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Woodling, Casey. "Zombies and the active imagination." [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0014741.
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Angelo, Mary Louise. "Image intelligence : a psychological study of active imagination as education." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385449.
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Trippe, George E. "Active imagination and Christian religious experience: A study in relationship." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1263.
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The focus of this study is the relationship between Carl Jung's practice of active imagination and Christian religious experience. The research is qualitative, using the heuristic research method as developed by Clark Moustakas. The experience of active imagination is defined and the practice is explained. Consideration is given to its values and benefits. In the heuristic style, the research focusses on the active imagination work of the researcher and four research participants. The active imagination case material of the five participants is summarised and depictions of their material are included which identify the nature, essence, and meaning of their experiences. The broad spectrum of Christian religious experience is explored with particular attention to the contributions of James and Kelsey. The experience of discernment is highlighted and distinctions between "spiritual" and "religious" are considered. Jung's theories of religious experience are identified using the work of Chapman, and the differences and similarities between active imagination and Christian religious experience are examined.
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Sokil, Lisa. "An ethnography of choice : active imagination in the service of self-directed change." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43691.pdf.
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Cassar, Laner. "Bridging imaginal pathways : the Jungian technique of active imagination and Robert Desoille's 'rêve éveillé dirigé' method." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/18001/.
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This theoretical study brings together Carl Jung’s active imagination and Robert Desoille’s “rêve éveillé dirigé/directed waking dream” method (RED). Such a rapprochement is two-fold. Firstly, it aims to study the historical development of these two approaches in Central Europe in the first half of the twentieth century. Secondly, it aims to explore their theoretical similarities and differences and proposes implications for a hybridised and integrated framework of clinical practice. The first part of the study contextualizes Jung’s active imagination and RED in the broader psychotherapeutic currents practised at the time. Furthermore, this work analyses them through the geo-historical background of twentieth century France and Switzerland. It also goes on to investigate key historical intersecting points where Jung and Desoille, as well as their disciples, crossed paths. The second part of this study is a theoretical comparison between C. G. Jung’s active imagination technique and Robert Desoille’s directed waking dream method (RED). This work compares the spatial metaphors of interiority used by both Jung and Desoille to describe the traditional concept of inner psychic space in the waking dreams of Jung’s active imagination and Desoille’s RED. This study also attempts a broader theoretical comparison between the procedural aspects of both RED and active imagination by identifying commonalities and divergences between the two approaches. The comparison is built on a comparative methodology based on five operatively important categories chosen from the literature review. These are related to the therapeutic practice and procedures of both waking dreams and include: setting and preparation of the body, structure and directivity by the analyst/therapist, transferential and counter-transferential relationship, narratives, and interpretation. Such a comparison also helps to explore the implications for an integrated- hybridised framework of clinical practice i.e., a RED-based approach to active imagination that fills an important gap in post-Jungian writings on active visual imagination as well as offering a long-awaited acknowledgement of the RED method.
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Conti, Silvia Regina. "Imaginação ativa e imaginação dirigida na clínica junguiana." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/19713.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The active imagination was the technique that Jung used the most, in the access of his unconscious contents and the guided imagination appeared at the same time, based on the jungians constructs. However, due to the shortage in recent publications about it this research became necessary, aiming at the research about authors and works that describe techniques, methods and ways of working with active imagination or guided imagination in the jungian psychotherapy. The systematic review method was chosen, and two studies were realized for the active imagination and guided imagination: one of them aiming at the classic literature that helped building the method and techniques used nowadays; the other one aims at the recent literature, present in publications that are more recent. The classic literature study started with Jung’s complete works, up to the moment when the publications became rare. The recent literature study was based on the main academic database, considering the last ten years. For the active imagination, we found 15 classic authors and 23 publications, 10 recent authors and 11 publications. The classic literature focuses on descriptions, methodology and case studies that use the techniques. The recent literature presents some recurring topics: theory, analysis of artistic work, countertransference, mourning and supervision. For the guided imagination, 7 classic authors were found and 8 works. The classic literature begins in the clinical environment, considering just two works. We concluded that there is shortage in publications about the techniques involving imagination in psychotherapy; maybe indicating that they are not being used in clinical practice or that there is the need for more actual research that guides its application
A imaginação ativa foi a técnica mais usada por Jung no acesso aos seus conteúdos inconscientes e a imaginação dirigida surgiu na mesma época, desenvolvida com base nos constructos junguianos. Porém, dada a escassez de publicações recentes a respeito, fez-se necessária esta pesquisa, que teve como objetivo a busca por autores e produções que descrevessem técnicas, métodos ou maneiras de trabalho com imaginação ativa ou imaginação dirigida em psicoterapia junguiana. Foi escolhido o método da revisão sistemática e dois levantamentos foram realizados, para imaginação ativa e imaginação dirigida: um voltado para a literatura clássica, que ajudou a construir metodologia e técnica existentes hoje; e outro voltado para a literatura recente, representativa das publicações mais atuais. O levantamento da literatura clássica iniciou-se com as obras completas de Jung, seguindo ao longo do tempo até que as publicações se tornassem mais escassas. O levantamento da literatura recente foi realizado nas principais bases de busca acadêmica considerando os últimos dez anos. Para a imaginação ativa foram encontrados 15 autores clássicos e 23 publicações; 10 autores recentes e 11 publicações. A literatura clássica é concentrada nas descrições, metodologias e estudos de caso da técnica. A literatura recente apresenta alguns temas recorrentes: teoria, análise de obras artísticas, contratransferência, luto e supervisão. Para imaginação dirigida foram encontrados 7 autores clássicos e 8 obras. A literatura clássica inicia-se no ambiente clínico, mas logo se expande para o hospitalar e a psicossomática, que comprovaram cientificamente sua eficácia. A literatura recente foge ao contexto clínico, sendo considerados apenas dois estudos. Conclui-se que há escassas publicações a respeito das técnicas de imaginação em psicoterapia, podendo ser indicativo de que elas não estão sendo utilizadas em prática clínica ou que precisem de pesquisas atuais que orientem sua aplicação
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Gauweiler, Cher N. "Imagination in action a phenomenological case study of simulations in two fifth-grade teachers classrooms /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001315.
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Vaughan-Lee, Llewellyn Charles. ""Imaginal response" : an adaptation of Jung's "active imagination" into a mode of responding to archetypal images in Shakespeare's "Hamlet"." Thesis, London Metropolitan University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558842.
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Amato, Joel Lerner. "Roteiros semiestruturados de imaginação: diálogos internos com a persona e o herói." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21307.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The active imagination technique of C.G. Jung is a psychological technique that allows contact with unconscious contents through imagination and intention, seeking self-knowledge and to produce more constructive agreements with the unconscious. These psychic contents manifest themselves in the form of symbols, that can be interacted in a conscious way. Considering the presence of few studies in the national literature on this theme and new applications of it, a qualitative research methodology was adopted, aiming to evaluate a new proposal for the application of the active imagination technique through the elaboration of semi-structured scripts, focused into the themes of the Persona and the Inner Hero (archetypal expressions of all human beings according to Analytical Psychology), and it´s application by a psychotherapist in a semi-directed way, in seven participants, between 18 and 35 years, without previous psychotherapy as a requirement. The objectives are to present a proposal for a semi-directed form of applying the active imagination through such scripts, included here the elaboration of the scripts, the design of the semi-directed form of application, the application of the scripts followed by semi-structured interviews, and the evaluation of the applicability of the proposal, analyzing the factors involved in the experience. The factors chosen were difficulties in understanding the scripts (words and order of descriptions), the question of control, concentration and relaxation, intermediate scenario, delimitation of the manifestation of unconscious contents, relations between the manifest symbols and the theme of the script in the daily routine of the participants, and reflections on the elaboration of instructions for the psychologist applying the scripts. The results indicate that all participants were able to express symbols associated with the themes of each script. Improvements to the initial instructions and aspects of the scripts themselves were suggested. The conclusion is that the semi-structured scripts of imagination and the semi-directed form of applying them were effective in bringing up, to the conscious awareness, psychological contents associated with the themes of the Persona and the Inner Hero through symbols. More research needs to be done with this form of using the imagination, focusing on other themes and specific forms of suffering, as well as about the possibilities of the active imagination to allow the overcoming of suffering through new relationships with unconscious contents. In addition, more studies need to be carried out in the use of the technique in other contexts of the psychologist work, such as human resources, school, among others. It is highlighted that a greater appreciation of the active imagination is a return to Jung´s original intentions
A técnica da imaginação ativa de C. G. Jung é uma técnica psicológica que permite o contato com os conteúdos inconscientes via imaginação e intenção, visando melhorar o autoconhecimento e produzir acordos mais construtivos com o inconsciente. Esses conteúdos psíquicos manifestam-se em forma de símbolos, com os quais se pode interagir de forma consciente. Considerando-se a presença de poucos estudos na literatura nacional sobre essa temática e suas novas aplicações, adotou-se uma metodologia de pesquisa qualitativa, em que se busca avaliar uma nova proposta de aplicação da técnica de imaginação ativa por meio da elaboração de roteiros semiestruturados de imaginação, com temáticas da persona e do herói interior (expressões arquetípicas de todos os seres humanos segundo a psicologia analítica), e sua aplicação de forma semidirigida por psicólogo, em sete participantes entre 18 e 35 anos, sem que tenha ocorrido psicoterapia prévia como requisito. Os objetivos são apresentar uma proposta de procedimento semidirigido para realização de imaginação ativa via tais roteiros, incluída aqui a elaboração dos roteiros, o delineamento do procedimento semidirigido, a aplicação em conjunto com entrevistas semiestruturadas e a avaliação da aplicabilidade dos roteiros, analisando os fatores envolvidos na experiência. Os fatores escolhidos foram eventuais dificuldades de compreender os roteiros (palavras e ordenamentos das descrições), a questão do controle, concentração e relaxamento, cenário intermediário, delimitação da manifestação de conteúdos inconscientes, relações entre os símbolos manifestos e o tema do roteiro no cotidiano dos participantes e reflexões sobre a elaboração de instruções para o psicólogo aplicador dos roteiros. Os resultados indicam que todos os participantes conseguiram manifestar símbolos associados aos temas de cada roteiro. Aprimoramentos das instruções iniciais e de aspectos dos roteiros em si foram sugeridos. Conclui-se que os roteiros semiestruturados de imaginação e o procedimento semidirigido utilizado em sua aplicação foram efetivos em trazer à tona, para a consciência, conteúdos psicológicos associados aos temas da persona e do herói interior via símbolos. Mais pesquisas precisam ser realizadas com essa forma de utilizar a imaginação, com o foco em outras temáticas e formas específicas de sofrimento, assim como fazendo uso das possibilidades da imaginação ativa em permitir a superação de sofrimentos através de novas relações com conteúdos inconscientes. Além disso, mais estudos precisam ser realizados no uso da técnica em outros contextos de atuação do psicólogo, como recursos humanos, escolas, entre outros. Destaca-se a maior valorização da imaginação ativa como um retorno as intenções originais de Jung
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Furquim, Anali Cristina. "Olhares devotos." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283985.
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Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Broto vital de açucena nascido do imo das entranhas dos elementos imaginais e corporais, após longo período de dormência e boa luta. Testemunho árduo e alegre de um processo criativo artístico - e de vida espiritual - empreendido, resultando no curta metragem em vídeo Natura fulgens, como parte dos frutos, após intensa dedicação e cultivo das paisagens anímicas, aqui trilhados via Imaginação Ativa 1 e Orações Contemplativas 2. O Cântico Espiritual de São João da Cruz e as amorosas qualidades da Virgem Maria Santíssima como Stella Maris, Pulchra ut Luna e Domus Dei 3 foram inestimáveis fontes de inspiração, estrelas guias. Participaram do processo a improvisação em dança, práticas de consciência corporal e a escrita poética de livre curso que reuniu as imagens emergidas. Na produção em vídeo, o tema da jornada da alma em busca do retorno à Presença Divina, verdadeira fonte de Água Viva, labora juntamente com a assunção do corpo criativo, como domus 4 do Coração de Deus no tempo. Nas incursões teóricas, o tema da cruz e da redenção - do humano olhar, das imagens produzidas, e da imaginação - antecede e ilumina a realização. A trama dos Instantes Fecundos de Significado, poéticos, divinos, em imagem e som, revelados aos devotos olhares da alma-e-coração, constituíram o cerne da pesquisa.
Abstract: Vital lily bud born in the inmost entrails of the imaginal and body elements, after long period of dormancy and good fight. Arduous and joyful testimony of an artistic - and spiritual life - creative process undertaken, resulting in the short film on video Natura fulgens, as part of the fruits, after intense dedication and cultivation of the psychic landscapes, here performed via Active Imagination 1 and Contemplative Prayer 2. The Spiritual Canticle of St. John of the Cross and the loving qualities of the Blessed Virgin Mary as Stella Maris, Pulchra ut Luna and Domus Dei 3 have been invaluable sources of inspiration, guiding stars. Improvisation in dance, body awareness practices and free course poetic writing, which gathered the images emerged, were parts of the process. In the short film, the theme of the soul's journey in search of a return to the Divine Presence, true source of Living Water, works together with the assumption of the creative body, like domus 4 of the Heart of God in time. In the theoretical incursions, the theme of the cross and redemption - of the human look, of the produced images, of the imagination - precedes and illuminates the realization. The web of Instants Fertile of Meaning, poetic, divine, in image and sound, revealed to the pious eyes of soul-and-heart, formed the core of the research.
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Martin, Daniel E. "Institutional Innovator: Sargent Shriver's Life as an Engaged Catholic and as an Active Liberal." University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1461580896.
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Christie, Susan M. "Terra Incognita: A symbolic mythical journey." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89751/1/Susan_Christie_Thesis.pdf.
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This practice-led project is implemented in the context of rites of passage based on significant events in formative transitions of Self. It employs an intuitive methodology to examine and explore the 'Child archetype', mythos, symbolic imagination and self-narrative, through the manifestation of a visual symbolic language. The contexts, methods and processes enable empowerment, heightened awareness of personal and collective relationships, meaningful discovery and development of innovative ideas and forms.
The implications for this project highlight the importance of intuition in creativity and innovation. Creative practice is a vehicle for personal and collective interconnectedness. I have discovered self-empowerment, meaningful learning and innovative forms of personal and collective communication as a way of enabling transition of a significant life event.
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Leite, Sandro José da Silva. "Paisagem psíquica: uma técnica expressiva com fundamento na psicologia analítica - estudo piloto." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/15132.
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An expressive technique developed by the author of the research was applied, having analytical psychology as background and highlighting the creative aspect evoked by the use of expressive resources. It is a research focused on the qualitative aspect of a pilot study which aimed at demonstrating the functioning of the technique, baptized Psychic Landscape, and perform a symbolic reading from the associations made by the subjects of the research. The technique was inspired by the method of active imagination by C. G. Jung. Regarding the specificity of the technique, which produces abstract configurations, the theme has been tackled from the point of view of art and analytical psychology. The conclusion that abstraction is a genuine mode of expression was reached. Two participants could experience the technique during consecutive days and from the data collected it was possible to map the psychic transformations that occurred. Symbols and themes of individual and collective character appeared, and it was possible to observe common aspects between the processes of both participants. The specificity of the expressive technique pointed at the polarity of dynamics, in special the fluidity of water and solidity of plaster, to the correlation between the surface image, closer to the dynamics of consciousness, and the one at the bottom, closer to the unconscious, and to the connection between the preparatory phase of the technique (the way of pouring the water, depositing and mixing the plaster) and the final configuration. The study demonstrated the effectiveness of the technique as the transmutation effect of an inner reality that reveals itself by means of creative actions that give rise to plastic images
Foi aplicada uma técnica expressiva desenvolvida pelo autor da pesquisa com fundamento da psicologia analítica e destaque ao aspecto criativo despertado ao se utilizar recursos expressivos. Trata-se de uma pesquisa de enfoque qualitativo em estudo piloto, cujo objetivo foi demonstrar o funcionamento da técnica, batizada de Paisagem Psíquica , e realizar uma leitura simbólica a partir das associações feitas pelos participantes da pesquisa. A técnica foi inspirada no método de imaginação ativa de C. G. Jung. Em função da especificidade da técnica, que tem como fruto configurações abstratas, abordou-se o tema a partir da arte e da psicologia analítica e concluiu-se que a abstração é um modo genuíno de expressão. Dois participantes puderam experienciar a técnica em dias consecutivos e, a partir dos dados coletados, foi possível fazer um mapeamento das transformações psíquicas ocorridas. Apareceram símbolos e temas de caráter individual e coletivo, e foi possível observar alguns aspectos comuns entre os processos dos participantes. A especificidade da técnica expressiva apontou para a dinâmica das polaridades, em especial à fluidez da água e à concretude do gesso, para a correlação entre a imagem da superfície, mais próxima à dinâmica da consciência, e a do fundo, mais próxima do inconsciente, e para a conexão entre a fase preparatória da técnica (modo de se despejar a água, depositar e mexer o gesso) e a configuração final. O estudo demonstrou a efetividade da técnica enquanto efeito de transmutação de uma realidade interior que se revela por meio das ações criativas que dão origem a imagens plásticas
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Canalles, Pablo. "Dos princípios do ator : a análise da ação física através da tríade percepção-imaginação-adaptação, a partir dos pressupostos de Konstantin Stanislávski." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1324.
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The essay presented here investigates the construction of the Physical Actions according to Russian actor, director and educationalist Konstantin Stanislavski, through the perception-imagination-adaptation triad, considering that these three properties of the human being are of fundamental importance for the actor's work. The research aims to create a compilation of Stanislavski's life and work, and how he arrived at his theory of the Physical Actions, always looking for true and organic acting, having as a goal the emotion of the actor. Therefore, part of this study is a profound investigation of the laws of man in action - applied by Stanislavski and, here, correlated to each of the three properties; as well as the last great contribution of the Russian scholar to the theatrical arts: the active analysis, which encompasses the laws, the physical action and the other elements of his System. The Russian master, at the end of his studies, leaves as his legacy, the distinct idea that the physical action is only the path to creation, which gives the actor the possibility of penetrating his or her own subconscious and being moved. To Stanislavski, it is through a series of actions performed by the actor that the public can see emotion run through the scene
O trabalho aqui apresentado procura investigar como se dá a construção das ações físicas, segundo o ator, diretor e pedagogo russo Konstantin Stanislávski, através da tríade percepção-imaginação-adaptação, tendo em vista que essas três faculdades do ser humano são de fundamental importância para o trabalho do ator. A pesquisa visa a fazer um apanhado geral sobre a vida e a obra de Stanislávski, e como ele chegou à questão da ação física, buscando sempre uma atuação verdadeira e orgânica, tendo como fim a emoção do ator. Nesse sentido, fazem parte do trabalho uma investigação aprofundada sobre as leis do homem em ação - postuladas por Stanislávski e, aqui, relacionadas a cada uma das três faculdades - e a última grande contribuição do pesquisador russo à arte teatral: a análise ativa, que engloba as leis, a ação física e os demias elementos do Sistema. O mestre russo, ao fim de seus estudos, lega-nos a primorosa idéia de que a ação física é apenas um meio para a criação, que possibilita ao ator penetrar no seu próprio subconsciente e emocionar-se. Para Stanislávski, é através de uma série de ações realizadas pelo ator que o público pode ver a emoção percorrendo a cena
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Romanelli, Rosely Aparecida. "A arte e o desenvolvimento cognitivo: um estudo sobre os procedimentos artísticos aplicados ao ensino em uma escola Waldorf." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-12032009-152112/.
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Esta pesquisa analisa a expressão artística dos alunos de uma escola Waldorf da cidade de São Paulo SP Brasil, com o objetivo de compreender a estreita ligação entre arte e sensibilidade que se apresenta enquanto caminho para a harmonização da alma humana e a contribuição da arte para o desenvolvimento da razão, da intuição, da emoção e do sentimento. Isto pode ser comprovado pela produção elaborada pelos alunos, interpretada e compreendida a partir das atividades especificas do cotidiano escolar com o aporte teórico de autores que buscam entender o ser humano através do equilíbrio entre sensibilidade e razão. A pesquisa apóia-se teoricamente na Antroposofia de Rudolf Steiner para o estudo da utilização pedagógica da arte; na cosmovisão cientifica e artística de Johann Wolfgang Goethe e na sua Doutrina das Cores; n A Educação Estética do Homem de Friedrich Schiller; na Psicologia Analítica de Carl Gustav Jung; na transformação alquímica através da imaginação ativa utilizada por Jung. O referencial teórico dos autores transita no eixo existente entre o consciente e o inconsciente, entre a razão e a sensibilidade, entre o sensível e o inteligível. A contribuição final é a reflexão sobre a utilização prática dos procedimentos artísticos e sua influência sobre o desenvolvimento cognitivo e a aquisição de conhecimento que conduz ao equilíbrio entre razão e sensibilidade.This research analyses the artistic expression of students in a Waldorf school at the city of São Paulo SP Brazil, in order to comprehend the close connection between art and sensitivity that shows itself as a path to develop reason, intuition, emotion and feeling. This can be proof by the production elaborated by the students, interpreted and comprehended from the specific everyday school activities with the theory support of Rudolf Steiners Anthroposophy for the study of the pedagogical utilization of art; in the scientific and artistic cosmovision of Johann Wolfgang Goethe and his Doctrine of Colors; in the Aesthetic Education of Man of Friedrich Schiller; in the analytical psychology of Carl Gustav Jung; in the alchemy transformation by means of active imagination used by Jung. The theoretical references of the authors circulate in the axis existent between conscious and unconscious, between reason and sensitivity, between the sensitive and the intelligible. The final contribution is the reflection about practical utilization of artistic procedures and their influences on cognitive development and the knowledge acquirement that leads to balance between reason and sensitivity.
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Bell, Nathan M. "Hermeneutic Environmental Philosophy: Identity, Action, and the Imagination." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752374/.
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One of the major themes in environmental philosophy in the twenty-first century has broadly focused on how we experience and value the natural world. Along those lines, the driving question I take up in this project is if our ordinary experiences are seen as interpretations, what is the significance of this for our moral claims about the environment? Drawing on the hermeneutic philosophies of Hans Georg-Gadamer and Paul Ricoeur, I examine environmental interpretation as it relates particularly to identity, meaningful action, and the mediating function of the imagination. These three interconnected aspects show both our capability for new understandings related to the natural world, as well as problem of conflicting, yet equally valid, views on environmental value. To explore this tension further I consider the relevance of hermeneutic conceptions of truth and translation for environmental ethics. A hermeneutic notion of truth highlights the difficulties in making strong normative claims about the environment, while a hermeneutic view of translation is helpful in thinking about the otherness of nature and what this means for ecological values. In this project I am particularly interested in the conflict of environmental interpretation and the implications that a hermeneutic frame has for the limits of environmental understanding and value. I argue that hermeneutics and narrative theory shows that we can argue for direct moral consideration of ecological others or the natural world only as merely possible interpretations among others.
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Sweetman, Joseph. "Political action and social change : moral emotions, automaticity and imagination." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/24192/.
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This thesis develops three independent lines of investigation on the social psychology of political action and social change. Rather than developing a grand theory, I focus on adapting current perspectives in the social psychology of emotion, automaticity, goals and mental simulation to the study of political action and social change. The approach taken is eclectic both theoretically and methodologically. In Chapter 1, I review the social psychology of political action and social change. In doing so, I conceptualise political action and social change and explore current explanations of these phenomena. I also introduce moral emotions, automaticity and imagination in order to mark the way for the subsequent chapters. In Chapter 2, I examine the role of the moral emotions in political action and social change. Specifically, I explore the antecedents and consequences of anger, sympathy, and admiration. Drawing on theories of intergroup relations and emotion, I show that legitimate status, competence, and warmth all elicit admiration. Notably, admiration towards the authorities and centres of group power inhibits political action aimed at challenging the social order. However, when the target of admiration is a subversive hero or “martyr”, admiration uniquely predict willingness to challenge the status quo. In Chapter 3 I investigate the role of automaticity in political action. More specifically, I develop a dual process account of political action. I demonstrate that controlled (vs. automatic) processes lead to an increase in political action tendencies in members of a disadvantaged group. Notably, automatic protest attitudes influence political action through anger. That is, the more positive one’s automatic protest attitudes are the more anger they feel in relation to group grievances. Notably, automatic attitudes are more likely to predict political action when one is low in the motivation and ability to deliberate on political issues. In Chapter 4 I examine the role of imagination in political action and social change. I demonstrate that being able to imagine a particular social change goal (e.g., revolution or reform) uniquely predict political action tendencies aimed at that goal. Notably, imagination also qualifies the influence of efficacy and anger on politic action tendencies. Put simply, anger only predicts political action for collective mobility when group members can imagine this social change goal. In addition, efficacy only predicts action aimed at revolution when one can imagine an alternative social system (e.g., economy). In Chapter 5 I draw some conclusions, and discuss the limitations and issues that arise from the work presented here. Finally, I propose some avenues for future research. In iii addition, I put forward a typology of social change in the hope that it will engender future work on the social psychology of political action and social change.
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Barassi, Veronica. "Mediated resistance : Alternative media imagination and political action in Britain." Thesis, Goldsmiths College (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514228.
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This research explores the connection between political imaginations, media technologies and social movements in Britain. The relationship between media and dominant ideologies is a central issue of academic debate, but the role of alternative media in the construction of oppositional political discourses is largely under-investigated. This research project explores this relationship by relying on the theories and methodologies of both anthropology and media studies and provides an original and cross-disciplinary reflection on alternative media and political identity; on internet technologies and new forms of political imaginations; and on the possibilities and challenges people encounter in the everyday construction of mediated political action. Drawing from the ethnographic context of campaigning organisations and the Trade Union Movement - and looking in particular at the case of the Cuba Solidarity Campaign - this thesis argues that internet technologies have become the channels within which new political imaginations and possibilities are embedded and transmitted. Yet, to understand the way in which these new political imaginations are re-defining the terrain for political action, it is important to explore the complex dialectics between transformation and continuity - between the technical and the social - rather than emphasising disruption and novelty. It is only by looking at continuity that scholars can understand the complex and imaginative negotiations that enable activists to re-imagine social change in order to adapt to the techno-historical transformations of the last fifteen years.
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Büscher, Monika. "Ideas in the making : talk, vision, objects and embodied action in multi media art and landscape architecture." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289004.
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Tims, W. Keith. "Masks and Sartre's Imaginary masked performance and the imaging consciousness /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04182007-210215/.
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Thesis (Ph. D.)--Georgia State University, 2007.Title from file title page. Greg Smith, committee chair; Angelo Restivo, Gayle Austin, Shirlene Holmes, Thomas Flynn, Raphael Miller, committee members. Electronic text (252 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 12, 2007. Includes bibliographical references.
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Bavasah, Tessa. "Parodic imagination and resistant form in historical fiction: A study of Ann Harries' manly pursuits." Thesis, University of the Western Cape, 2007. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5657_1242111847.
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In this dissertation, the author examines the historical novel Manly pursuits (1999), by Ann Harries. The novel deals with the late nineteenth century in Oxford, England, and inparticular the year 1899 in Cape Town. The focus of the novel is on Cecil John Rhodes and his entourage, and their obsession with empire, which culminates in the South African war in 1900. Featured characters include Chamberlain, Jameson, Kipling, Oscar Wilde, Charles Dodgson, John Ruskin and Olive Schreiner. Harries novel is interpreted as showing resistance to the Victorian society which is the framework which is seen to developed the class and gender-based valued and imperialist thinking of Rhodes and his following. as such the novel is showing resstance to imperialist thinking, the Anglo-Boer war, apartheid and all the resulting legacies for South Africa.
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McCaghren, Paxton H. "Pigments of Imagination: An Actor's Journey of Creating the Character of Jack Lawson from David Mamet's Race." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1600.
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Abstract
The purpose of this study is to create a believable, multiple dimension character portrayal of Jack Lawson in David Mamet’s Race. Documentation of the process will include: an explanation of the acting technique and analysis used to create the backstory and portrayal of the character; insight into the background and beliefs of playwright, David Mamet; and a personal review of my growth and performance.
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Ribas, Mariane Magno. "A imaginação do ator, um voo indizivel." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284684.
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Orientador: Sara Pereira LopesAnexo 1 DVD-R: Curta-metragem Talita, Registro da partitura de ações da Clarissa: Exercicio n.2
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-13T19:27:44Z (GMT). No. of bitstreams: 1 Ribas_MarianeMagno_D.pdf: 1815540 bytes, checksum: 7cb392739ddb202e7828dfe5c96606ef (MD5) Previous issue date: 2009
Resumo: O texto que se constitui a seguir é uma extração dos processos empíricos com a imaginação do ator, trabalhada como ordenadora da presença cênica - ator e espaço . O trabalho desenvolvido e observado, em laboratório, teve como foco o processo criativo do ator; a partir do trabalho com as imagens apresentadas, atingir aquelas que emergem como conteúdo do agir e como meio de organização do tempo e do espaço, e ainda, como procedimento eficaz para que o ator possa evocar o seu próprio dizer. A partir destas formas de experimentação, aquilo que se configura como corpoator foi resultante do processo de preparação denominado nãoator - preparações específicas que criaram sustentáculos e ampliaram a consciência do ator sobre o corpoator e sobre seu ofício ; resultando da experiência um outro olhar denominado nãodireção
Abstract: This text is an extract of empirical processes with the imagination of the actor worked as orderer of the theatrical presence - actor and space. The work developed and observed, in laboratorial, had as a focus the creative process of the actor; departing from the work with the images presented, touch those that emerge as content of the action and as a means of organizing time and space, and also, as a effective procedure that allows the actor to evoke his own saying. Departing from these forms of experimentation, that which builds up as bodyactor resulted from a preparing process named nonactor - specific preparations that created a sustaining and broadened the conscience of the actor towards his bodyactor and over his office ; which resulted in another view named nondirection
Doutorado
Doutor em Artes
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Starks, Gwendolyn Aileen Pacey. "A 'proper job' : acting as vocation and work in theological perspective with particular reference to Dorothy L. Sayers." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6390.
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In this dissertation, I will be looking at the actor as a craftsperson and artist from both a secular and a theological standpoint in order to determine if the labour of acting can be considered both as work, a “proper job”; and as a calling from God, a vocation. The main questions prompting and shaping this dissertation have arisen out of my own personal experience as an actor struggling both in the performing arts business and with my Christian faith. So, the opening chapter will introduce a personal background approach to the dissertation. It will summarize the experiences that brought me to the place of asking these two questions. It will also serve as an introduction to the life of Dorothy L. Sayers, outlining her own life and demonstrating why she is important to our work as actors. Chapter Two will then cover historical data on Anti-Theatrical Prejudice, laying the foundation for the ongoing discomfort with and misunderstanding regarding the actor's craft. Chapters Three and Four will examine separately our notions of work (Three) and then of vocation (Four) in order to gain a broader view of these two terms. At this point, we will have laid the path to reintroduce Dorothy L. Sayers in Chapters Five, Six and Seven, both as a partner in conversation and as one who held this broader understanding of the terms work and vocation and applied them to creative activities, in particular acting. The final chapter will look at acting as connected to the basic features of life. It, among other things, will revisit some of the anti-theatre argument; pick up on ideas such as the imagination's ability to rehearse life; and will examine some uses of acting as a means of human exploration and social change. Finally, we will explore the artistry, technique, and craft of the actor, to firmly establish the place of acting in society as an important task, a “proper job,” and a Christian vocation.
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Nielsen, Karen Cort. "Spatial Appropri-Action : Tactics for the post-industrial designer." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96542.
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This is a project that asks questions. Why are we behaving in certain ways? Why are we using objects for a certain purpose and not others? Why can’t we do it differently? Questions most of us never even consider because we have gotten so used to following the path that is predetermined for us. Throughout this work I will analyze how skateboarding poses a critique of spatial regulations and pre-defined purposes, as well as how skaters are suggesting a whole new perspective on our everyday life. I argue that skaters are in fact the post-industrial designers of their everyday life, and that the perspective of skaters carries potential for sustainable change as it favors the imagination and possibilities over restrictions and limitations. This is a perspective that I believe can help us make better use of the resources we have, both in terms of ecological sustainability, but also with regards to social aspects, as it allows for greater diversity and multitudes of behaviors within the same space. Through several design iterations I have explored how skateboarding offers tactics that can be applied by others to start a process of imagining and performing alternative ways of engaging with public spaces.
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Lovesy, Sarah Caroline. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20051129.144927/index.html.
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Rogers, Brendan. "Technique arms the imagination developing an acting theory best suited for motion capture performance and the creation of a virtual character." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5029.
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The untrained body, like the sculptor's marble, can express nothing but its own limitations (Lust 70). As acting styles have changed through the years, corresponding schools of thought have arisen to prepare performers for their unique challenges. Perhaps the goal of producing a "gripping performance," one in which the audience is truly invested, has remained the same since the time of Thespis. How one arrives at this desired result, however, has varied greatly through the ages. Techniques, not surprisingly, tend to build on previous theories, beliefs and practices. Etienne Decroux's corporeal mime technique builds on the teachings of Jacques Copeau, but as a result, takes the art form into a radically new direction. Vsevolod Meyerhold studied with Stanislavski, learning his inside-out approach to performance, and, with biomechanics, creates a performance technique that turns Stanislavski's approach on its head. The point is not that these theorists developed something that undermines the previous work, but that they built their theories from knowledge of older techniques. In essence, these theorists learned from the past to prepare for the future. Advancements in film technology have dramatically changed both the nature of film, and performance, itself. Computer-generated characters and environments are becoming more commonplace in film due to the flexibility they provide in composing shots, and the relatively low price tag that comes with them. Technology still can't replace the subtlety that comes from a human performance, so currently, actors find themselves in the unique position of having one foot in the real world and the other foot in the virtual world. The motion-capture process, or moCap, is the best example of this unique relationship.; By placing sensors at key joints on an actor's body, their performance can be tracked by a computer and then directly applied to a computer-generated model (Hooks 30). In a sense, it's digital puppetry. Because only the movements are being recorded and not the actor's physical appearance, performers can play parts that are not necessarily their physical type or even their own species. Director Peter Jackson cast Andy Serkis to play a forty-foot-tall ape in the 2005 remake of King Kong, and thanks to the motion-capture process, the result is a perfect blend of live acting and computer-generated graphics. The relatively low cost and flexibility of this process has made it available, not just to filmmakers in Hollywood, but also to the independent market. I am currently directing a feature length film that utilizes both computer-generated backgrounds and virtual characters accomplished through the motion-capture process. This production has been in the works since I started graduate school. As I learn more and more about specific acting techniques in class, I am always looking for something that I could apply specifically to motion-capture performance. Currently there is little research on the topic and certainly, there's no specific acting theory that applies to this medium. In this paper I hope to formulate an acting technique that is tailored for the field of motion-capture performance, building upon theories of the past. Further study in this technique will better prepare future performers in this field, as well as provide insights for directors new to the medium. The following three techniques in particular, each with their emphasis on an outside-in approach to acting, will provide the basis for this theory: Meyerhold's biomechanics; Decroux's corporeal mime; and Edward Gordon Craig's uber-marionette concept.; I will provide detailed sections on each one of these approaches, discussing the theoretical sides of each, as well as specific exercises students in these schools are asked to perform. Next, I will provide a detailed section on the motion-capture process, discussing how it works and the challenges it presents to performers. Finally I will apply each one of the three theories to the motion-capture process, finding points where the theories apply and also where they fall short. By choosing specifically what applies to the moCap process from each one of the techniques, we will be left with a new theory that specifically relates to virtual performance. This will not only serve as an invaluable guide to both future performers and directors entering the field of motion capture, but will hopefully be the beginnings of an acting theory that can bring performance education programs into the 21st century. Working in the virtual realm requires a performer to use his imagination, but having training and knowledge in theories of the past will mean the imagination is not the only thing actors have to work with.ID: 030422726; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-92).
M.F.A.
Masters
Theatre
Arts and Humanities
Acting
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Lovesy, Sarah Caroline, University of Western Sydney, of Arts Education and Social Sciences College, and School of Education. "Drama education secondary school playbuilding : enhancing imagination and creativity in group playbuilding through kinaesthetic teaching and learning." THESIS_CAESS_EDU_Lovesy_S.xml, 2003. http://handle.uws.edu.au:8081/1959.7/787.
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This research investigates the drama eduction form of playbuilding, and particularly the phenomenon of kinaesthetic teaching and learning which is aimed at enhancing group imagination and creativity. Playbuilding is a process whereby groups of students devise and act in their own plays using a variety of dramatic elements and theatrical conventions. This research explores the playbuilding learning experiences of two secondary school drama classes and the playbuilding teaching experiences of four drama teachers. The research underpins current drama and theatre education praxis that relates to learning through embodiment, symbolic creativity, and the purpose and function of metaxis in a secondary drama classroom. The study relied on qualitative research grounded theory techniques, focus groups, student workbooks, classrooms practices, closed questionnaires, face to face interviews and videotaped materials. Central to this research are the phenomena of imagining and creating that occur in secondary drama playbuilding groups learning through a group kinaesthetic paradigm. This study concludes that there is a paradigm which identifies secondary drama students as group kinaesthetic learners, and that kinaesthetic teaching and learning practices open up pedagogic spaces in playbuilding that significantly improve the effectiveness of group embodied learning in drama educationDoctor of Philosophy (PhD)
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Barrs, Myra. "Imagination in action : a study of the 'prehistory of writing' in children's early symbolising, based on a rereading of Vygotsky." Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10006597/.
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Ávila, Silvana Baggio. "A organicidade da palavra no processo criativo do ator." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26711.
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Tendo como objeto de estudo a palavra no processo de criação do ator, esta dissertação reflete sobre a possibilidade de torná-la ação, a partir da mobilização dos elementos da ação física: atenção e imaginação, elementos fundamentais que se inter-relacionam para gerar a ação físico-vocal da palavra. A pesquisa estende-se à prática investigativa de novos procedimentos para a utilização da palavra no processo criativo do ator, evidenciando-a como elemento instigador tanto do imaginário do ator quanto do espectador. Para tanto, o trabalho prático foi realizado pela pesquisadora-atriz utilizando-se, em um primeiro momento, de exercícios com os cantos rituais aprendidos durante experiência no Workcenter of Jerzy Grotowski and Thomas Richards e, em um segundo momento, sobre experimentações com os círculos de atenção apresentados por Constantin Stanislavski nos quais relacionou a palavra e a ação física. A autora cercou-se das obras teórico práticas de Grotowski e Stanislavski e dos referenciais teóricos de Bachelard, Damásio e Sara Lopes, entre outros.Having as objective the role of the word in the actor’s process of creation, this dissertation reflects on the possibility to turn this word into action, using as source the mobilization of the elements of physical action: Attention and imagination, fundamental elements that relate to each other to generate the physico-vocal action of the word. The research reaches the investigative practice of new procedures for the use of the word in the actor’s creative process, making it evident as a provocative element both the actor’s and the spectator’s imaginary. To achieve this goal, the practical work was carried out by the researcher-actress, taking hold, in a first moment, of exercises using the ritual chants, developed during experience in the Workcenter of Jerzy Grotowski and Thomas Richards, and, on a second moment, of experimentations with the circles of attention presented by Constantin Stanislavski, in which she related the word and the physical action. The author surrounded herself by Grotowski’s e Stanislavski’s practical and theoretical works and by the theoretical references of Bachelard, Damásio e Sara Lopes, among others.
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Bland, Derek Clive. "Researching educational disadvantage : using participatory research to engage marginalised students with education." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16434/1/Derek_Bland_Thesis.pdf.
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Educational disadvantage, long recognised as a factor in determining post-school options, manifests in forms of marginalisation from and resistance to education, and in under-representation in tertiary education. Moreover, while student voice is becoming a more normalised aspect of decision making in schools, marginalised students have limited opportunities to participate in education reform processes. The practice of "students as researchers" (SaR) extends student voice through engaging students in researching the educational issues that directly affect them and inviting participation in pedagogical and school reform issues. In this research, I examine the application of an SaR model with marginalised secondary school students, and the outcomes for the participants and their schools. The Student Action Research for University Access (SARUA) project provides the site of my empirical investigation.
The research is informed by two complementary lines of theory: Habermasian critical theory, which provides the framework for participatory research, and Bourdieuian social reproduction theory, which scaffolds the aims of empowerment underlying SaR. These theories are extended by a theory of imagination to take account of difference and to establish a link to post-modern considerations. I employed a participatory action research methodology to investigate changes in the students' awareness of post-school options, their aspirations regarding tertiary study, and the development of related educational skills as a result of their participation in the project.
The principal findings from the research are that the SARUA model provides an effective medium for the empowerment of marginalised students through engagement in meaningful, real-life research; that participant schools are positioned to benefit from the students' research and interventions when school and student habitus are in accord; and that the SARUA model complements current pedagogical reforms aimed at increasing student engagement, retention, and progression to higher education.
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Bland, Derek Clive. "Researching educational disadvantage : using participatory research to engage marginalised students with education." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16434/.
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Educational disadvantage, long recognised as a factor in determining post-school options, manifests in forms of marginalisation from and resistance to education, and in under-representation in tertiary education. Moreover, while student voice is becoming a more normalised aspect of decision making in schools, marginalised students have limited opportunities to participate in education reform processes. The practice of "students as researchers" (SaR) extends student voice through engaging students in researching the educational issues that directly affect them and inviting participation in pedagogical and school reform issues. In this research, I examine the application of an SaR model with marginalised secondary school students, and the outcomes for the participants and their schools. The Student Action Research for University Access (SARUA) project provides the site of my empirical investigation. The research is informed by two complementary lines of theory: Habermasian critical theory, which provides the framework for participatory research, and Bourdieuian social reproduction theory, which scaffolds the aims of empowerment underlying SaR. These theories are extended by a theory of imagination to take account of difference and to establish a link to post-modern considerations. I employed a participatory action research methodology to investigate changes in the students' awareness of post-school options, their aspirations regarding tertiary study, and the development of related educational skills as a result of their participation in the project. The principal findings from the research are that the SARUA model provides an effective medium for the empowerment of marginalised students through engagement in meaningful, real-life research; that participant schools are positioned to benefit from the students' research and interventions when school and student habitus are in accord; and that the SARUA model complements current pedagogical reforms aimed at increasing student engagement, retention, and progression to higher education.
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Lemouzy, Laurence. "L’imaginaire dans l’action publique territoriale." Thesis, Paris 2, 2017. http://www.theses.fr/2017PA020013.
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S’interrogeant sur leur permanence ou leur déclin. L’imaginaire se présente alors comme une ressource qui aide à « faire société ». A cette performance, le droit administratif, en particulier, n’y est pas étranger, puisqu’il donne corps à l’imaginaire par la création et l’invention de normes.Toutefois, les défaillances de la puissance publique — régulièrement dénoncées — signalent tantôt un affaiblissement, tantôt une saturation, voire même une transformation de l’imaginaire public. L’action publique apparaît comme victime de l’imaginaire, victime à la fois d’un trop plein mais aussi d’une absence d’imaginaire, les deux n’étant pas étranger à une surdétermination économique des enjeux de l’action publique territoriale. Cette tension conduit à s’interroger sur les phénomènes qui vitrifient la capacité d’imagination des acteurs publics. Alors que les collectivités territoriales sont considérées comme des prestataires de services et de droits individuels, quels symboles, quelles représentations, quelles promesses, l’action publique porte-t-elle aujourd’hui ? Quels sont les « nouveaux imaginaires politiques » possibles ? Existe-t-il des ouvertures utopiques qui permettraient de penser une action publique différente de celle que nous connaissons ? Il est ainsi question de mettre à jour les imaginaires qui innervent l’action publique. Les mettre à jour car ils empruntent des souterrains qui les rendent invisibles mais pourtant bien présents dans l’action publique territoriale d’aujourd’huiThis research concern myths and tales who structure the territorial public sector. The purpose is to conduct a réflexion about their permanency or their decline. Then, imaginary must be understood like a way to « make society ». Administrative law, specifically, contribute to the performance of the imaginary by creating and inventing norms. However, the failures of the public sector — frequently denounced — signal sometimes a weakening, a saturation or a transformation of the public sectorimaginary. The public policies appears like a victim of the imaginary, a victim of an excess or a lack of imaginary, maybe because of the pressure and the influence of the economic power. This strain drives to interrogate themselves on the phenomena who cancel the capability of imagination among the public actors. While the local administrations are considered like service providers and individual rights providers too, which symbols, which representations, which promises does the public sector carry today ? What are the « new political imaginaries » ? Can we re-model public policies with utopia ? The question is to update the imaginaries attached to public policies. These imaginaries are invisible, hidden in the undergrounds but the are really present in the way to drive and build public policies today
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Chorley, Paul. "The influence of dopamine on prediction, action and learning." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39650/.
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In this thesis I explore functions of the neuromodulator dopamine in the context of autonomous learning and behaviour. I first investigate dopaminergic influence within a simulated agent-based model, demonstrating how modulation of synaptic plasticity can enable reward-mediated learning that is both adaptive and self-limiting. I describe how this mechanism is driven by the dynamics of agentenvironment interaction and consequently suggest roles for both complex spontaneous neuronal activity and specific neuroanatomy in the expression of early, exploratory behaviour. I then show how the observed response of dopamine neurons in the mammalian basal ganglia may also be modelled by similar processes involving dopaminergic neuromodulation and cortical spike-pattern representation within an architecture of counteracting excitatory and inhibitory neural pathways, reflecting gross mammalian neuroanatomy. Significantly, I demonstrate how combined modulation of synaptic plasticity and neuronal excitability enables specific (timely) spike-patterns to be recognised and selectively responded to by efferent neural populations, therefore providing a novel spike-timing based implementation of the hypothetical ‘serial-compound' representation suggested by temporal difference learning. I subsequently discuss more recent work, focused upon modelling those complex spike-patterns observed in cortex. Here, I describe neural features likely to contribute to the expression of such activity and subsequently present novel simulation software allowing for interactive exploration of these factors, in a more comprehensive neural model that implements both dynamical synapses and dopaminergic neuromodulation. I conclude by describing how the work presented ultimately suggests an integrated theory of autonomous learning, in which direct coupling of agent and environment supports a predictive coding mechanism, bootstrapped in early development by a more fundamental process of trial-and-error learning.
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Warren, Simon Adrian. "'Is that an action man in there?' : masculinity as an imaginative act of self-making in an English primary school classroom." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/39029/.
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This thesis argues that masculinity does not exist as the empirical property of biological males. Instead, masculinity is viewed as being produced in its objective sense through a social imaginary that invokes masculinity as already ontologically present; as having ontological continuity; as being necessarily coherent; and as being embodied in real boys/men. l\lasculinity is therefore seen as an iterative exercise, or a narrative of self, whereby the boys in this study are seen as being involved in producing themselves as coherent males in each classroom interaction. The masculine social imaginary is made real through these subjective moments of self-making. This research focuses on the strategies engaged in by boys, in an English primary school classroom, in their accomplishment of masculine identities~ how they are secured in relation to both girls and other boys~ and how particular masculine forms achieve and maintain hegemony. The research looks at the relationship between objective and subjective senses of identity; the cultural resources available to boys in their identity work; the ways different cultural resources (capital) accrue value in the context of the school; how these differently valued resources contribute to the production of masculine hierarchies; and pedagogic structures and practices interact with the boys' identity work to construct different relationships with the official curriculum. Working through a concept of reflexive relativity, this thesis regards the data collected through observation and elicitation exercises, as narrative productions. The research text itself is a narrative production - a rendering of a theory of masculine behaviour; and as constituting a series of dialogues between the research and different research subjectivities.
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Garre, Rubio Soledad Pilar. "Shifting paradigms of practice in 'Interpretación Gestual' : integrating bodymind training with Michael Chekhov's acting techniques within the context of training professional actors in Spain." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8281.
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This thesis examines the implementation of an actor-training programme in the context of Spanish drama schools during 2004-2005. Reflecting through the student's practice as well as my own practice as a teacher, actor and director, I investigate how a bodymind training based on martial arts disciplines and designed by Phillip Zarrilli may contribute to understand the theory and the practice of an actor's use of the imagination as Michael Chekhov proposes it. Core questions arise from the evaluation of what is the professional knowledge that the integration of both systems of training brings to the students. The action of research is placed in how the process of learning such competencies take place and become informative of both the research and the acting practice. The concept of acting is being analysed by looking at the significance of the actor's imagination from a phenomenological rather than a psychological perspective. The discussion includes the challenge that developing a new pedagogy in a drama school brings up to a better understanding of contemporary paradigms of theatre practice and education.'Interpretación Gestual' is since 1992 an established branch in the Real Escuela Superior de Arte Dramático de Madrid (RESAD). Acting in physical (gestural) theatre conveys some problematic issues concerning its theory and practice within both professional and pedagogical contexts. Implementing a new and specific teaching programme for the preparation of professional actors in the context of the RESAD urges me to clarify inpractice certain issues about these two different approaches to actor training, as well as their presence in today's education within the curriculum of official drama schools in Spain.
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O'Donnell, Jane Elizabeth. "The actor's journey : key principles of performance presence." Thesis, Queensland University of Technology, 2002.
Find full textAbstract:
The central question of this thesis is: what are the key principles of live performance presence?
My research and its resulting theories, are firmly based in the integrated and constructivist processes of grounded theory. An extensive review and analysis of literature by the likes of Barba, Stanislavski, Meyerhold, Chekhov, Meisner, Bogart, Chaikin, Grotowksi, Brook, Oida, Suzuki, Fo, Lecoq, Zarrilli and Hodge, was triangulated through a focus group and through the application of my theories as praxis. The results of my research have led me to believe that although many theatre practitioners are not in total agreement on the best way to train actors, they do agree that presence is crucial to successful performance. The key principles of such presence, for the purposes of this thesis, are: energy, imagination, awareness and mutuality. These holistic, dynamic and interactive principles are crucial to the development of an actor's presence in performance.
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Joubert, Jacomina Christina. "The life experiences and understanding of children as citizens in a democratic South Africa." Thesis, Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-05202008-182045.
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Bacalski, Cherise Marie. "Towards a Consummated Life: Kenneth Burke's Concept of Consummation as Critical Conversation and Catharsis." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3931.
Full textAbstract:
Consummation was the one term about which Kenneth Burke wasn't particularly long-winded - odd considering his claim that it was the apex of his theory of form. Perhaps Burke never explained exactly what consummation was because he himself was never clear on the subject, as he told John Woodcock in an interview toward the end of his career. Burke began conceptualizing his theory of form early on - in his 20s - and published it in his first critical book, Counter-Statement, in 1931. At that time, Burke's theory of form had already taken one evolutionary step - from self-expression, with the focus on the artist, to communication, with the focus on the psychology of the reader. Communication was to Burke an "arousing and fulfilling of desires." However, by the 60s, Burke introduced us to a new term which he only used a handful of times in his entire corpus: consummation. This paper attempts to define consummation by exploring Burke's theory of form and looking to his correspondences with friends and scholars. It offers two answers: first, consummation is the act of a reader responding to a writer in critical conversation; second, consummation is the ultimate cathartic achievement. Both play an important civic role. Using current science regarding the gut in connection with emotional purgation, this paper treats seriously Burke's essay "The Thinking of the Body (Comments on the Imagery of Catharsis in Literature)" and his ideas regarding the "Demonic Trinity": micturition, defecation, and parturition, explaining Burkean catharsis as it differs from, deepens, and extends Aristotelian catharsis. What can we learn from what Burke meant by consummation? That the symbolic world is much more significant to our survival than we may realize. As the world of scientific motion advanced rapidly during Burke's lifetime, he began to lose hope that symbolic action could keep up with it. We can see how important poetry and the symbolic motive was for him; he seemed to think it was a matter of life and death. This paper explores what it meant for Burke to seek a consummated life, and the implications that held for him and for us. In the end, the paper posits the importance of catharsis to society in terms of war and peace.
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Oplatková, Hana. "Žiju tarot." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232344.
Full textAbstract:
Private deck of cards created during six-month survey and documentation of daily experiences. The package contains 49 cards and it is inspired by a set of 78 tarot cards. Text content - reverse side of the card was created using diary notes. Face side of the card was chosen as a representation of processes taking place usually in days when the card was read.
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Huang, Chun-Hao, and 黃淳浩. "My Inner Walking: The Process Of Learning Active Imagination." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/qs2642.
Full textAbstract:
碩士國立東華大學
諮商與臨床心理學系
103
This is a research of the process of learning Active Imagination and it is written in the way of self-narrative. To provide a whole picture of developing personal Active Imagination skills, and it includes the researcher’s personal life and struggle experiences, self-reflection when reading papers relating to Jung’s theories and Active Imagination, and experience of self-practice. The result of research: the researcher constructed personalization’s Active Imagination stages, supplied six dimensions of understanding about Active Imagination, includes (1) involving emotion, (2) the sense of bodies, (3) the rising of inner image, (4) self-conversation, (5) co-transference and, (6) the alchemy of imaginational. According to my learning experience, I suggest people try to do Active Imagination need to notice (1) inner body feeling, (2) Autonomous choices and subjectivity, (3) the level of consciousness involving, (4) the ritualization of stages which including the beginning, created image, and finish, (5) generalizing awareness to daily life. Implication and suggestions were provided for future Active Imagination researches.
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YANG, CHING-JU, and 楊菁薷. "Incest Survivors and Active Imagination-The Journey of Dealing with Nightmare Experiences." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/kkr3gw.
Full textAbstract:
碩士國立臺北教育大學
心理與諮商學系碩士班
107
The purpose of this study was to explore the meaning of nightmare transformation of incest survivors through active imagination. The researcher invited the group members who had participated in dream and drama therapy group to conduct in-depth interviews to understand the participants' experiences in dealing with nightmares through active imagination, the transformation of nightmare meaning, and how the group's experience helped them deal with nightmare during the group process. This study intends to present unconscious content, such as artistic creations and drama performances, to the study participants in the form of expressive art therapy. In addition, during the process of active imagination, the participants of the study understood the emotional experiences of the inner world through the presentation of images or symbols, and communicated with the unconscious through the way of drama performance, so as to achieve the transcendent function and produce changes at the spiritual level, thus changing the meaning of nightmares. The result is divided into the following six parts: (1) Three participants are aware of the way in which they faced the trauma in the past, (2) Three participants perceived the impact of the traumatic event on themselves, (3) understanding their own needs, (4) Aware the existence of the power: the power of themselves, (5) The transformation of the meaning of the nightmares: active imagine the nightmares and see the new meaning, (6) Make decisions for themselves, and no longer be the same as the past. Three participants active imagine nightmares through expressive art therapy, reaching the inner broken self, understanding the needs of themselves, and also see the power they have and achieve the transformation of the meaning of the nightmare. The different meanings which was seen can be applied in their life, let them make choices and decisions that are different from the past.
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Liu, Yun-Huan, and 劉允寰. "Imaging: Exploring the lived experience of looking at an image through Jung’s Active Imagination." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4k79ch.
Full textAbstract:
碩士國立東華大學
諮商與臨床心理學系
107
The purpose of this study is to explore the lived experience of looking at an image. To accomplish this purpose, a structure of interview is designed, mainly made up of active imagination from Jung's analytical psychology, the process of active imagination in this study is consulted the four steps recommended by Marie-Louise von Franz (1980；2011). Before inviting four interviewees to experience the active imagination, this study invited them to talk about their issue. Except exploring the structure of experience of looking at an image, this study also exploring the context of how can looking at an image being therapeutic for people who are suffering. The study material of this study is made up of four descriptions of experience of looking at an image. Through phenomenological methodology, this study accomplish its purpose. This study shows that, within the experience of looking at an image, part of images presented to be active. Images connected with each other, and a plot of story formed, a scene of image formed, too. Interviewees experienced themselves involved into the scene of image, they also had related experiences. Also, there was a phenomena of "Mirroring" during Interviewees' experience, through it, interviewees saw the connections between their issue and the situation which shows in the scene. In the mean time, interviewees saw themselves, they had new understanding of themselves. The experience of looking at an image offer interviewees a distance between them and their issue, as if they get themselves away from the situation of their issue, by then, them can have a better view to look at their issue and themselves. And, when they experienced involving the scene of image, they saw the whole situation of the scene, and the possible way to go in the future. That's a possible way of "looking at an image" being therapeutic.
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Chen, Su-yuan, and 陳淑媛. ""Active Imagination" and "Spiritual Rebirth"－Through the Practical Medium of the C. G. Jung's Natal Chart." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/22489736273273724762.
Full textAbstract:
碩士南華大學
生死學研究所
93
This treatise tries, by putting Jung’s Natal Chart into practice as a medium, to explore the main theme of Jung’s theory in “active imagination” and “spiritual rebirth”. The key point that the researcher concerns is the connotation of：“The being’s fixed facts”（including man’s position、confinement and possibility in the world）,“mental quality and structure”, “spiritual rebirth” and “the process of individuation.” The purpose lies in（1）the principles and methods of “active imagination,”（2）trying to explore Jung’s concept in “spiritual rebirth” through one of the practical processes of “active imagination”－astrology and（3）by taking Jung’s “the process of individuation.” as an example, to expound Jung’s theory in practical pragmatic problem.With regard to the above understanding, we know the so-called “active imagination” is a pragmatic principle and method of “active dream；” in other words, this is also a technology of psychotherapy, penetrating Jung’s theory. This treatise tries to study by patterning after analytical psychology and to adopt the methodology of literature, history and philosophy as a way of study. That is：（1）The methodology of literary records－1.the integration and regulation of viewpoints and 2.the exploration and explanation of literary records；（2）philosophical analysis （dabbling in the sphere of linguistic philosophy and analytical philosophy）and（3）the method of study through both theory and pragmatism. As to the frame of detailed statement, having regulated the problem through epistemology, I try to, by taking Jung’s “the process of individuation.” as an example, discuss the concepts and connotation of “active dream” and “spiritual rebirth”.In “symbolic analysis,” I mean to obtain the materials of spiritual image through the pragmatic medium in the active analysis of “transcendental function,” aiming at the theme of the symbolic meaning of archetype of mythology, to proceed with the analysis of “amplification,” “synthetic method” and “constructive method.”
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Chen, ZI-JIN, and 陳姿瑾. "A preliminary exploration on using active imagination as a channel toward the lived experience of a child with Autistic Symptom on sandtray presentation." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/08396140464005818344.
Full textAbstract:
碩士國立東華大學
諮商與臨床心理學系
104
The purpose of this research is to explore how active imagination could interact on an autistic boy’s lived experience. Observed Records of sandtray will be transcribed into text and analyzed by the method of hermeneutic phenomenology. The child’s lived experience of life history will be also collected for helping practitioners and academic researchers to understand autistic child's psychological experience through this study.
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Horn, Adam. "Presumption and Despair: The figure of Bernard in Middle English imaginative literature." Thesis, 2021. https://doi.org/10.7916/d8-f5jd-4714.
Full textAbstract:
This dissertation pursues two distinct but parallel projects in relation to the work of Bernard of Clairvaux and Middle English imaginative literature. First, I argue for a Bernardine anagogical lens as a way to better understand the deepest theological commitments and most distinctive formal innovations of certain key Middle English literary texts, especially Piers Plowman and The Canterbury Tales. Second, I outline a more genealogical project, tracing the figure of Bernard as it is explicitly invoked in widely circulated Middle English works including Piers, The Parson’s Tale, and the Prick of Conscience.
These two threads connect to suggest that the work of Bernard of Clairvaux can offer a new way to understand the relationship between theological and literary texts in the late Middle Ages. Because Bernard’s influence in the vernacular is as much as matter of style as of content, it requires a more capacious way of theorizing the theological implications and even motivations of literary form. The “figure of Bernard” acts as a cipher for later works to explore their deepest intellectual preoccupations, and makes it possible to trace the way they imagine the anagogical interval between the presence and absence of Christ, the over- and under-estimation of the presence of eternity in time. The Bernardine themes of “presumption” and “despair” serve as a useful shorthand for signaling this theorization, and help me to extend its application beyond texts in which Bernard is explicitly invoked—including to writers, like Chaucer and Thomas Malory, whose work is often assumed to be firmly secular.
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Parsons, Amy. "Superhero materials and boys' physically active and imaginative play." Thesis, 2003. http://spectrum.library.concordia.ca/2252/1/MQ83794.pdf.
Full textAbstract:
The present study examined the effects of superhero materials on boys' physically active and imaginative play in a group of middle-class preschool children. Research findings have indicated that media related play, more specifically superhero and rough and tumble may be associated with aggressive and violent behaviour, as well as limited activity with regards to role play. Fifty-eight boys between the ages of 4 and 5 years ( M = 54.95 mos., SD = 5.28 mos.) from middle SES backgrounds who attended day care full-time participated in the study. Eighteen preschool educators, as well as fifty-eight parents participated in the study. The participants (male dyads) were observed for the frequency and quality of roles, themes, level of physical activity in their play, as well as aggression. Each dyad participated in two play sessions, one including superhero materials (media related) one nonsuperhero (non-media related). The parents and educators were asked to respond to questionnaires pertaining to boy's play choices and behaviours. Each dyad's ( n = 29) play behaviour was coded for the type and number of pretend play roles, themes, amount of physical activity, as well as aggression in both toy conditions. It was found that the male dyads engaged in more character/fictive (media related) roles in the superhero condition than the nonsuperhero condition. Finally, dyads were found to be more physically active in the nonsuperhero condition than the superhero condition and no aggression or violence was associated with the play.
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Green, Vicki Ann. "An oral history of a field trip: a study of participants' historical imagination in "Action" and "Artifact within action"." Thesis, 1992. https://dspace.library.uvic.ca//handle/1828/9573.
Full textAbstract:
This study investigated former students' historical
imaginations and recollections emanating from a visit to an historic
site as an extension of the curriculum in social studies in grade five
a decade ago. Historical imagination was defined as placing children
within past "actions" or experiences of history through heritage to
discern for themselves the thoughts and experiences of people of the
past. The following question guided this study: What was the nature
of historical imagination constructed from participants'
recollections through "action" and "artifact within action" based on
an extended field trip to an historic site in the recent past?
"Action" was defined as vigorous activity of children involved in
learning through experience, such as panning for gold. "Artifact
within action" referred to objects illustrative of human
workmanship, such as those found in historic sites.
Ten years ago, ten and eleven year old students participated in
historic site ‘interpretation’ programs including a court trial, school
house activities, gold panning, graveyard exploration, household
chores and carpentry tasks. They explored the reconstructed
townsite of Barkerville where these activities occurred. The
investigation of historical imagination was not intended as an
evaluation of the educational programs offered at Barkerville, nor
was it intended to generalize these findings to other historical
sites.
The author involved young adults to construct memories of
shared events from their experiences of a field trip to Barkerville.
In spite of efforts to determine efficacy of education through field
trips, little has been written about the stimulation of historical
imagination through this process.
The author’s definition of historical imagination formed the
foundation for this study. In addition, the concept of shared voice or
the interactive memory of former students and their teacher through
conversation was developed for use through the methodology of oral
history. Hermeneutics provided the interpretive instrument for
constructing and understanding the narrative expressed through
participants' conversation. The interview lent itself to the
expression of former students' stories recollecting "action" and
"artifact within action." Thematic analysis was used to interpret
the conversational data. Three main themes emerged from the data:
recollecting feelings, creating images and pictures and experiencing
the past. Within the theme recollecting feelings, three references
emerged: feelings of emotional involvement, "the actual feeling" and
feeling closeness with the group.
A salient conclusion of this study is that participants'
historical response was evident over time, expressed as the "actual
feeling" and utilized in the active construction of meaning through
vivid recollections, which employed historical imagination to
explain and extend historical understandings. The constructs most
evident underlying historical imagination were interaction, free
play, provocation, the supernatural and engagement. Furthermore,
gender recollection was a significant construct and, as a result,
woman's past emerged as a reference within the theme experiencing
the past.Graduate
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Ting, Cheng-Ping, and 丁健平. "An Action Research on Developing the Writing Instructional Program for Future Imagination." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/17271140771783560516.
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Yang, Ting-Ting, and 楊婷婷. "An Action Research on Activating Imagination through Sensory Experiences in Art Classes." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/de585x.
Full textAbstract:
碩士國立彰化師範大學
美術學系
107
Starting from 1960s, child-centered art education concepts such as free painting, imaginative painting, and creative expression started to enter the center of the stage. Education that focuses on the personality and creativity of children began to rise, claiming that education should stress on children expressing their potential nature and creativity. Art education puts its focus on facilitating students’ experience and application of imagination. To date, post-modern theories believe that art should be equipped with perspectives that are to be interpreted and read diversely. Art thus becomes a subject of inclusiveness and flexibility. Should art education be situated at the core of aesthetic education, aesthetic experience would seep into different levels of life. The purpose of this study is to develop an imaginative art curriculum with the aesthetic education of post-modern art at its core. It probes into the influence of “imaginative art curriculum that activates senses” on the “senses” of students to unlock “perception” and imagination as well as the professional growth of teachers along the way in the action. The author took the imaginative education concepts of art education scholars, Maxine Greene and Arthur D. Efland, as the basis, combining 4 levels, i.e. “introducing imagination”, “liberating recognition”, “change”, and “reflection”, to compile an imaginative art curriculum. The subjects in the research were fourth-graders. The research period last for four months, 24 sessions in total. Action research was employed for the study to adjust the curriculum and the implementation of different stages via teaching observation and reflection. The conclusion of this paper is as follows： (1)Based on the four levels stated above, the content of the curriculum was divided into four Units. Unit One “The Beauty of Pattern” was to cultivate students’ ability to utilize their own senses to introduce themselves into art. Unit Two “Changing Stories” and Unit Three “Wonderland in the Story” guided students to read “images” and see “the story”, so as to tell “the story” and “write down the story”. Unit Four “All Aboard to the Future” allowed students to review and reflect on their learning via images, the dialogues between peers as well as between students and teacher, and performances. (2)The performance of students learning imagination was catalyzed to elevate and utilize multiple senses in their creation, appreciation, and practice. The perception of aesthetics and the ability of artistic creation from students had impact on students’ ideas and creativity in performances. The closer the appreciation education was to the life experience of students, the better it triggered the affective identification from students. (3)On the regard of the professional growth of teachers, we found on the stage of curriculum design that it was not an easy task to activate students’ various senses in order to awake their imagination. Guiding students to utilize their senses and various resources in all sorts of experiments on creative ideas and practices full of imagination, so as to increase their learning and experience as well as to unfold a broader interdisciplinary horizon, was part of the challenge in the curriculum implementation as well. Hence, the improvement on the interdisciplinary competence in teaching is a necessary investment for teachers. In terms of student-teacher interaction, the curriculum aroused students’ interest in creation and willingness to engage creative dialogues with more creativity and imagination.