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Gilbert Ryle (1949) divided knowledge into “know that” and “know how”, which is neatly appealing to many design and technology educators, and like many writers on developing the curriculum, Kahney (1993) made a distinction between declarative knowledge:

verbal knowledge,…

2009, Autores: Jorge Blajos, Patrick Lavelle, Dalva M. da Mota, Lucia Pitalluga, Sergio Salles Filho, Jorge Irán Vásquez.

Objective – Evidence based library and information services help to link best evidence with decision making in library practice. Current library and information science practice operates in both a knowledge and evidence-based environment. Health service librarians provide information services in…

Ces trois dernières décennies, les systèmes éducatifs du monde ont subi de grandes transformations axées sur la recherche de plus de pertinence et d’efficacité en relation avec l’évolution globale de la société (Mundy, 2005; Lessard, 2000; Farrell, 1997). Ces évolutions…

Se realizó un levantamiento de la flora arbórea del bosque ribereño en la quebrada “Los Letreros”, ubicada a 2570 m de altitud, en el municipio Carache del estado Trujillo, Venezuela, con el fin de aportar al conocimiento de su diversidad.…

This paper outlines reflections by two tutors in Initial Teacher Education on ways design and technology (D&T) has been included in cross-curricular modules at our institution. These modules were a new addition to our courses in response to a conviction…

Researchers in science education have converged on the viewthat argumentation can be an effective intervention for promoting knowledge construction in science classrooms.However, the impact of such interventions may be mediated by individuals’ task goals while arguing. In argumentative discourse, one…

 Noël Carroll?s seminal account of horror involves two original suggestions that distinguish his theory from previous views of the genre. One is that audiences are supposed to parallel the emotional responses that certain characters have when they confront horror monsters.…

If we take conceptual art seriously, that is, if we consider that art does not have clear-cut boundaries and that it is not limited to the production of aesthetic objects, then a whole spectrum of possible artworks is open to…