LEADER 05430oam 2200685I 450 001 9910791880503321 005 20230725020106.0 010 $a1-136-88116-6 010 $a1-136-88117-4 010 $a1-283-04329-7 010 $a9786613043290 010 $a0-203-83894-7 024 7 $a10.4324/9780203838945 035 $a(CKB)2560000000058704 035 $a(EBL)667829 035 $a(OCoLC)701718092 035 $a(SSID)ssj0000472730 035 $a(PQKBManifestationID)12130199 035 $a(PQKBTitleCode)TC0000472730 035 $a(PQKBWorkID)10434559 035 $a(PQKB)10175020 035 $a(MiAaPQ)EBC667829 035 $a(Au-PeEL)EBL667829 035 $a(CaPaEBR)ebr10447697 035 $a(CaONFJC)MIL304329 035 $a(EXLCZ)992560000000058704 100 $a20180706d2011 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aResearching creative learning $emethods and issues /$fedited by Pat Thomson and Julian Sefton-Green 210 1$aAbingdon, Oxon, England ;$aNew York :$cRoutledge,$d2011. 215 $a1 online resource (495 p.) 300 $aDescription based upon print version of record. 311 $a0-415-54885-3 311 $a0-415-54884-5 320 $aIncludes bibliographical references and index. 327 $aContents; Contributors; Acknowledgements; Chapter 1 Introduction; What is creative learning?; Childhood, progressivism and creativity; New times, new creativities; Creative subjects; Researching creative learning; About this book; Part 1: What are the practices of creative learning?; Part 2: Can researchers 'see' creative learning and can their research help others to 'see' it?; Part 3: Can creative learning be measured and evaluated?; Notes; References; Part 1 What are the practices of creative learning?; Chapter 2 Capturing the 'plaid' moment; Aesthetic principles 327 $aResearching the aesthetic experienceThe headteacher as researcher; Capturing 'plaid moments'; The rise and fall of student co-researchers; Findings; Summary; Note; References; Chapter 3 From the other side of the fence; Getting into research; The student research project; Pain or pleasure?; The value of research; Chapter 4 What's with the artist?; Introduction; Three constructions of the artist; Artist as uniquely inspired individual; Artist as craftsperson or designer; Artist as collaborator or facilitator; Framing the artist in creative learning research 327 $aWhat research has been done? Methodologies and approachesConclusion; Note; References; Chapter 5 Supporting schools to do action research into creative learning; Action research: what's in a name?; Getting started on inquiry; The importance of questions; It's about evidence; But inquiry has to start where teachers are at; Action research and teachers' learning; The point of action research; The importance of documentation; The outcomes of action research; Resources; Chapter 6 Towards the creative teaching of mathematics; Introduction; Design research; Building on prior research 327 $aBeginning design research in FEA first design iteration; A second design iteration; Closing remarks; Notes; References; Part 2 Can researchers 'see' creative learning and can their research help others to 'see' it?; Chapter 7 A conversation with Kathleen Gallagher; What is your professional background?; What is your current research about?; How do you use drama as part of your research process?; What are the issues in researching theatre with and for kids 'at risk'?; Are there any key issues arising from the ethnographic processes you have used? 327 $aHow does this relate to using drama as a method?What are your views on the accountability of researchers?; Chapter 8 The promise of ethnography for exploring creative learning; The promise of ethnography; The CLASP project; Project strategy; Critical engagement; Common fieldwork lens; Case-study analysis; Conclusion; References; Chapter 9 'Now it's up to us to interpret it'; Introduction; The visual in contemporary culture; Visual methods in research, learning and participatory processes; To answer a question; To generate talk: the visual as 'elicitation tool'; To document or provide evidence 327 $aTo make room for tacit knowledge (and creativity) 330 $aIt is a common ambition in society and government to make young people more creative. These aspirations are motivated by two key concerns: to make experience at school more exciting, relevant, challenging and dynamic; and to ensure that young people are able and fit to leave education and contribute to the creative economy that will underpin growth in the twenty-first century.Transforming these common aspirations into informed practice is not easy. It can mean making many changes:turning classrooms into more exciting experiences;introducing more thoughtful challe 606 $aCreative teaching$xResearch 606 $aCreative ability$xResearch 615 0$aCreative teaching$xResearch. 615 0$aCreative ability$xResearch. 676 $a370.15/7072 700 $aThomson$b Pat$f1948-,$0847707 701 $aSefton-Green$b Julian$0901117 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910791880503321 996 $aResearching creative learning$93706618 997 $aUNINA