Search

peerReviewed

Lukion opetussuunnitelma uudistui vuonna 2015. Uudistuneessa OPS:ssa kannustetaan oppiainerajat ylittävään laaja-alaiseen oppimiseen. Tämä tarjoaa uusia ja mielenkiintoisia lähestymistapoja kielenopettamiseen lukiossa. Tämä materiaalipaketti yhdistää kuvataiteen ja englannin kielen opettamisen valokuvauksen avulla. Valokuvia on tänä päivänä helppo ottaa, sillä lähes jokaisella on älypuhelin, johon on tavallisesti integroitu kamera. Kameran avulla oppilaat pääsevät toteuttamaan luovuuttaan, jota tällä hetkellä ei painoteta tarpeeksi opiskelussa. Valokuvaukseen pohjautuvan oppimateriaalipaketin peruspilarit ovat kommunikatiivisessa kielenopetuksessa, oppijakeskeisyydessä ja motivaation löytämisessä kielenopiskeluun. Kommunikatiivisessa kielenopetuksessa oppilaita kannustetaan käyttämään kieltä erilaisissa tilanteissa painotuksen ollessa halutun viestin välittymisessä eikä niinkään kieliopillisesti täydellisissä lauserakenteissa. Oppijakeskeisyys sopii hyvin kommunikatiiviseen kielenopetukseen. Materiaalipaketin tavoitteena on tarjota oppilaille erilainen lähestymistapa kielenoppimiseen, jonka seurauksena motivaatio kieliä kohtaan lisääntyy. Motivaatio on kielenoppimisessa tärkeää, sillä se tehostaa oppimistuloksia. Valokuvat tehdään portfoliotyönä kuvataiteen KU1-kurssin aikana ja kootaan materiaalipankiksi. Tätä pankkia myöhemmin hyödynnetään englannin ENA1-kurssilla. Oppilaat voivat valita kuvataiteen kurssilla otettuja valokuvia ja hyödyntää niitä englannin kurssin materiaalipaketin tehtävissä. Tehtävät on suunniteltu sopiviksi ENA1-kurssin aihepiireihin. Samat teemat sopivat myös KU1-kurssin teemoihin, minkä johdosta englannin ja kuvataiteen kurssien integroiminen onnistuu erinomaisesti.

This article provides a rare opportunity to follow the inception of mining and mine exploration economy in the first years of the European presence in colonial Zambia and Katanga as seen through the eyes of prospectors and mining experts working for the London-based company Tanganyika Concessions Limited. It draws on company records as well as the personal records of the early company employees who worked in North Western Rhodesia and adjoining Katanga until 1906. The most thought-provoking documents include diaries, letters and photographs, which depict the organisation and processes of early mining work, modes of mine exploration, and relations within the first mining communities and between white management and African labour. The wide range of available materials makes the Tanganyika Concessions a relevant case study; they offer a fuller picture of the inception of European mining and mine exploration in North Western Rhodesia and Katanga than is available elsewhere. Taken as a whole, they provide insight into the operation of colonising processes: in particular how these processes took place, why they were considered desirable by various interest groups, and the impact that these processes had on physical and human environments in parts of North Western Rhodesia and Katanga. peerReviewed

Only abstract. Paper copies of master’s theses are listed in the Helka database (http://www.helsinki.fi/helka). Electronic copies of master’s theses are either available as open access or only on thesis terminals in the Helsinki University Library. Vain tiivistelmä. Sidottujen gradujen saatavuuden voit tarkistaa Helka-tietokannasta (http://www.helsinki.fi/helka). Digitaaliset gradut voivat olla luettavissa avoimesti verkossa tai rajoitetusti kirjaston opinnäytekioskeilla. Endast sammandrag. Inbundna avhandlingar kan sökas i Helka-databasen (http://www.helsinki.fi/helka). Elektroniska kopior av avhandlingar finns antingen öppet på nätet eller endast tillgängliga i bibliotekets avhandlingsterminaler. The thesis analyses the differences in the ways key stakeholder groups are pictured in corporate photography of fifteen multinational corporations in three different sectors of economy. The data is extracted from annual reports of the corporations for the year 2005. The focus of the work is on corporate public relations, not advertising. The thesis applies the social semiotic theory of Gunther Kress and Theo van Leeuwen to corporate photographs. It combines the Kress and van Leeuwen framework with the Peircean concepts of firstness, secondness and thirdness, first proposed in the context of photography by Merja Salo. The method of the work, a variant of quantitative content analysis, is developed from Anssi Männistö’s image analysis method. The thesis shows that there are significant differences in the ways different corporate stakeholder groups are represented in corporate photography. The key differences are shown to be between representations of corporate management and other groups. The study shows that the representations of international corporate management are extremely uniform, and that there seem to be tight limits for the representations of corporate management. The management is uniformly pictured as engaging the reader in the style of a traditional portrait. There are also tight limits for the expression of emotion and feeling in corporate photography. The only emotional states that are present in the data are smiles or relatively neutral facial expressions. Negative emotion is not displayed by any stakeholder groups. There study shows that there is much more fluctuation in the ways employees and customers are represented, compared with the management. Corporate employees and customers are used as anonymous illustrations to the report, and they are given meaning through their vocational position at best, instead of their individual identities. The thesis suggests that the pictorial representations of the various stakeholder groups constitute a metanarrative, defined in the work as a presentation by the management to the shareholders, in which employees and customers act as evidence of the efficiency of the corporation. The metanarrative is compared to John Berger’s theory of the narrative of oil painting, which describes a continuity between advertising and classical oil painting. According to Berger, the key function of oil painting was to picture the commissioner of the painting surrounded by his estate and possessions, and act in this way as evidence of the commissioner’s wealth. The thesis suggests that the corporation presented in the annual report, as well as its employees and customers as stakeholders, can be understood, adapting the narrative of oil painting, as the estate and possessions of the management. They are then used to convince the shareholders, acting as the audience, of the efficiency and value of the corporation.