This paper studies the transactional distance between the students and the tutor as well as the autonomy of students in a postgraduate course of the Hellenic Open University (HOU). The aim of the paper is to examine how the relation between autonomy and transactional distance evolves during an academic year and how this relation is affected by demographic parameters, such as gender, age group and student experience (year of studies). For this purpose an empirical research was conducted and a sample of postgraduate students responded to a questionnaire (which included a scale for transactional distance, a scale for autonomy and demographic questions) during two different time periods within an academic (2012-2013). The results of the statistical analysis showed that during the evolution of the learning process there was a small change in transactional distance, especially for the dimension of co-understanding, while there was also a change in one of the dimensions of autonomy, namely sensitivity to others. However, no relation was observed between transactional distance and autonomy, ether in the first or the second measurement during the academic year. This finding is also regarded in the overall framework of the different critiques and interpretations of Moore’s theory.
The aim of this study is to empirically examine the correlation between student satisfaction from their studies and three important distance learning factors in a blended distance education environment, namely the student-tutor interaction, the performance of the tutor and the course evaluation by the students. The study involved 81 postgraduate students from a modular course of the School of Humanities of the Hellenic Open University (HOU). A questionnaire of 35 closed type questions was used. The majority of the students were satisfied from their studies, from the tutor's performance and from the communication and interaction with their tutor, while they also provided a positive overall course evaluation. Regarding the course evaluation, they would like the course programme to be better formulated and more clearly communicated. The data analysis yielded a significant, positive correlation between the satisfaction of the students from their studies and all three examined factors. Finally, there was a statistically significant difference on student satisfaction levels among different age groups, a statistically significant difference regarding the number of course modules attended in relation to the evaluation of the tutor's performance and a statistically significant difference regarding the number of Counseling Group Sessions (CGS) attended in relation to student satisfaction.
Greek traditional dance’s transition from its “first” to the “second” existence took place in the context of the urbanization as this took place in Greece. This transition was accompanied, among others, with its teaching into a classroom that had to follow the principles governing every educational process. In this new context, the dance teaching is subject to literacy processes, which, in this case, are related to a literacy of dance and therefore of culture, that is to a dance and cultural literacy. The aim of this study is to look at dance as an educational subject that can lead to critical literacy through dance’s multiliteracies as a synthesis of dance, movement, cultural and art literacy, with specific reference to Greek traditional dance. For this, literature-based research methodology is adopted that includes analysis and evaluation of relevant published literature. The literature review showed that Greek traditional dance, in the modern education framework, can be perceived in the light of critical literacy based on its multiliteracies, which are related to the concepts of movement, dance, art and cultural literacy.
The development of technology and the widespread application of digital tools, such as teleconference (or videoconference), has led researchers to reflect on traditional theories and models of learning concerning Distance Education, as well as the formulation of new ones. The aim of this study is to propose the introduction of the concept tele-mathesis in Distance Learning, in order to describe the learning process by videoconferencing in Distance Education, which has features of an “embodied” and “integrated” way of learning. This is a theoretical study based on Illeris’ Theory of “Integrated” Learning that has been adopted in Distance Learning, using elements of the Theory of Tele-proximity concerning learning by videoconferencing in Distance Education. According to the developed argumentation the importance of the senses, emotions and “techniques of the body” is revealed in both the educational and learning process by videoconferencing, in order to reduce the transactional distance between the teacher and the learner, as well as, to lead to a positive distance educational experience. Thus, the cognitive, emotional and social factors involved in “tele-mathesis”, turn videoconferencing into an “embodied” and “integrated” way of learning. At the same time, it is showed that the empowerment of “tele-mathesis” requires appropriate planning and specific management methods. It is therefore proposed to introduce the term telemathesis in Distance Education so as to fully attribute this specific learning process of Distance Education.
This paper is concerned with resonances of the tragic in twentieth-century central-European dance theatet, to be discussed with particular reference to Pina Bausch's 1975 Orpheus and Eurydice. In my study Resonances of the Tragic: Between Event and Affect (2015), I have argued that in terms of a history of the “longue durée,” the evocation of the tragic occurs in a field of tension between technique, the mise-en-scène, and conceptions, as well as procedures and moments of interruption, of suspension, of disruption and of the indeterminable resulting from ecstatic corporeality. Its structure and function can generate an event in the emphatic sense of the term; consequently, it provides a paradigm for recognizing structures of form and of an aesthetic of reception, structures emerging from individual constellations of the fictional and choric, absence and presence. From the perspective of dance studies, the tragic emanates from the representation of horrendous monstrosity testing the limits of what can be imagined by means of the moved body in all senses of the word; but how exactly does Bausch produce the qualities of the ambivalent, ambiguous, and paradoxical—and, consequently, the tragic?
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