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Hida, Norifumi
Languages: English
Types: Doctoral thesis
Subjects: LB, PN2000
Hyogen (expression) education, which I received at elementary school and later university, has been one of major drama activities in the Japanese field of drama in schools. It originates in the Taisho Liberal Education Movement (the first progressive education movement in Japan) in the 1920s and 1930s and has been\ud strengthened by Creative Drama in the U.S.A. and Drama-in-Education in England. Similarly to Winifred Ward (1930), Peter Slade (1954) and Brian Way (1967), specialists of hyogen education, such as Akira Okada (1985), believe that drama\ud contributes to the development of a whole person, self-expression and individuality. However, I will argue that a concept of whole person has been re-conceptualised as a result of the emergence of new generations of drama teachers, and consequently hyogen education has become a limited dramatic method and has failed to achieve the development of a whole person. Therefore, in my PhD thesis, I reconsider hyogen education, or drama for a whole person, through the following three questions: 1. What different positions of drama are there in the Japanese field of drama\ud in schools? (And how have they been genetically and historically\ud constructed?) 2. How, and for what purposes do Japanese drama teachers use drama in their classrooms today? 3. How has the philosophy of education developed in the field of education? Each of the questions uses hyogen education as a starting point, while exploring the field from a different angle. Hopefully, this will provide Japanese drama teachers with three different, theoretical frameworks to look at the field objectively and understand issues and problems within it. This study adopts bricolage (Kincheloe & Berry, 2004) and cross-cultural comparison (Ember & Ember, 1998) as main research methods, and explores each of the three questions with additional research methods. Above all, with Pierre\ud Bourdieu's (1993) theory of field, the study emphases that there is the field called 'drama in schools' and it is influenced by wider fields (the field of theatre and the field of education), especially the field of power (politics).
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 6.4.2. Translation
    • 6.4.3. Content Analysis and Coding
    • 6.4.4. The Process of Content Analysis and Coding
    • 6.4.5. Coding System 6.5. Reliability and Validity 7. JAPANESE DRAMA TEACHERS TODAY 2
    • 7.1. Outcomes
    • 7.2. Question 1: How Did You Become a Drama Teacher?
    • 7.2.1. How Did You Know about Drama Education?
    • 7.2.2. What Drives You to Use Drama in Your Lesson?
    • 7.2.3. Where Did You Receive Your Initial Training?
    • 7.3. Question 2: How Do You Work Today?
    • 7.3.1. What is the Aim(s) of Your drama?
    • 7.3.2. Do We Need to Teach Drama as a Subject?
    • 7.3.3. How Do You Realise Your Aim(s)?
    • Experimental and Constructive Learning
    • Jun Watanabe
    • Takahiro Watanabe
    • Language
    • Oriza Hirata
    • Mindset
    • Yuriko Kobayashi
    • Learning Environment
    • Noboru Takayama
    • Expression and Communication
    • Mitsuo Fukuda
    • Yoshiaki Tadashi
    • Hisao Dazai
    • Naoki Yamamoto
    • Personal Interests
    • Yasuhiro Kumagai
    • Induction into Theatre
    • Takashi Takao
    • 7.4. Conclusion 8. THE PHILOSOPHY OF EDUCATION 1
    • 8.1. Introduction
    • 8.2 Five Key Educational Philosophies
    • 8.3. Educational Philosophy
    • 8.3.1. School Approach
    • Metaphysics
    • Epistemology
    • Aims of Education
    • Curriculum
    • Methods
    • 8.4. Paradigm
    • 8.4.1. Crises in Educational Philosophy
    • 8.5. Relationships between the Four Educational Philosophies
    • 8.6. A Structure of Feeling and Dramatic Conventions 10. THE PHILOSOPHY OF EDUCATION 3
    • 10.1. Introduction
    • 10.2. Naturalist Drama
    • 10.2.1. Japan
    • Shoyo Tsubouchi
    • Hiroyuki Tomita
    • Toshiharu Takeuchi
    • Tamiko Koike
    • Akira Okada
    • 10.2.2. England
    • Peter Slade
    • Brian Way
    • 10.3. Pragmatist Drama
    • 10.3.1. Japan
    • Shige Hikabe
    • Jun Watanabe
    • 10.3.2. England
    • Dorothy Heathcote
    • Gavin Bolton and Cecily O'Neill
    • 10.4. Postmodernist Drama
    • 10.4.1. Japan
    • Ichitaro Kokubun
    • Yasuhiro Kumagai
    • Tadakatsu Higashi
    • Setsu Hanasaki
    • 10.4.2. England
    • Jonothan Neelands
    • Helen Nicholson p.284
    • Jennifer Simons p.286
    • Kathleen Gallagher p.287
    • Maggie Hulson p.290 10.5. Holist Drama p.291
    • 10.5.1. Japan p.293
    • Junji Kinoshita p.294
    • 10.5.2. England p.295
    • Drama with Linear Thinking, Non-Liner Thinking and Intuition p.296
    • Drama for the Sound Connection between the Body and Mind p.298
    • Drama and Holistic Curriculum p.299
    • Drama for Fostering Connections between Student and
    • Community p.300
    • Baz Kershaw p.300
    • Joe Winston p.302
    • Jonothan Neelands p.303
    • Drama for Environmental Education p.304
    • Drama for Spirituality p.306 10.6. Conclusion p.308 11. RECONSIDERING HYOGEN EDUCATION p.310
    • 11.1. Introduction p.310
    • 11.2. Answers to the Three Main Questions p.311
    • 11.2.1. Answers to the First Main Question p.311
    • 11.2.2. Answers to the Second Main Question p.313
    • 11.2.3. Answers to the Third Main Question p.315
    • 11.3. Hyogen Education and Japanese Nationalism p.315
    • 11.4. A Guideline for Drama for the Whole Person p.321
    • 11.4.1. The Whole Person p.322
    • 11.4.2. The Whole Person and Language p.326
    • 11.4.3. The Whole Person in Larger Contexts p.328
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