Audience‐perceived anxiety patterns of public speakers

Gray's neurological theory of anxiety (1982, 1990; Gray & McNaughton, 2000) predicts that state anxiety will decrease with continuous exposure to a fear arousing stimulus. Previous studies of psychological and physiological state anxiety patterns during public speaking have reported a pattern of progressively decreasing anxiety levels consistent with this phenomenon, known as habituation. In the current report, the extent to which the state anxiety behaviors of speakers conform to the habituation pattern is examined. In the first of two studies, 30 novice speakers presented informative speeches to audiences of 18 to 20 fellow students. These speeches were videotaped and replayed in their entirety for observers (N=30) who rated the severity of each performer's speech anxiety behaviors. In the second study, each videotaped presentation was divided into one‐minute segments and presented in random order to a new set of observers (N=25). Procedures in the second study were designed to control for rater expectations that state anxiety would decline over time. Overall, behavioral measures of public speaking state anxiety displayed a continually declining pattern associated with habituation.     

A psychological pattern of anxiety in public speaking

In previous research, a physiological pattern of speech anxiety has been established for the periods before, during, and after delivering a public speech. However, no corresponding psychological pattern has been reported. Although strong correlations between psychological and physiological measures have not been found, it seemed reasonable to expect public speakers to exhibit a psychological pattern of speech anxiety similar to the physiological pattern. The results of this study support that hypothesis. The observed pattern is a monotonic function decreasing from the beginning of the speech through the post speech period.     

Learning trajectories: travelling towards a learning society? 1

This paper uses the results of a large‐scale study of patterns of participation in post‐compulsory education and training over the past 50 years to identify some of the social determinants of adult participation in formal learning experiences. The patterns of participation are presented in the form of predictable lifelong ‘trajectories’, and the predictability of these patterns of participation is as important a finding as their determinants. The key predictors themselves can be discerned quite early in an individuals life since they comprise the period in which the person was born, their place of birth and subsequent migration patterns, their gender, their family background, their experience of initial schooling, and the interactions between them. The patterns of participation and their changes over time are used to reinforce doubts about the wisdom of seeing a Learning Society as simply a worthwhile future goal, towards the implementation of which current policy is directed, and towards which the UK is travelling in linear fashion by apparently increasing opportunities for, while removing barriers to, lifelong participation.

     

Moths,candles and fires: examining dance as creative practice research in a Master's degree

This article reflects on the purposes and functions of examination criteria for Masters' research degrees with creative practice components. With a particular focus on dance projects that incorporate both a performed and a written expression of the research, we consider how a rubric for creative practice research degrees might address formative and summative assessment purposes and clarify goals for learners, supervisors, examiners and academic institutions. Our discussion is situated within a South Pacific postgraduate learning context and is informed by post-colonial and post-Cartesian concerns over how dance knowledge is recognized in global academia. Much current literature has argued how particular research methods and diverse approaches to the presentation of research outputs can destabilize dominant, logocentric methods of valuing knowledge. Our queries extend this argument into the actual quantifiable measuring and evaluation of such knowledge, which Masters' grading necessitates in order to maintain its value as an institutional currency. This leads to the reflections on the rubric for Masters' degrees with Creative Practice components that is currently used within the Dance Studies programme of the University of Auckland, and how this rubric might be seen as contributing to an evolving ‘cultivated’ community of practice within postgraduate examination. The rubric continues to grow through ongoing consultation with postgraduate students, supervisory staff, internal and external examiners and international experts in creative arts academia. Our reflections extend the argument for how creative practice might be further rationalized within academia.     

An Experiment Comparing HBSE Graduate Social Work Classes: Face‐to‐Face and at a Distance

This article describes a quasi‐experimental comparison of two master's level social work classes delivering content on human behavior in the social environment. One class, delivered face‐to‐face, was largely synchronous. The other class, delivered using distance technologies, was more asynchronous than the first. The authors hypothesized that students would learn equally well in both classes, and did not reject that hypothesis. That was so even after accounting for strong explanation of achievement by grade point average adjusted for grade inflation. Though this study indicates that the distance education studied was apparently successful, the findings may not be highly generalizable, and the authors suggest that future studies need to look at achievement in various settings and curricular areas while carefully measuring and accounting for extraneous variables.