OJS Karolinum (Charles University)
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Substantive aspect of photography as a work of art
Get PDFVěcná stránka fotografie jako uměleckého díla. – Článek inspirovaný souborem tří přednášek Martina Heideggera Původ uměleckého díla se zabývá tématem fotografie jako uměleckého díla. Fotografie zde není představena pouze jako „obraz světa“, nebo „otisk skutečnosti“, ale jako plnohodnotná forma umění, která může naplnit všechny požadavky, které jsou na umělecká díla v Původu uměleckého díla kladeny. V článku je představeno zamyšlení nad dílčím problémem fotografie jako uměleckého díla, a to nad její věcnou stránkou. Touto stránkou se ukazuje býti světlo, a fotografie je představena jako umělecká forma, která „nechává zazářit světlo“, což je básnický obrat, inspirovaný Heideggerovým „I malíř sice potřebuje barvu, ale tak, že barvu nespotřebovává, nýbrž ji nechává zářit“ (Heidegger 2016: 53).Substantive aspect of photography as a work of art. – The article inspired by three lectures of Martin Heidegger The Origin of the Work of Art is dealing with the topic of photography as an art form. Photography is not presented here as mere “image of the world” or “imprint of reality”, but as an art form of its own, which can fulfill all requirements that are asked from art works in The Origin of the Work of Art. In the article a partial problem is explored, and that is the thingness of photography. The thingness is shown to be light and photography is presented as an art form that “allows light to shine”, which is a poetic expression, inspired by Heideggers “Even painter needs a color, however not to use it up, but to let it shine” (Heidegger 2016: 53)
School Libraries as a Support for the Development of Reading Interest of Primary Education Pupils from the Perspective of Elementary School Teachers
No full textProblematika nízkej úrovne čitateľskej gramotnosti slovenských žiakov rezonuje v našej spoločnosti najmä v súvislosti s výsledkami v medzinárodných testovaniach PIRLS a PISA. V praxi pozorujeme, že za množstvom problémov v oblasti vzdelávania v súčasnosti stojístrata záujmu o čítanie. Treba zdôrazniť, že čitateľská gramotnosť je dôležitou kompetenciou, bez ktorej nie je možné rozvíjať ďalšie kompetencie. Školské knižnice zohrávajú dôležitú úlohu pri vytváraní pozitívneho vzťahu k čítaniu a knižnej kultúre u žiakov v mladšom školskom veku. Sú neoddeliteľnou súčasťou vzdelávacieho procesu – poskytujú žiakom prístup k zdrojom, podporu a prostredie, ktoré rozvíja ich čitateľské a gramotnostné zručnosti. Realizovaním vhodne zvolených projektov a podujatí majú školské knižnice pozitívny vplyv aj na zlepšovanie vzdelávacích výsledkov. Hlavným cieľom výskumu bolo prostredníctvom dotazníkovej metódy zistiť, či školské knižnice, ktoré pravidelne organizujú pre žiakov rôzne aktivity a zapájajú ich do rôznych projektov, ovplyvňujú budovanie pozitívneho vzťahu k čítaniu a knižnej kultúre, ako aj podporujú rozvoj čitateľskej gramotnosti u žiakov na primárnom stupni vzdelávania.The issue of the low level of reading literacy among Slovak students has become a prominent topic in public discourse, particularly in connection with the results of international assessments such as PIRLS and PISA. In practice, it is evident that many current educational challenges stem from a declining interest in reading. It is essential to emphasise that reading literacy is a fundamental competence, without which the development of other key skills is not possible. School libraries play a crucial role in fostering a positive attitude toward reading and book culture among younger students. They are an integral part of the educational process, providing access to resources, support, and an environment that nurtures students’ reading and literacy skills. Through the implementation of well-designed projects and activities, school libraries can also contribute to improved educational outcomes. The primary objective of this research was to examine, through a questionnaire-based study, whether school libraries that regularly organise various activities and engage students in different projects influence the development of a positive relationship with reading, book culture, and the enhancement of reading literacy among primary school pupils
Physics textbooks requirements
Get PDFV souvislosti s tvorbou středoškolské učebnice fyziky, která v současné době probíhá na katedře didaktiky fyziky Matematicko-fyzikální fakulty Univerzity Karlovy, je cílem této studie odpovědět na otázku, jaké jsou požadavky kladené na učebnice fyziky nebo obecněji na učebnice přírodních věd, které se opakovaně objevují ve studiích publikovaných v mezinárodním prostředí. K řešení této otázky byla využita systematická rešerše v databázi Web of Science, obsahová analýza nalezených studií a jejich komparace. Zejména na základě volby různých kombinací klíčových slov bylo nalezeno šest relevantních studií. V nich bylo identifikováno 25 opakujících se požadavků kladených na fyzikální nebo přírodovědné učebnice. Významově podobné požadavky byly sdruženy do tří základních skupin (a několika podskupin): i) obsahové požadavky (oborový obsah nezávislý na žákovi, oborový obsah orientovaný na žáka, kognice žáků, motivace žáků, různorodost); ii) formální požadavky (verbální stránka, grafická stránka); iii) požadavky kladené na strukturu učebnice (rozložení ilustrací a textu, uspořádanost učebnice). V rozsáhlé příloze článku jsou uvedena původní (přesná) znění požadavků kladených na učebnice. Na základě výsledků studie budou zkonstruovány nástroje, prostřednictvím nichž budou vznikající učebnici fyziky reflektovat žáci, učitelé a didaktikové fyziky. Výsledky studie a vzniklé nástroje budou využitelné také k reflexi dalších přírodovědných učebnic.In the context of developing a physics textbook for upper secondary schools, currently ongoing at the Department of Physics Education, Faculty of Mathematics and Physics, Charles University, the goal of this study is to answer the question: what are the requirements for physics textbooks, or more broadly for science textbooks, that repeatedly appear in studies published in international context? To address this question, a systematic search of the Web of Science database, along with content analysis and comparison of the studies found, were conducted. Especially, using various combinations of keywords, six relevant studies were identified. These studies revealed 25 recurring requirements for physics or science textbooks. Similar requirements were grouped into three main categories (and several subcategories): i) content requirements (subject-matter independent of the student, student-oriented subject matter content, student cognition, student motivation, diversity), ii) formal requirements (verbal aspects, graphical aspects), iii) structural requirements for the textbook (layout of illustrations and text, textbook organization). An extensive appendix of the article provides the original (exact) wording of the identified textbook requirements. Based on the study findings, tools will be designed to enable students, teachers, and physics education experts to evaluate the developing physics textbook. The results of the study and the developed tools will also be applicable for reflecting on other science textbooks
The Fidelity of Implementation and Teachers’ Perceptions of the SIMPLE Approach: Evidence from Lower Secondary Classrooms in Kosovo
Get PDFThis study is part of broader research focused on the SIMPLE Approach, a constructivist intervention that integrates the bar model method with metacognitive scaffolding to enhance word problem-solving skills in Kosovo\u27s lower secondary classrooms. It specifically examines the fidelity of implementation and teachers\u27 perceptions of this approach. The study aims to fill a research gap in design-based intervention studies, which recognise the critical role of teachers but provide limited insight into their actual work and how faithfully they implement interventions. To address this gap, the study explored two areas: (1) the fidelity of three teachers\u27 implementation of the SIMPLE Approach and (2) the teachers\u27 perceptions of its usefulness. Data collected from classroom observations, teacher diaries, and interviews revealed varying levels of fidelity, which improved over time. Teacher 1 exhibited the lowest fidelity, struggling with the bar model method and limiting group work. In contrast, Teacher 3 demonstrated the highest fidelity, successfully incorporating all aspects of the SIMPLE Approach and promoting active pupil engagement. Regarding their perceptions, all three teachers maintained positive attitudes towards the SIMPLE Approach from the outset and appreciated its benefits by the end of the intervention. Although the generalisability of the findings is limited, they suggest that the SIMPLE Approach holds promise. However, the study highlights the need for comprehensive teacher training and ongoing support, especially when introducing new methods, to ensure effective implementation and high fidelity
Což takhle dát si fraktál?
No full textV úvodu článku je stručně zodpovězena otázka, co je to fraktál, a jsou předloženy důvody, proč má smysl se ve výuce fraktály zabývat. Dále jsou představeny různé metody konstrukce fraktálů využitelné ve školní praxi. Fraktály lze snadno zařadit do výuky již na druhém stupni základních škol, ať už jako součást uceleného kurzu nebo jako jednotlivé tematické bloky. Konstrukce jsou vytvářeny především v programu GeoGebra, ale i tradičními metodami (tužka, papír) nebo pomocí dalších nástrojů (PowerPoint, webové aplikace). V závěru je ukázáno, že i pojem fraktální dimenze je přístupný pro středoškolské studenty
Vizualizácie úlohy z podmienenej pravdepodobnosti
No full textUvedené postupy vizualizace při řešení úloh z podmíněné pravděpodobnosti
Translational music education
No full textLearning music belongs to the core tasks of music education, alongside psycho-affective responses, cognitive understanding, aesthetic immersion and creative activities. While all these performances are inextricably intertwined with central-nervous processes, music educational theories and models are markedly lacking neuroscientific substantiation. Regardless of these shortcomings, a wealth of studies on neuro-cognitive music processing may profoundly elucidate music educational topics, hence the idea to bridge the gap between music-neuro-lab outcomes and music educational practice. Regarding that about 30 years ago translational medicine was designed to improve the application of lab-derived results in clinical practise – shortly ‘bench-to-bedside’ – the novel term ‘translational music education’ was coined. Integrating music-related psycho-biological findings gives rise to epistemological meta-syntheses and theoretical frameworks, alongside comparative research on system compatibility between music educational models and relevant lab-data of music processing. This helps to improve the scientific reliability of music educational theories and highlights distinct benefits of music education such as music as a powerful booster of neuroplasticity, which is the basis of all learning and developmental processes. Distinct interdisciplinary and international research collaboration is needed to promote translational music education, which is expected to increase the recognition of music education within the multifaceted world of sciences, alongside significant improvements of teaching techniques.Learning music belongs to the core tasks of music education, alongside psycho-affective responses, cognitive understanding, aesthetic immersion and creative activities. While all these performances are inextricably intertwined with central-nervous processes, music educational theories and models are markedly lacking neuroscientific substantiation. Regardless of these shortcomings, a wealth of studies on neuro-cognitive music processing may profoundly elucidate music educational topics, hence the idea to bridge the gap between music-neuro-lab outcomes and music educational practice. Regarding that about 30 years ago translational medicine was designed to improve the application of lab-derived results in clinical practise – shortly ‘bench-to-bedside’ – the novel term ‘translational music education’ was coined. Integrating music-related psycho-biological findings gives rise to epistemological meta-syntheses and theoretical frameworks, alongside comparative research on system compatibility between music educational models and relevant lab-data of music processing. This helps to improve the scientific reliability of music educational theories and highlights distinct benefits of music education such as music as a powerful booster of neuroplasticity, which is the basis of all learning and developmental processes. Distinct interdisciplinary and international research collaboration is needed to promote translational music education, which is expected to increase the recognition of music education within the multifaceted world of sciences, alongside significant improvements of teaching techniques
Exploring the role of body movement in music education
No full textBody movement is deeply rooted in musical expression in all cultures and has an important place in music education and choral practise. This article explores how movement — whether conscious or instinctive — shapes the training and performance of choirs, focussing on the dynamic relationship between conductors and singers. Using auto-ethnographic narratives, the article traces the developmental paths of two individuals involved in music education, focusing on how movement has influenced their development as educators and performers. Based on a comprehensive theoretical framework that includes the methods of Zoltán Kodály, Émile Jaques-Dalcroze and Carl Orff (Orff-Schulwerk), the article emphasises the deep connection between music and movement. It explores how this synergy promotes cognitive, physical and emotional growth by introducing movement-based practises such as body percussion, rhythmic gymnastics, expressive dance and conducting gestures. These exercises have been shown to improve musical understanding, concentration and emotional expression. By comparing personal narratives, the article highlights both similarities and differences in the way movement is integrated into choral training. The findings emphasise the inextricable link between music and movement and demonstrate its transformative power in fostering deeper musical engagement and building a sense of community among teachers and learners. Ultimately, the article argues for the continued inclusion of natural movement in artistic and pedagogical practise, emphasising its role as an essential component of music education and the choral arts.Body movement is deeply rooted in musical expression in all cultures and has an important place in music education and choral practise. This article explores how movement — whether conscious or instinctive — shapes the training and performance of choirs, focussing on the dynamic relationship between conductors and singers. Using auto-ethnographic narratives, the article traces the developmental paths of two individuals involved in music education, focusing on how movement has influenced their development as educators and performers. Based on a comprehensive theoretical framework that includes the methods of Zoltán Kodály, Émile Jaques-Dalcroze and Carl Orff (Orff-Schulwerk), the article emphasises the deep connection between music and movement. It explores how this synergy promotes cognitive, physical and emotional growth by introducing movement-based practises such as body percussion, rhythmic gymnastics, expressive dance and conducting gestures. These exercises have been shown to improve musical understanding, concentration and emotional expression. By comparing personal narratives, the article highlights both similarities and differences in the way movement is integrated into choral training. The findings emphasise the inextricable link between music and movement and demonstrate its transformative power in fostering deeper musical engagement and building a sense of community among teachers and learners. Ultimately, the article argues for the continued inclusion of natural movement in artistic and pedagogical practise, emphasising its role as an essential component of music education and the choral arts
Doorway to Dionysus’ Techno Realm.: An autoethnography on the aesthetics of rave culture (between Berlin and Prague)
Get PDFThis study examines the phenomenon of rave culture in its epicentre, Berlin, and confronts it with the Czech scene, which I have focused on as an insider in previous dance-anthropological research. In writing this study, I applied Jan Mukařovský’s aesthetic concept of function, norm, and value to the collected data. Mukařovský’s concept provides a relevant framework for exploring the role of aesthetics in the broader sociocultural context of rave culture, particularly in the context of forming communal identity, value sharing, and reflection on sociocultural influences. The purpose of this paper is to understand how aesthetics and the knowledge of subcultural symbols, codes, skills, values, and ideas, which can be described as subcultural capital, serve to preserve the ethos of rave culture and to maintain important values, including the creation of safe spaces. The rave scene in Berlin differs significantly from the Czech scene in many ways. First, it differs in terms of door policy, dimension, intensity, and state support. Clubs in Berlin are run as cultural institutions that have a major influence on shaping the local cultural and social space.This study examines the phenomenon of rave culture in its epicentre, Berlin, and confronts it with the Czech scene, which I have focused on as an insider in previous dance-anthropological research. In writing this study, I applied Jan Mukařovský’s aesthetic concept of function, norm, and value to the collected data. Mukařovský’s concept provides a relevant framework for exploring the role of aesthetics in the broader sociocultural context of rave culture, particularly in the context of forming communal identity, value sharing, and reflection on sociocultural influences. The purpose of this paper is to understand how aesthetics and the knowledge of subcultural symbols, codes, skills, values, and ideas, which can be described as subcultural capital, serve to preserve the ethos of rave culture and to maintain important values, including the creation of safe spaces. The rave scene in Berlin differs significantly from the Czech scene in many ways. First, it differs in terms of door policy, dimension, intensity, and state support. Clubs in Berlin are run as cultural institutions that have a major influence on shaping the local cultural and social space