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Modularization describes the transformation of MOOCs from a comprehensive academic course format into smaller, more manageable learning offerings. It can be seen as one of the prerequisites for the successful implementation of MOOC-based micro-credentials in professional education and training. This short paper reports on the development and application of a modularization framework for Open Online Courses. Using the example of eGov-Campus, a German MOOC provider for the public sector linked to both academia and formal professional development, the structural specifications for modularized MOOC offerings and a methodology for course transformation as well as associated challenges in technology, organization and educational design are outlined. Following on from this, future prospects are discussed under the headings of individualization, certification and integration.
This work explores the use of different generative AI tools in the design of MOOC courses. Authors in this experience employed a variety of AI-based tools, including natural language processing tools (e.g. Chat-GPT), and multimedia content authoring tools (e.g. DALLE-2, Midjourney, Tome.ai) to assist in the course design process. The aim was to address the unique challenges of MOOC course design, which includes to create engaging and effective content, to design interactive learning activities, and to assess student learning outcomes. The authors identified positive results with the incorporation of AI-based tools, which significantly improved the quality and effectiveness of MOOC course design. The tools proved particularly effective in analyzing and categorizing course content, identifying key learning objectives, and designing interactive learning activities that engaged students and facilitated learning. Moreover, the use of AI-based tools, streamlined the course design process, significantly reducing the time required to design and prepare the courses. In conclusion, the integration of generative AI tools into the MOOC course design process holds great potential for improving the quality and efficiency of these courses. Researchers and course designers should consider the advantages of incorporating generative AI tools into their design process to enhance their course offerings and facilitate student learning outcomes while also reducing the time and effort required for course development.
The massive growth of MOOCs in 2011 laid the groundwork for the achievement of SDG 4. With the various benefits of MOOCs, there is also anticipation that online education should focus on more interactivity and global collaboration. In this context, the Global MOOC and Online Education Alliance (GMA) established a diverse group of 17 world-leading universities and three online education platforms from across 14 countries on all six continents in 2020. Through nearly three years of exploration, GMA has gained experience and achieved progress in fostering global cooperation in higher education. First, in joint teaching, GMA has promoted in-depth cooperation between members inside and outside the alliance. Examples include promoting the exchange of high-quality MOOCs, encouraging the creation of Global Hybrid Classroom, and launching Global Hybrid Classroom Certificate Programs. Second, in capacity building and knowledge sharing, GMA has launched Online Education Dialogues and the Global MOOC and Online Education Conference, inviting global experts to share best practices and attracting more than 10 million viewers around the world. Moreover, GMA is collaborating with international organizations to support teachers’ professional growth, create an online learning community, and serve as a resource for further development. Third, in public advocacy, GMA has launched the SDG Hackathon and Global Massive Open Online Challenge (GMOOC) and attracted global learners to acquire knowledge and incubate their innovative ideas within a cross-cultural community to solve real-world problems that all humans face and jointly create a better future. Based on past experiences and challenges, GMA will explore more diverse cooperation models with more partners utilizing advanced technology, provide more support for digital transformation in higher education, and further promote global cooperation towards building a human community with a shared future.
This research paper provides an overview of the current state of MOOCs (massive open online courses) and universities in Austria, focusing on the national MOOC platform iMooX.at. The study begins by presenting the results of an analysis of the performance agreements of 22 Austrian public universities for the period 2022–2024, with a specific focus on the mention of MOOC activities and iMooX. The authors find that 12 of 22 (55 %) Austrian public universities use at least one of these terms, indicating a growing interest in MOOCs and online learning. Additionally, the authors analyze internal documentation data to share insights into how many universities in Austria have produced and/or used a MOOC on the iMooX platform since its launch in 2014. These findings provide a valuable measure of the current usage and monitoring of MOOCs and iMooX among Austrian higher education institutions. Overall, this research contributes to a better understanding of the current state of MOOCs and their integration within Austrian higher education.
This short paper sets out to propose a novel and interesting learning design that facilitates for cooperative learning in which students do not conduct traditional group work in an asynchronous online education setting. This learning design will be explored in a Small Private Online Course (SPOC) among teachers and school managers at a teacher education. Such an approach can be made possible by applying specific criteria commonly used to define collaborative learning. Collaboration can be defined, among other things, as a structured way of working among students that includes elements of co-laboring. The cooperative learning design involves adapting various traditional collaborative learning approaches for use in an online learning environment. A critical component of this learning design is that students work on a self-defined case project related to their professional practices. Through an iterative process, students will receive ongoing feedback and formative assessments from instructors and follow students at specific points, meaning that co-constructing of knowledge and learning takes place as the SPOC progresses. This learning design can contribute to better learning experiences and outcomes for students, and be a valuable contribution to current research discussions on learning design in Massive Open Online Courses (MOOCs).
This qualitative study explores the impact of Personalized Learning Experience (PLE) courses at a higher education institution from the perspective of undergraduate students. The PLE program requires students to take at least one of their elective courses in the form of MOOCs during their undergraduate studies. Drawing on interviews with six students across different faculties, the study identified four key themes that encapsulate the effects of PLE courses: (1) Certificate driven learning with a focus on occupation skill enhancement, (2) diverse course offerings to enhance personal and academic development, (3) learning flexibility, and (4) student satisfaction. The findings suggest that PLE courses offered through MOOC platforms allow students to broaden their academic horizons, gain valuable skills, and tailor their education to better align with their interests and goals. Furthermore, this study highlights the potential benefits of incorporating PLE courses in higher education institutions, emphasizing their role in promoting a more dynamic and student-centered learning environment.
This paper investigates private university students’ language learning activities in MOOC platforms and their attitude toward it. The study explores the development of MOOC use in Chinese private universities, with a focus on two modes: online et blended. We conducted empirical studies with students learning French and Japanese as a second foreign language, using questionnaires (N = 387) and interviews (N = 20) at a private university in Wuhan. Our results revealed that the majority of students used the MOOC platform more than twice a week and focused on the MOOC video, materials and assignments. However, we also found that students showed less interest in online communication (forums). Those who worked in the blended learning mode, especially Japanese learning students, had a more positive attitude toward MOOCs than other students.
“One video fit for all”
(2023)
Online learning in mathematics has always been challenging, especially for mathematics in STEM education. This paper presents how to make “one fit for all” lecture videos for mathematics in STEM education. In general, we do believe that there is no such thing as “one fit for all” video. The curriculum requires a high level of prior knowledge in mathematics from high school to get a good understanding, and the variation of prior knowledge levels among STEM education students is often high. This creates challenges for both online teaching and on-campus teaching. This article presents experimenting and researching on a video format where students can get a real-time feeling, and which fits their needs regarding their existing prior knowledge. They have the possibility to ask and receive answers during the video without having to feel that they must jump into different sources, which helps to reduce unnecessary distractions. The fundamental video format presented here is that of dynamic branching videos, which has to little degree been researched in education related studies. The reason might be that this field is quite new for higher education, and there is relatively high requirement on the video editing skills from the teachers’ side considering the platforms that are available so far. The videos are implemented for engineering students who take the Linear Algebra course at the Norwegian University of Science and Technology in spring 2023. Feedback from the students gathered via anonymous surveys so far (N = 21) is very positive. With the high suitability for online teaching, this video format might lead the trend of online learning in the future. The design and implementation of dynamic videos in mathematics in higher education was presented for the first time at the EMOOCs conference 2023.
Interest rates are central determinants of saving and investment decisions. Costly financial intermediation distorts these price signals by creating a spread between deposit and loan rates. This study investigates how bank spreads affect climate policy in its ambition to redirect capital. We identify various channels through which interest spreads affect carbon emissions in a dynamic general equilibrium model. Interest rate spreads increase abatement costs due to the higher relative price for capital-intensive carbon-free energy, but they also tend to reduce emissions due to lower overall economic growth. For the global average interest rate spread of 5.1 percentage points, global warming increases by 0.2°C compared to the frictionless economy. For a given temperature target to be achieved, interest rate spreads necessitate substantially higher carbon taxes. When spreads arise from imperfect competition in the intermediation sector, the associated welfare costs can be reduced by clean energy subsidies or even eliminated by economy-wide investment subsidies.
Academia-industry collaborations are beneficial when both sides bring strengths to the partnership and the collaboration outcome is of mutual benefit. These types of collaboration projects are seen as a low-risk learning opportunity for both parties. In this paper, government initiatives that can change the business landscape and academia-industry collaborations that can provide upskilling opportunities to fill emerging business needs are discussed. In light of Japan’s push for next-level modernization, a Japanese software company took a positive stance towards building new capabilities outside what it had been offering its customers. Consequently, an academic research group is laying out infrastructure for learning analytics research. An existing learning analytics dashboard was modularized to allow the research group to focus on natural language processing experiments while the software company explores a development framework suitable for data visualization techniques and artificial intelligence development. The results of this endeavor demonstrate that companies working with academia can creatively explore collaborations outside typical university-supported avenues.
The TU Delft Extension School for Continuing Education develops and delivers MOOCs, programs and other online courses for lifelong learners and professionals worldwide focused on Science, Engineering & Design. At the beginning of 2022, we started a project to examine whether creating an online course had any impact on TU Delft campus education. Through a survey, we collected feedback from 68 TU Delft lecturers involved in developing and offering online courses and programs for lifelong learners and professionals. The lecturers reported on the impact of developing an online course on a personal and curricular level. The results showed that the developed online materials, and the acquired skills and experiences from creating online courses, were beneficial for campus education, especially during the transition to remote emergency teaching in the COVID-19 lockdown periods. In this short paper, we will describe the responses in detail and map the benefits and challenges experienced by lecturers when implementing their online course materials and newly acquired educational skills on campus. Finally, we will explore future possibilities to extend the reported, already relevant, impact of MOOCs and of other online courses on campus education.
Supporting reflection in preservice during university-based training is, without doubt, a crucial aspect in attaining teacher professionalism. Therefore, an on-campus seminar designed to relate theory to practice and vice versa – the so-called ‘Lehr-Lern-Labor-Seminar (LLLS)’ – was implemented over the course of five terms to stimulate reflective skills of English and Physics teacher trainees. Investigations on the effectiveness of three types of the LLLS (no video and two types of video-supported reflections) compared to a parallel group (PG) and a control group (CG) occurred in a mixed methods quasi-experimental study. Reflective skills were elicited with vignettes, relevant covariates with questionnaires. Reflective development was then traced in the dimensions depth and breadth employing a qualitative content analysis. MANCOVA (Multivariate Analysis of Covariance) and regression analyses revealed a substantive increase of reflective depth for English and Physics teacher trainees and breadth development for English LLLS-participants in contrast to both, a PG and a CG, even when controlling for the subjects’ individual prerequisites.
On the surface the television series Lucifer (2016 – 21) is a simple police procedural but, in actuality, the criminal cases in the show serve merely as window-dressing and structure for the deeper consideration of issues, such as guilt, shame, love, and even the meaning of life on both an individual and universal level. These topics are explored through the ever-developing character of Lucifer himself, who, like other recent anti-hero depictions, is initially presented in a manner that is very different from traditional portrayals of the Devil, and is, in fact, far closer to that of the Greek Olympian gods. Over the course of six seasons, the depiction of Lucifer alters, however, as he becomes a figure that is in many ways Christ-like, but with a 21st century twist that places the individual in an exalted position that is superior to that of divinity.
The modern conception of the werewolf is heavily influenced by Gothic reinterpretations of medieval European stories. This kind of werewolf is the one that has appeared on screen and written fiction for decades, but MTV’s Teen Wolf, a re-boot of the 1980s film which aired between 2011 – 17, is different. In this young adult supernatural drama, werewolves descend directly from Lycaon, and a substantial proportion of the show’s werewolf lore derives from Graeco-Roman stories about wolf-shifters and versipelles. This paper wants to explore the extent of the use in the show of the myth of Lycaon in particular, of Classical versipelles in general, the significance of these two references for the narrative, and the degree of innovation in modern supernatural fiction of this adaptation of Greek and Roman stories.
‘Crazy Man-Killing Monsters’
(2023)
The Amazons have a long legacy in literature and the visual arts, extending from antiquity to the present day. Prior scholarship tends to treat the Amazons as hostile ‘Other’ figures, embodying the antithesis of Greco-Roman cultural norms. Recently, scholars have begun to examine positive portrayals of Amazons in contemporary media, as role models and heroic figures. However, there is a dearth of scholarship examining the Amazons’ inherently multifaceted nature, and their subsequent polarised reception in popular media.
This article builds upon the large body of scholarship on contemporary Amazon narratives, in which the figures of Wonder Woman and Xena, Warrior Princess dominate scholarly discourse. These ‘modern Amazon’ figures epitomise the dominant contemporary trend of portraying Amazons as strong female role models and feminist icons. To highlight the complexity of the Amazon image in contemporary media, this article examines the representation of the Amazons in the Supernatural episode ‘Slice Girls’ (S7 E13, 2012), where their portrayal as hostile, monstrous figures diverges greatly from the positive characterisation of Wonder Woman and Xena. I also consider the show’s engagement with ancient written sources, to examine how the writers draw upon the motifs of ancient Amazon narratives when crafting their unique Amazon characters. By contrasting the Amazons of ‘Slice Girls’ to contemporary figures and ancient narratives, this article examines how factors such as feminist ideology, narrative story arcs, characters’/audience’s perspectives and male bias shape the representation of Amazons post-antiquity.
In Hellboy (2004, Sony Pictures), Guillermo del Toro presents a mythic hero (half human/half demon) seemingly made from the same mold as the classical hero Heracles (Hercules). Hellboy’s modern world is shaped by a cosmology not unlike that of Greek mythology, and as is true for Heracles, his unique pedigree and superior physicality empower him to mediate between the forces of supernaturality and humanity. Hellboy’s experiences evoke comparison with most characters and exploits in the Heraclean mythological corpus; his good character precludes comparison with others. Hellboy must contend with his own versions of Hera, Eurystheus, and a Nemean Lion/Hydra-like monster. He, too, relies on his own superhuman strength, innate cunning and an Athena-like protector to be successful at his job. Both heroes navigate a difficult path to their very different destinies. But in the end, Hellboy’s compassion, humility, unerring moral compass, and genuinely altruistic motivations make him both a better man and a better mythic hero, one worthy even of being loved.
The Persistence of Memory
(2023)
The 2017 Pixar film Coco and the 2021 Disney film Encanto form a small part of an increasing modern wave of media focused on parent-child conflicts caused by intergenerational trauma and rejection. Other recent works in this genre include the video game Hades, the films Turning Red and Everything Everywhere All At Once, and the television series Ms. Marvel. The traumas in all these films, some directed explicitly at a younger audience and some pitched more broadly, serve as a distinct set of meditations on the immigrant experience, even while not necessarily focusing on literal immigration. They also all invoke imagery of ghosts and death, both echoing specific classical Mediterranean motifs and tropes and incorporating a wide variety of other cultures’ supernatural traditions. These works’ concern with familial traumas of separation, culture shock, and loss of ancestral memories and connections contrasts sharply with the individual-focused myth of the American Dream common to earlier generations of American media, in which a lone individual typically emigrates, assimilates, and succeeds in a new culture, forming a new family and set of myths. However, themes of assimilation and questions of cultural imperialism also form a bridge between ancient Roman and modern North American anxieties and traditions.
This paper applies Monster Theory to the use of Greek mythology in three creator-owned comic series by female writers: InSEXts (2016 – 2017) by American comic writer Marguerite Bennett and Indonesian artist working in America Ariela Kristantina as well as Eros/Psyche (2021) and Porcelain (2021) by Maria Llovet, a comic writer and artist from Barcelona. In the first volume of InSEXts, set in Victorian London, there are allusions to the Furies and Pandora, linked with the discourse of the repression of women. In the second volume, set in the late nineteenth century Paris art world, the representation of classical subjects in art becomes a means to repress women, and a goddess with a Gorgon-like appearance takes revenge on the male repressors. In Eros/Psyche the story of Eros and Psyche and broken statues forms the backdrop and context for a tale of love and deception at a girls’ school, and in Porcelain a girl is faced with a choice of paths towards Eros or Thanatos, like Herakles at the crossroads choosing between the paths of virtue and vice. With reference to Cohen’s seven theses of Monster Culture I examine how Bennett and Lovett subvert the idea of the monster and the hero.
Resurrecting the Argo
(2023)
This paper analyses the relationship between the figure of the Argo (ship and character) and the supernatural in the mythic fantasy of Robert Holdstock’s Merlin Codex. It shows how Holdstock’s re-writing of the Argonautica draws on various versions from the Argonautic tradition, including Euripides’ Medea, Apollonius, Valerius Flaccus, Nathaniel Hawthorne, Henry Treece and the 1963 film Jason and the Argonauts. It sets Holdstock’s Argo alongside other representations, as divine herself, possessed by divinity, and a channel of communication with the divine, and in the context of Holdstock’s previous work, particularly Mythago Wood, Lavondyss and Merlin’s Wood. The paper argues that Holdstock uses the Argo as a reflection of myth itself, a version of the forest in Mythago Wood, as well as a metapoetic image for the challenges and complexities of adapting a well-known story, bringing multiple mythological traditions (Arthurian, Finnish and Argonautic) together. It reflects on Holdstock’s relationship to the ancient genres of epic and tragedy, as well as Argo as plot facilitator and mechanism of transformation and transition. Holdstock’s relationship with ancient literature is richer and deeper than previously acknowledged; his self-conscious plays reveal a deep understanding of the polymorphous nature of mythical traditions.
Megan Whalen Turner’s series The Queen’s Thief (1996 – 2020) centres on the political intrigues in a group of countries which are at once very like – but also very unlike – Bronze Age and archaic Greece threatened by a powerful Persian Empire. The first book in the series, The Thief (1996), begins as a political adventure haunted by stories of the gods. When those gods directly influence the action, the narrative changes from present political intrigue to a fantasy from the distant past. The mythology in The Thief reflects, imitates and distorts archaic Greek creation myths – stories about how the earth and sky were formed, the divine pantheon and heroes. I examine the presentation of this divine pantheon against the narratives about the gods in Hesiod, the Homeric hymns and Homer’s epics. I evaluate how the supernatural element interacts with the largely political narrative of The Thief. In so doing, I explore how the text blends a ‘classical supernatural’ with a world that is like – but in many ways very unlike – Bronze Age and archaic Greece.