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Lehrpersonen im Fokus: Ansätze für die Förderung von Gesundheit und Leistungsmotivation
No full textGesunde Lehrpersonen sind eine wichtige Voraussetzung für die Gesundheit und den Bildungserfolg der Schülerinnen und Schüler. Allerdings zeigen aktuelle Studien, dass viele Lehrpersonen aufgrund ihrer beruflichen Herausforderungen unter einem hohen Stressniveau leiden. Der vorliegende Beitrag untersucht, wie die Gesundheit von Lehrpersonen gestärkt werden kann. Auf der Ebene der Behörden werden die Rahmenbedingungen als Voraussetzung für die Lehrpersonengesundheit thematisiert. Darüber hinaus wird die Schule als Organisation in den Blick genommen, wobei das Führungsverhalten der Schulleitung sowie die Zusammenarbeit im Team beleuchtet werden. Auf der Ebene des Individuums liegt der Fokus auf dem Erleben von Stress und dem Umgang damit. Basierend auf diesen Erkenntnissen werden Implikationen für die Aus- und Weiterbildung von Lehrpersonen formuliert
Online-Coaching als Beitrag zur Flexibilisierung von Curricula: Herausforderungen und Chancen
No full textOnline-Coaching ist ein möglicher Zugang zur Flexibilisierung im Curriculum. Im Fokus dieses Beitrags stehen die Erfahrungen von Dozierenden als Coaches mit Online-Coaching über eine professionelle Software in einem Projekt und in der Pandemie. Die Coaches erlebten sich durch Feedbackprozesse selbstwirksam und erachteten den Fokus auf Sprache und die Prozesssteuerung als wesentliche Merkmale. Die zunehmende Ko-Kreation in der Pandemie führte zu Fragen hinsichtlich der professionellen Identität, weil die Coachees den Prozess zunehmend selbst steuerten. Schliesslich verdeutlichen wir anhand eines Modells, dass curriculare Veränderungsprozesse in Learning Communities reflektiert und weiterentwickelt werden sollen
“Actualiser” les études de musicologie ? Enjeux à la lumière du multimédia
Get PDFPartant de la révision des plans d\u27études de musicologie de l\u27Université de Genève, cet article questionne les modalités et la finalité d\u27une "actualisation" des cursus : en tant qu’enseignant-e, pourquoi encourager une telle démarche, et comment ? Au milieu de quels enjeux scientifiques et pédagogiques navigue-t-on ? Ces questions sont explorées au travers de la thématique du multimédia (films, séries, jeux et autres), qui fournit une illustration pertinente aux synergies qui peuvent être établies entre la recherche, les expériences des étudiant-es et la conception des cursus.Partant de la révision des plans d\u27études de musicologie de l\u27Université de Genève, cet article questionne les modalités et la finalité d\u27une "actualisation" des cursus : en tant qu’enseignant-e, pourquoi encourager une telle démarche, et comment ? Au milieu de quels enjeux scientifiques et pédagogiques navigue-t-on ? Ces questions sont explorées au travers de la thématique du multimédia (films, séries, jeux et autres), qui fournit une illustration pertinente aux synergies qui peuvent être établies entre la recherche, les expériences des étudiant-es et la conception des cursus.Partant de la révision des plans d\u27études de musicologie de l\u27Université de Genève, cet article questionne les modalités et la finalité d\u27une "actualisation" des cursus : en tant qu’enseignant-e, pourquoi encourager une telle démarche, et comment ? Au milieu de quels enjeux scientifiques et pédagogiques navigue-t-on ? Ces questions sont explorées au travers de la thématique du multimédia (films, séries, jeux et autres), qui fournit une illustration pertinente aux synergies qui peuvent être établies entre la recherche, les expériences des étudiant-es et la conception des cursus.Partant de la révision des plans d\u27études de musicologie de l\u27Université de Genève, cet article questionne les modalités et la finalité d\u27une "actualisation" des cursus : en tant qu’enseignant-e, pourquoi encourager une telle démarche, et comment ? Au milieu de quels enjeux scientifiques et pédagogiques navigue-t-on ? Ces questions sont explorées au travers de la thématique du multimédia (films, séries, jeux et autres), qui fournit une illustration pertinente aux synergies qui peuvent être établies entre la recherche, les expériences des étudiant-es et la conception des cursus
The Anatomy of a Benign Failure: Péter Szőke’s Ornithomusicology as Represented in Barátom, Bonca, a 1975 Hungarian Children’s Film
Get PDFThe 1975 Hungarian children’s television film Barátom, Bonca (Bonca, my Friend; directed by Ilona Katkics, screenplay by Katalin Varga) contains a remarkable scene in which a ten-year-old boy is initiated into the idea of universal music through a declaration that birdsong has musical quality. In my article I show that the scene was inspired by ornithomusicology, the one-man discipline of Péter Szőke, whose (pseudo)scientific activity in Kádár-era Hungary aimed to prove that birdsong and human music were governed by the same neurological and physical laws. Attending to the history of its genesis, I dissect the scene to demonstrate that everything one hears in it is the result of four consecutive instances of failure: wishful thinking in science, misinterpretation, misrepresentation and misidentification, of which the first can be ascribed to Szőke, the rest to the filmmakers. I show how the filmmakers’ factual errors were conditioned by age-old concepts of European culture, and I conclude that these errors nevertheless contributed to the artistic authenticity of the final product. This authenticity is inseparable from a strong sense of environmental ethics, which is partly conveyed by the specific way the word ‘music’ is used in the film.The 1975 Hungarian children’s television film Barátom, Bonca (Bonca, my Friend; directed by Ilona Katkics, screenplay by Katalin Varga) contains a remarkable scene in which a ten-year-old boy is initiated into the idea of universal music through a declaration that birdsong has musical quality. In my article I show that the scene was inspired by ornithomusicology, the one-man discipline of Péter Szőke, whose (pseudo)scientific activity in Kádár-era Hungary aimed to prove that birdsong and human music were governed by the same neurological and physical laws. Attending to the history of its genesis, I dissect the scene to demonstrate that everything one hears in it is the result of four consecutive instances of failure: wishful thinking in science, misinterpretation, misrepresentation and misidentification, of which the first can be ascribed to Szőke, the rest to the filmmakers. I show how the filmmakers’ factual errors were conditioned by age-old concepts of European culture, and I conclude that these errors nevertheless contributed to the artistic authenticity of the final product. This authenticity is inseparable from a strong sense of environmental ethics, which is partly conveyed by the specific way the word ‘music’ is used in the film.The 1975 Hungarian children’s television film Barátom, Bonca (Bonca, my Friend; directed by Ilona Katkics, screenplay by Katalin Varga) contains a remarkable scene in which a ten-year-old boy is initiated into the idea of universal music through a declaration that birdsong has musical quality. In my article I show that the scene was inspired by ornithomusicology, the one-man discipline of Péter Szőke, whose (pseudo)scientific activity in Kádár-era Hungary aimed to prove that birdsong and human music were governed by the same neurological and physical laws. Attending to the history of its genesis, I dissect the scene to demonstrate that everything one hears in it is the result of four consecutive instances of failure: wishful thinking in science, misinterpretation, misrepresentation and misidentification, of which the first can be ascribed to Szőke, the rest to the filmmakers. I show how the filmmakers’ factual errors were conditioned by age-old concepts of European culture, and I conclude that these errors nevertheless contributed to the artistic authenticity of the final product. This authenticity is inseparable from a strong sense of environmental ethics, which is partly conveyed by the specific way the word ‘music’ is used in the film.The 1975 Hungarian children’s television film Barátom, Bonca (Bonca, my Friend; directed by Ilona Katkics, screenplay by Katalin Varga) contains a remarkable scene in which a ten-year-old boy is initiated into the idea of universal music through a declaration that birdsong has musical quality. In my article I show that the scene was inspired by ornithomusicology, the one-man discipline of Péter Szőke, whose (pseudo)scientific activity in Kádár-era Hungary aimed to prove that birdsong and human music were governed by the same neurological and physical laws. Attending to the history of its genesis, I dissect the scene to demonstrate that everything one hears in it is the result of four consecutive instances of failure: wishful thinking in science, misinterpretation, misrepresentation and misidentification, of which the first can be ascribed to Szőke, the rest to the filmmakers. I show how the filmmakers’ factual errors were conditioned by age-old concepts of European culture, and I conclude that these errors nevertheless contributed to the artistic authenticity of the final product. This authenticity is inseparable from a strong sense of environmental ethics, which is partly conveyed by the specific way the word ‘music’ is used in the film
¿(Des)centralización de los sistemas de conocimiento indígena? De la teoría a la práctica
Get PDFIndigenous Peoples possess significant knowledge that aids in maintaining the diversity of the world\u27s cultural and biological landscapes, thereby contributing to the transformation towards sustainability. However, their knowledge, ideas, practices, needs, and values continue to be decontextualized and instrumentalized within global conservation agendas. Despite advancements in international policy regarding the promotion of Indigenous rights, which positively impact the access and dissemination of Indigenous voices in local and global environmental discourses, the challenges remain characterized by colonial continuities. This article explores the dilemma that Indigenous knowledge systems should be central to environmental discourses, yet remain marginalized due to historical, sociopolitical, and economic factors, resulting in an Epistemicide, or systematic marginalization. We identify the need to deconstruct the Colonialities of Knowledge and Nature within the scientific and political spheres of conservation and conclude with the urgent and imperative necessity to fully preserve Indigenous knowledge systems. We propose pillars of action to ethically and appropriately integrate the role of Indigenous Peoples in these debates, facilitate mutual learning, and prevent further erosion of this knowledge.Los Pueblos Indígenas poseen importantes conocimientos que nos ayudan al mantenimiento de la diversidad del paisaje cultural y biológico del mundo, y con ello contribuyen a lograr una verdadera transformación hacia la sustentabilidad. Sin embargo, sus conocimientos, ideas, prácticas, necesidades y valores continúan siendo descontextualizados e instrumentalizados en las agendas globales de la conservación. Aunque existen avances en la política internacional relativa a la promoción de los derechos Indígenas, lo que repercute positivamente en el acceso y la difusión de sus voces en los discursos medioambientales locales y globales, los retos siguen caracterizándose por continuidades coloniales. Este artículo explora el dilema de que los sistemas de conocimiento Indígena deberían formar parte central de los discursos medioambientales, pero siguen siendo descentralizados por factores históricos, sociopolíticos y económicos resultando en un Epistemicidio, o marginación sistemática. Identificamos la necesidad de deconstruir las Colonialidades del Saber y de la Naturaleza en las esferas científicas y políticas de la conservación, y concluimos con la imperativa necesidad de preservar íntegramente los sistemas de conocimiento Indígena. Proponemos pilares de acción para integrar ética y adecuadamente el papel de los Pueblos Indígenas en estos debates, posibilitar el aprendizaje mutuo y evitar mayor erosión de estos conocimientos
Metrical Epitaphs from the Southern Suburb of Tauric Chersonesos
Get PDFThe paper offers the first publication of three metrical inscriptions found in the Southern Suburb of Chersonesos Taurica: a brief epitaph on the ossuary of Pharnaces, son of Dionysios (the second quarter – the middle of the 2nd cent. AD) and two marble tablets, one containing a more extended but not fully preserved epitaph of Philo, the daughter of Apollonios (2nd cent. AD), the other the fragmentary epitaph for an unknown person, possibly a warrior (the last quarter of the 2nd cent. – the 1st quarter of the 1st cent. BC).Статья представляет собой первую публикацию трех стихотворных надписей, найденных в Южном пригороде Херсонеса Таврического. Это краткая эпитафия на оссуарии Фарнака, сына Дионисия (2-я четв. – сер. II в. н. э.) и две эпитафии на мраморных табличках: более развернутая, но сохранившаяся не полностью эпитафия Фило, дочери Аполлония (II в. н. э.) и фрагмент эпитафии неизвестного лица, возможно, воина (посл. четв. II в. до н. э. – 1-я четв. I в. до н. э.)
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