Students’ Learning Processes during School-Based Learning and Workplace Learning in Vocational Education: A Review     

Harmen Schaap  Liesbeth Baartman  Elly de Bruijn 《Vocations and Learning》2012,5(2):99-117

Learning in vocational schools and workplaces are the two main components of vocational education. Students have to develop professional competences by building meaningful relations between knowledge, skills and attitudes. There are, however, some major concerns about the combination of learning in these two learning environments, since vocational schools are primarily based on the rationales of learning and theory, while workplaces are based on the rationales of working and practice. This study therefore aims to structure empirical insights into students’ learning processes during the combination of school-based learning and workplace learning in vocational education. A review-study has been conducted in which ultimately 24 articles were analyzed thoroughly. The review shows that students’ learning processes in vocational schools and workplaces are related to six main themes: students’ expertise development, students’ learning styles, students’ integration of knowledge acquired in school and workplace, processes of knowledge development, students’ motivations for learning and students’ professional identity development. Our results show that students are novices who use specific and different learning styles and learning activities in vocational schools and workplaces. It is concluded that the enhancement of students’ learning processes needs to be adaptive and differentiated in nature. Recommendations for further research are elaborated and suggestions for the enhancement of students’ learning processes are discussed using insights from hybrid learning environments and boundary crossing via boundary objects.  相似文献   

The ascendancy of the Sorbonne: The relations between centre and periphery in the academic order of the third French Republic     

Barnett Singer 《Minerva》1982,20(3-4):269-300

  相似文献   

Who leaves and who stays in special education: a 2-year follow-up study     

D K Walker  J D Singer  J S Palfrey  M Orza  M Wenger  J A Butler 《Exceptional children》1988,54(5):393-402

  相似文献   

Predicting performance in a teaching internship     

Michael D. Andrew  Elizabeth L. Lent  Cari Moorehead  David M. Moss  Mary O. Singer  Karen H. Woolf 《Journal of Personnel Evaluation in Education》1996,10(3):271-278

  相似文献   

Psychology of exercise and sport: Participation for all     

R. Singer  R. Balboa  V. Gikalov  E. Hahn  H. Rieder  D. Samulski  D. Teipel  M. Wiskow 《Sportwissenschaft》1986,16(3):334-341

  相似文献   

Rivalry and externalities in secondary art markets     

Leslie P. Singer 《Journal of Cultural Economics》1981,5(2):39-57

Summary As is the case with other field theories, Urban Economics, Environmental Economics, etc. the microeconomics of the arts attempts to derive a set of particular propositions from the general propositions of Economic Theory. In the process a substantial amount of cross-fertilization takes place. The specific characteristics of art markets require modification or amplification of some general propositions of economic theory, which in turn may offer novel and possibly useful insights as well as testable hypotheses. The following propositions appear to emanate from the present paper.In general markets R & D efforts are directed towards product or process innovation. For the most part, a known consumer technology exists. Innovation in art markets involves product creation as well as the creation of a consumer technology capable of deriving satisfaction from consumption of the new product. In open markets, a non-patentable product would entail excessive free ridership. Such a state of affairs may discourage innovation. Primary sellers would tend to adapt to narrowly changing consumer technologies. Such was the case during most of art history up to the late 19th century. At present, museums and art critics act as quasi patent offices, which fosters innovation by assuring a positive sum game.A new consumer technology is expected to be demand-augmenting. Not necessarily in the sence of McCain [12] where discontinuous jumps in demand are postulated. Even if such shifts were to occur in individual demand curves, market demand will nevertheless be continuous. The present model presumes that the augmentation is mostly due to increasing numbers of art buyers entering as the new consumer technology casues substitution of one style for another (or one fad for another). Syndicate behavior is induced by the winners of the race who have successfully established a new consumer technology and subsequently extend an umbrella over the membership. In this manner the spoils are shared more equitably. This is a peculiarly modern phenomenon. In the past one could not put a Teniers above a Rembrandt or a Polidoro above a Raphael. The generally accepted rules of decorativeness, that is, craftmanship and composition were obvious and immediately perceptible by all.In certain instances syndicate behavior favors single leadership by an established dealer, or a small group of dealers with a proven track record in spawning new technologies. Collectors, too, are involved, by overpaying for art. The discovering collector creates entry barriers for other collectors and thus has a monopoly of discovery of purely intellectual appeal art. Followers may opt to reduce their rivalry in exchange for assurances that once the new technology is in place, they will be given the opportunity to recycle the art brought into being by the leader or leaders. Under certain conditions, as analyzed in the foregoing, this constitutes an optimal strategy.As in the classical case, entry reduces investment and drives rents to zero, if each firm invests a roughly equivalent amount in support of the prevailing consumer technology. There arises the limiting case, equivalent to pure competition (see EQ. 10). On the other hand, several counterveiling strategies are possible. For example, overpayment, as in the case of Rothko. This limits the artists' output in the market. Leftover art is donated or acquired by museums. Such art is no longer competitive, as opposed to art held by other collectors, which, diminishes art'sscarcity value.The most probable outcome of a Cournot-Stackelberg type behavior is a succession of leader-follower or leader-recyler type syndicates, each successively dissolving as new consumer technologies replace old ones. It is, of course, possible for several specialized syndicates to operate contemporaneously. The rate of turnover clearly depends on the speed of dissemination of information. The curator, critic, trustee, consultant has a vested interest in episodic art and an spawning new consumer technologies: if this were not so, there would be no need for the pre-eminance of the critic. He is the magician, the priest, the medicine man who knows the secret language and penetrates the mysteries.  相似文献   

Are Multiple Art Markets Rational?   总被引：1，自引：1，他引：0  

Leslie P. Singer  Gary a. Lynch 《Journal of Cultural Economics》1997,21(3):197-218

We advance and subsequently test the proposition thatmarkets for fine art are rational, namely, that, inthe determination of price, traders make use of allrelevant art historical and critical information, asrevealed by hedonic content analysis, as well as allinformation on authenticity of the works offered forsale. If true, the proposition has consequences forpublic policy. Museums optimize choices among art historicallysignificant authentic paintings distributed asstochastic rare events in the tertiary market for art. Such paintings have few, if any, art historicallyequivalent substitutes, causing the demand for suchworks of art to be extremely inelastic. Museums tendto buy at the top of the information curve; payingprices which exceed market averages for similar art. As a result, society pays the cost of institutionalrisk aversion. In contrast, collectors often purchaseart before all art historical information is complete,and often earn a reward for assuming a risk due toincomplete information (Singer, 1991; Pomerhene, 1994).Collectors who can borrow to accumulate the highestcategory art can consume the services of their artcollection at zero cost. Stochastic transferfunctions fitted to time series of sales volume at thetwo top international auction houses confirm thehypothesis that the highest category of art is a quasisubstitute for financial instruments (liquid wealth).  相似文献   

Possible Solution to Publication Bias Through Bayesian Statistics,Including Proper Null Hypothesis Testing     

Elly A. Konijn  Rens van de Schoot  Sonja D. Winter  Christopher J. Ferguson 《Communication methods and measures》2015,9(4):280-302

The present paper argues that an important cause of publication bias resides in traditional frequentist statistics forcing binary decisions. An alternative approach through Bayesian statistics provides various degrees of support for any hypothesis allowing balanced decisions and proper null hypothesis testing, which may prevent publication bias. Testing a null hypothesis becomes increasingly relevant in mediated communication and virtual environments. To illustrate our arguments, we re-analyzed three data sets of previously published data --media violence effects, mediated communication, and visuospatial abilities across genders. Results are discussed in view of possible Bayesian interpretations, which are more open to a content-related argumentation of varying levels of support. Finally, we discuss potential pitfalls of a Bayesian approach such as BF-hacking (cf., “God would love a Bayes Factor of 3.01 nearly as much as a BF of 2.99”). Especially when BF values are small, replication studies and Bayesian updating are still necessary to draw conclusions.  相似文献