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  • 1.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Drama as method to collect data2015Conference paper (Other academic)
    Abstract [en]

    Drama has little space in the curriculum and it is unusual with drama education in Swedish compulsory schools. Drama is mostly used in temporary projects and not as a continuous part and not as a continuous part of education. But there are a smaller number of schools where drama is used continuously, even if the organization of how differ. In my research project I am following drama education in four classes, in different schools.  Participating pupils are main informants. Issues concern how young people perceive drama and learning in and through drama.

    Data collecting methods consist of observation and interviews. Individual and group interviews, with participating pupils, are used, and in the group interviews both verbal communication and drama are used as data collecting methods. Point of departure for choice of use of drama as data collecting method is that there might be parallels between drama processes and research inquiry. In both cases can focus be on the explorative process and on meaning developing in co-creating interaction.

    In the presentation at this conference experiences of use of drama as integrated part of group interviews will be discussed.

  • 2.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Drama som metod för att samla in data om uppfattningar2014In: Pedagogiskt arbete: Enhet och mångfald / [ed] Monika Vinterek och Anders Arnqvist, Falun: Högskolan Dalarna, 2014Chapter in book (Refereed)
  • 3.
    Rosén, Susanne
    Dalarna University, School of Education and Humanities, Educational Work.
    Drama-Based Research Methods as Integrated Part of Group Interviews2012Conference paper (Other academic)
  • 4.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Gestaltande undervisnings- och redovisningsformer med särskilt fokus på Grundlärarprogrammet – Förskoleklass och grundskolans åk. 1-32015Student paper otherStudent thesis
  • 5.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Improvisation in drama – a space of attunement and openness for the unexpected2016Conference paper (Other academic)
    Abstract [en]

    In data from the empirical study in my research project about how learning is done in and through drama, improvisation appear as an important component in drama education. Improvisation is about attunement, and about openness for the unexpected and the different. In this presentation I discuss the significance of improvisation for processes of becoming and creation of new knowledge. Interconnections are made between mentioned data, Biesta’s (2013) reasoning that education always involves a risk, and nomad philosophical thoughts about the not-yet-known.

  • 6.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Interaktioner kropp – rum – objekt – känsla - symbolskapande, i drama2018Conference paper (Other academic)
    Abstract [sv]

    I drama, när deltagare tillsammans skapar en fiktiv handling och agerar i roll, sker interaktioner mellan bland annat kropp, rum, objekt, känsla och symbolskapande. Dessa (och andra) komponenter påverkar ömsesidigt varandra och bidrar till den process som sker. Utgångspunkt för resonemanget tas i ett nomadfilosofiskt perspektiv, och komponenter ses som aktiva agenter som sam-producerar processer i en händelse (Deleuze & Guattari, 1980/1988). Den kroppsliga interaktionen med rummet och olika objekt involverar känslomässiga upplevelser och sinnesupplevelser, och benämns av Deleuze och Guattari (1980/1988) som haptisk. I mitt paper ges en sammanfattande bakgrund om detta teoretiska synsätt samt hur det kan kopplas  till dramateori om att tanke, känsla och handling samverkar i en dramaaktivitet (Lepp, 1999). Här ses ’handling’ som både fysisk handling, social interaktion, och som fiktiv handling i dramatisering. Skapandet av symbolisk innebörd i handlingar och objekt görs både i kommunikation mellan deltagare (verbalt och i handling), och som inre förståelse (Braidotti, 2010; Courtney, 1990).

    Exempel ges från undervisningshändelser i drama, från en forskningsstudie om lärande i drama när drama erbjuds som kontinuerlig del av undervisning inom svensk grundskola (Rosén, kommande). Ett nomadfilosofiskt perspektiv används tillsammans med dramateori i en analys och diskussion om hur olika komponenter i interaktion bidrar till lärandeprocesser i drama.

  • 7.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Learning as movements in interspace2014Conference paper (Other academic)
    Abstract [en]

    My research issues (in rearch project for PhD-degree, named Drama in School) concern how learning takes place in drama education in compulsory school. One part is to explore and problematize approaches to learning (in and through drama). In this paper will the concept learning be discussed by using a thought derived from Deleuze and Guattari’s nomad philosophy. They describe learning as a movement in the interspace. Focus is on process and inquiry, not on achievement of predetermined skills and competences. 

  • 8.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Learning in and through drama: The necessity to use multiple theoretical perspectives in order to understand how learning takes place in drama2013Conference paper (Other academic)
    Abstract [en]

    The complexity of learning implies that learning seldom is about just one thing. It can be said that learning processes are interdisciplinary. Within educational contexts, learning is not limited to constructed school subjects. In drama education, learning is simultaneously about drama as aesthetic expression and content because drama always is about something. The mainly focus can be on form, content or social aspects. The different aspects are always present, but may be more or less foreground or the background depending on the purpose of education. How do development concerning understanding of form, content, and social interaction, interact in a learning process in drama? My research is based on the view that learning at the same time takes place as an individual, internal process and a socially situated, inter-subjective process.

    Can learning in drama imply learning that can be transferred between different situations, a transformative learning and if so, how? Transformative learning includes cognitive, affective and corporal and social action aspects and means that the individual's frames of reference are transformed, evolved, to become more insightful and flexible which implies a change of personality. It leads to an integrated knowledge that can be applied in different contexts.

     

    In the paper that will be presented at the conference, theories about how we learn in drama will be discussed in relation to my empirical research concerning drama and learning.

  • 9.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Learning what AND how in drama /Lärandets vad OCH hur relaterat till drama i skolan2015Conference paper (Other academic)
    Abstract [sv]

    De estetiska områdena riskerar att positioneras utifrån det dualistiska synsätt som präglar skolan. Dualismen innebär generellt sett bland annat att tyngdpunkten idag förläggs på utvecklande av förmågor och på mätbara resultat. Fokus finns på vad som lärs. Därmed underordnas processen, hur lärande sker. Estetiska uttrycksformer används ofta som redskap för att stödja lärande i olika skolämnen eller erbjuds som tillfälliga projekt vid sidan av ordinarie undervisning. I det förstnämnda fallet fokuseras inte kunskaper inom uttrycksformen, men samtidigt påverkar kunnande avseende till exempel tekniker inom konstformen hur denna kan användas för att utforska det tematiska innehållet. I det andra fallet kanske inte koppling finns till skolämnens mål och då kan aktiviteten uppfattas som mindre viktigt. Ett sådant antingen/eller tänkande riskerar också att gälla positionering av de estetiska ämnena som antingen redskap för lärande inom andra ämnen eller som konstarter med ett egenvärde.  Detta kan bidra till att elever inte ges förutsättningar att utforska och uttrycka olika innehåll genom olika konstformer i de fall som dessa inte också utgör egna skolämnen.

     

    De estetiska ämnesområdena kan erbjuda lärande både i och genom form och om innehåll. I mitt paper kommer dock endast drama att beröras. Gällande drama har fyra olika mål formulerats, konstnärlig form, innehåll, personlig och social utveckling (Bolton, 1992) men här ses dessa områden både som aspekter av process och som mål. Syftet är att utforska möjligheten att flytta perspektiv på lärande till mellanrummet där vad som lärs och hur lärande sker samspelar. Lärande ses som rörelse vilket innebär en pågående förskjutning av vad som lärs. En utgångspunkt är Deleuze och Guattari’s nomadfilosofi. I detta paper utforskas framför allt ”the logic of AND” (MacLure, 2013), dvs. användande av förbindelseordet OCH som beskrivning av både relation och rörelse, en pågående deterritorialisering. Detta teoretiska perspektiv relateras till drama i undervisning inom grundskolan.

     

  • 10.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Post-constructionism and drama2015Conference paper (Other academic)
    Abstract [en]

    As a theoretical tool for exploration of drama and learning, I use post-constructionism which can be described as moves “into and beyond stances” (Lykke, 2010, p. 133) of constructionism, social constructionism and post-structuralism. It is a theoretical tool to highlight and explore non-hierarchical interrelations between discursive formations, materialities and affects, in a specific practice. However, in this is not included symbolic elements (symbols, metaphors, imagination, metaxis) who are active in drama processes. Braidotti’s (2002, 2006) reasoning about memory/imagination might be a useful way to include these drama elements. In my presentation this will be discussed.

  • 11.
    Rosén, Susanne
    Dalarna University, School of Education, Health and Social Studies, Educational Work.
    Processes of Perspective Taking in Drama2017In: Processes of Perspective Taking in Drama / [ed] Susanne Rosén, 2017Conference paper (Other academic)
    Abstract [en]

    Drama can be a space to explore different alternatives of action or perspectives of an issue or a phenomenon. In this paper is explored how processes of perspective taking in dramatic acting in role can be understood and described. The mechanism to imagine that we are acting in role in a fictive context seems to be similar as perspective taking in other contexts. Perspective taking concerns both to see things from others’ point of view, and to consider something from different perspectives. It can for example be about to imagine how one’s choice can affect others, or mentally inquire different alternatives (perspectives) before actual realization of an act or taking a decision. To take other(s) perspective is a complex process that is both interior and exterior. It can be understood as an interconnected bodily, mental, and affective action. In order to explore how processes of perspective taking are done in drama I use Nomad philosophy and thoughts presented within the neuroscientist field.  The chosen approaches can together contribute to understanding about embodied and mental aspects of perspective taking in drama.

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  • nn-NO
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