Drama: A Study According To Gender
In this study, it is aimed to determine whether the view points of pre-service teachers, studying at Uludag University, Primary School Teaching Programme, on "Drama in Primary School" course show a significant difference according to gender or not, and to state the contribution of the creative drama course on their personal and professional development through their own point of views. As a result of this study, the analysis of the data was revealed that there was not a significant difference according to gender.The pre-service teachers stated the necessity of "Drama in Primary School" course.
The Views of the Pre-Service Teachers about the Creative Drama as a Method Used in Primary Schools.
Purpose of the study is to investigate views of pre-service teachers about creative drama used as a method in elementary education. In line with this purpose, researchers examine the pre-service teachers' views about the importance of creative drama used as a method in course and kinds of activities that can be used in these courses. This study is consistent of qualitative research techniques. This research was used in form of written interview as a data collection tool. This form consists of 3 semi-structured, open ended question designs to obtain response regarding the research questions. 20 pre-service teachers from the primary education department of education faculty participated in the research in 2014-2015 education period. A content analysis was used for analyzing the data obtained from each form of major categories. By identifying the major categories, sub-categories were created within the major categories for further interpretation. Besides, frequency values relating to stated categories were included. At the results of data analysis, the subcategories/codes of "usability of creative drama in courses" and "development of course outlines in creative drama" themes were demonstrated with their examples. Regarding the themes of "developing course outlines in creative drama", the participants indicated four categories: "preparation of the outline" (f=14), "techniques used" (f=5), "concepts used" (f=11) and "materials used" (f=6). Regarding the themes of "developing course outlines in creative drama" the participants indicated four categories: "preparation of the outline" (f=14), "techniques used" (f=5), "concepts used" (f=11) and "materials used" (f=6).
Unity Identity Text Self
Abstract Understanding the receptivity of literature, how one work admits many readers, begins with an analogy: unity is to text as identity is to self. Unity here means the way all a text’s features can be related through one central theme. Identity describes a person’s sameness within different behaviors as variations on one identity theme (Lichtenstein). To find unity or identity, however, the interpreter himself plays a behavioral variation on his identity theme. In interpreting, his identity re-creates itself as he shapes the text to match his characteristic defenses, fantasies, and coherences. Thus, what a poet says about fictional, political, or scientific texts expresses the same identity theme as the poems he writes. To understand reading, criticism, and any knowing or making in symbols, then, we need to let go the Cartesian craving for objectivity and accept the themes in ourselves with which we construe the world—including literary works.