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Morgan, Ruth C. "Factors of Resilience that Support University Art and Design Students." ScholarWorks, 2016. https://scholarworks.waldenu.edu/dissertations/2074.
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Graduation rates in bachelor's degrees in the United States continue to be lower than stakeholders expect, despite the many advantages of college completion. This phenomenological study investigated the interplay between resilience, coping strategies, and college completion for undergraduate art and design students in an effort to improve graduation rates. The purpose of this study was to address gaps in the literature regarding art and design students' resilience and academic success. Findings were interpreted using 3 conceptual frameworks: resilience theory, Bronfenbrenner's ecology of human development, and Dweck's theory of mindsets and self-beliefs. Research questions guiding this study addressed the external and internal factors that support resilience, the most stressful situations students faced while attending the university, and the coping strategies students used to manage stress, regain resilience and graduate. Data collection included individual semi-structured interviews with 11 graduating seniors and an alum from a single public university in the eastern United States. Data were supplemented by individual semi-structured interviews with 1 faculty member and 2 campus counselors from the same university who had extensive interactions with art and design undergraduates. Key results from the data analysis found that supportive relationships with peers, access to financial aid, stress-free living environments, motivation, tenacity, and self-efficacy were important factors for academic success. The most stressful situations students reported were studio critiques, a lack of compatibility with roommates, and health issues. This study promotes positive social change by providing information for stakeholder's use in bolstering students' resilience in order to manage stress and improve college completion rates.
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Leonard, Melissa M. "Motivating Students for Success in Art Education." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1048.
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This study is intended to analyze the differences of elementary age students from two different public elementary schools and their motivation to learn about art. The analysis will compare and contrast the results of my efforts as an art educator to present the same curricular information to both groups of students.
I have examined the demographics, the parent involvement, and the other areas affecting the students of the two schools in which I have taught during my seven years as an elementary art educator. My purpose in completing this study has been to better understand how to meet the needs of my current students who seem to struggle considerably in the art classroom when compared to the students I have previously taught. I wish to better understand what shapes the minds and attitudes of our students today whom we teach in art programs.students today that we teach in art programs.
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Webb, Keith R. "A new approach to illustration curriculum design : using Bloom's taxonomy as the framework for cognitive and psychomotor illustration studio objectives /." Read thesis online, 2007. http://library.uco.edu/UCOthesis/WebbKR2007.pdf.
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Hatcher, Lynn Anne. "Exhibition in the Curriculum: Preparing Students to Complete the Artistic Cycle." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/49.
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This curriculum exposes students in Visual Arts classes to the art of exhibition and prepares them to complete the artistic cycle by exhibiting their own work and others. The curriculum is presented in the form of a guide book in which the main body of lessons are geared towards high school Intro to Art classes with quick tips and activities that are adapted toward all grade levels. By learning about all aspects of exhibiting art, theme development, installation design, accessioning and preparing art, and publicity, students are given another tool with which to create a connection with artistic mediums and history. The final goal is to infuse exhibition skills into every aspect of the curriculum as a natural part of learning and talking about art.
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Theuri, S. "Black African students and the art and design education space : narratives of journeys to higher education art and design." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/38061/.
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This qualitative research, with a narrative inquiry approach, focuses on the Black African sector of our community and explores how Black African students access, enter and progress through HE Art and Design and what facilitates this progress. It also questions what limiting barriers are visible in the art and design educational journeys of the participants in the study and to what extent these barriers have had an impact on the participants’ educational journeys. As a result, this study has included both students and graduates who studied art and design at Higher Education (HE) as well those who considered studying art and design at HE but chose not to. Within this research I will define ‘Black African’ as all those who would situate their heritage as being sub-Saharan African as opposed to Caribbean. This study has analysed a range of narratives given by 14 participants of Black African heritage in regards to their experiences of access and entry to and progression in HE Art and Design. This is a small scale research project in which the focus is on depth of understanding and the production of rich data with thick descriptions. This research does not look to generalise to all Black African students, but to provide theoretical insight into the experiences of a small group of this population Research on Black and Minority Ethnic (BME) HE art and design students overall and specifically Black African HE art and design students in the UK in terms of access, entry, progression, and overall HE experience is currently lacking in the field (Okon 2005), therefore this specific group is considered in order to bring it out of its anonymity within the field of HE Art and Design.
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Wong, Mei-yee. "Civic education programme in art and design lesson : a case study of secondary one students in a secondary school /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2119063X.
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McClea, Cheryl. "Promoting mental health services at Delaware College of Art and Design." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 104 p, 2008. http://proquest.umi.com/pqdweb?did=1605146211&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Kuo, Shih-Ping. "Graphic Design Students' Development of Adaptive Expertise in Ideation Strategies." Thesis, Purdue University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10843121.
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<p> This exploratory study uses the convergent design of mixed methods to integrate adaptive expertise theory to study how individual student participant from graphic design or non-graphic-design majors to solve a novel ideation problem in graphic design. Adaptive expertise includes six dimensions: metacognition, flexibility, dynamic knowledge, ability to welcome challenges, efficiency and deep understanding of the domain knowledge, and multiple perspectives. Those are desired qualities for a learner to stand out in the global market that are constantly changing with complex challenges. Thirty undergraduate students participated in this study. This study aims to answer four questions: types of graphic design tool and strategies selection and reasoning, similarities and differences among four participant groups, influences of participants’ performance from the prior-experiences, and other potential preconceptions and situations to their reasoning. Four results are identified. Frist, 11 rationales contributed to participants to make their tool usage decision and strategies. Second, participant with more varieties of prior experiences in graphic design would potentially have significantly higher confidence level in their adaptive expertise. Third, participants who performed better in this study, obtained more thorough reflection in design thinking. This result shows that this task requires domain-dependent expertise. Forth, participants’ performance found affected by several non-cognitive preconceptions such as uncertain challenges, adapting in the new work space, and stress management. Future studies need to increase the number of participants to potentially increase statistical significance of the results, and to identify the relationship among factors that affect participants’ performance and exhibition of adaptive expertise. Implications of this study suggests the need to expose learners to diverse types of graphic design experiences and novel tasks/contexts. </p><p>
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Hauser, Andrea M. "A Grounded Theory Study of the Self-Authorship Development of Art and Design Students." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1626879883767632.
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Griffin, Kelvin. "An investigation into students' understanding of sketchbook annotation in art and design." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10020381/.
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This thesis is based on the observation that annotation in Art and Design Education has received little attention as a device for developing student understanding. As an Art and Design teacher I have, therefore, taken what I see as the predominance of 'labelling' practice further, exploring the potential of annotation by looking at the responses of five students to a number of questions designed to identify levels of understanding. This research has highlighted a number of issues concerning why and how annotation is used in sketchbooks, and what value these students attach to it. A desire to develop the effectiveness of annotation is the driving force behind this investigation. I have minded to understand the perceptions of those who teach, as well as the perceptions of those who are taught. By analysing both perspectives, different needs are addressed as part of an in depth examination of the data collected. I argue that annotating is the counterpart to sketching. By definition, both these activities are 'short-lived', and 'rapid', implying a longer time spent thinking, thinking that is not usually immediately available for consideration. Analysing particular language is crucial. I also argue that the process of condensing thought creates inferential gaps for us to consider. Furthermore, what happens during the time taken to annotate at different speeds is important to establish, in order to understand the reasons for its production. A developing theory emerges to suggest that further consideration of these aspects would enable students' concerns to be identified more clearly. This investigation sets out to articulate the understandings of students for the purpose of establishing meanings. This is achieved by considering two parallel lines of enquiry, relating time and intention. This triangulates thoughts about what motivates students to shorten written information to support their visual communications. Three main outcomes emerge. They relate to the language used by students, inferences inherent within their notes, and the pace of their annotation to indicate further significance. These outcomes make significant contributions to current awareness of the value of sketchbook annotation, and recommendations are made, about how to access this understanding, with a view to implementation.
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Hermoza, Samanez Luz Marina. "Formative Assessment - Construction for Collaborative Learning in Students of Art and Design." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/117840.
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The objective of the experience that we are presenting is to point out some valuable accomplishments of students’ learning from the Geometric Design 1 and 2, DG courses in the Pontificia Universidad Católica del Perú, PUCP’s, Art Faculty, which are built when learning evaluations take place, as well as how the approach of the formative evaluation supports the construction of an art student who is independent and self-directed, able to be conscious of his own progress, able to be self-critical of his/her artistic production, basing their self-evaluation on objective criteria that they themselves will discover and create. In addition, the formative approach of the evaluation promotes the formation of a strong character for critical evaluation, understood here as a specific evaluation strategy of art and design.Also we will reflect on the application of evaluation strategies aimed towards being collaborative; to give meaning to the method and to the intended contents of the learning while the student is acquiring procedure tools for the development of drawing techniques and for their own self-expression.This important learning is aimed at the autonomy of the student, because simultaneously to the conceptual area, diverse methodologies will be put in practice and students will experience strategies of collaborative learning andindividual aimed to «learning to learn» and «learning to be».<br>Los objetivos de la experiencia que presentamos son: a) identificar los logros del aprendizaje de los alumnos del curso de Dibujo Geométrico (DG) 1 y 2 de la Facultad de Arte de la Pontificia Universidad Católica del Perú (PUCP) construidos durante la evaluación del aprendizaje. Asimismo, b) demostrar cómo el enfoque de la evaluación formativa apoya la construcción de autonomía y autorregulación del estudiante de arte, capaz de ser consciente de su propio desarrollo y de hacer una autocrítica de su producción artística, basada en criterios objetivos que él mismo va a descubrir y conceptualizar, mientras va adquiriendo herramientas procedimentales y conceptuales para el desarrollo de técnicas de dibujo y de su propia expresión. De esta manera impulsa la formación de un carácter fuerte para la evaluación crítica, entendida aquí como una estrategia específica de evaluacióndel arte y el diseño.También reflexionaremos sobre la implementación de estrategias de evaluación orientadas hacia lo colaborativo, para darle significancia a la forma y a los contenidos destinados al aprendizaje, mientras el alumno adquiere herramientas para el desarrollo de técnicas de dibujo y de su propia expresión. Las estrategias de evaluación están orientadas a la autorregulación del alumno ya que simultáneamente al área conceptual, pondrán en práctica metodologías diversas y experimentarán estrategias de aprendizaje colaborativo e individual orientados alaprender a aprender y al aprender a ser.<br>O objetivo da experiência que apresentamos é a de assinalar alguns lucros valiososda aprendizagem dos alunos do curso de Geometric Design 1 and 2, DG da faculdade de Arte da Pontificia Universidad Católica du Perú, PUCPque se constroem durante a avaliação da aprendizagem, assim como o enfoque da avaliação formativa apoia a construção de um estudante de arte autónoma e autónomo e autorregulado, capaz de ser consciente de seu próprio desenvolvimento, capaz de fazer uma autocrítica de sua produção artística, baseando-se em critérios objetivos que o mesmo vai descobrir e conceituar. Ademais o enfoque formativo da avaliação impulsiona à formação de um carácter forte para a avaliação crítica, aqui entendida como uma estratégia de avaliação específica da arte e design.Também reflexionaremos sobre a implementação de estratégias de avaliação orientadas para o colaborativo, para lhe dar significância à forma e aos conteúdos destinados à aprendizagem, enquanto o aluno vai adquirindo ferramentas processual para o desenvolvimento de técnicas de desenho e de sua própria expressão. Esta aprendizagem significativa está orientada à auto-regulação do aluno, pois simultaneamente à área conceptual, porão em prática metodologias diversas e experimentassem estratégias de aprendizagem colaborativo e individualorientados ao aprender a aprender e ao aprender a ser.
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Wang, Ruoqi. "“Online Participation Art Strategy” : Design for supporting students' wellbeing in crises times." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104751.
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Online learning in the present circumstances of the pandemic is unique, unlike common digital learning situations, raises a number of concerns. University students might struggle with adjustment and feel discouraged by changes, as conventional socializing in class is their major loss in online learning. Students should continue to learn, and schools have gone to great lengths to transfer educational content into the digital world, not just online teaching and delivery methods, but also support the students' wellbeing. The project created a framework for students’ wellbeing support, online learning in higher education and crisis preparedness. Moreover, the project used several research methods to collect and analyze data, and design methods to treat and develop ideation. The resulting project is called the ‘Online participation Art Strategy’. Based on the insights that ‘enhancing online learning by enhancing online participation’, the project provides educational materials in the form of campaign design and graphic design, to enhance online participation and thereby support the wellbeing of students.<br><p>Online presentation</p>
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Camino, Minacha. "An investigation into the writings of established art and design practitioners as a useful model for the Critical Research module of the Art and Design B.A. (Hons) Course." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/an-investigation-into-the-writings-of-established-art-and-design-practitioners-as-a-useful-model-for-the-critical-research-module-of-the-art-and-design-ba-hons-course(7852f0ed-826f-46bb-98fc-6e5d2e216615).html.
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The requirement for a written element in the B.A (Hons) Arts degree has been in place since the Coldstream Report of 1960. Since that time, there have been discussions, scholarly articles and further government committees addressing the way that this component is delivered by universities and colleges. These discussions centre on the content, the assessment of the content and its relationship to students' own practice. There are many divergent views about how the subject, variously called contextual, critical or complementary studies, should be presented by the students in a way that has academic rigour and enhances studio practice. However, I have identified a gap in that literature: there also is a rich history of artists and, more recently, designers writing about their own and others' practice. I sought to establish whether or not the writing of established practitioners could be useful in improving students' own efforts and encouraging a synthesis between the written work in their final year journals, (an alternative to the traditional dissertation) and their studio practice. The methodology that seemed most appropriate was an instrumental case study, with data from interviews (transcriptions), text analysis and analytic induction of the writings by established practitioners and the students' writings about their own work and the work of others. Experience and by now conventional practice suggests that all students refer to the work of established practitioners, not always from their own chosen discipline. Although the students are not necessarily asked to research and write about other established practitioners, inevitably they will do so to engage with, identify and contextualise theory and history. There was a general lack of understanding about the complexities of the intended learning outcomes and, importantly, the sub-assessment criteria that was realised to be more difficult to explain and understand than the more traditional, essay method of the dissertation. This difficulty was mainly owing to the students' lack of experience in critical thinking and poor research skills when writing about their own work. The task for third year students was burdensome for some, but easier for those students who had critical studies embedded in their studio practice. In only one discipline were the tutors optimistic about the abilities of their students to understand the criteria and therefore likely to be successful in the assessment of the journal. This finding was mirrored in their students' responses. The lack of interest and wide knowledge of some tutors in comparison with other colleagues lead to a tension between what is currently learnt in the studio and what is learnt from non-studio teaching. I explored the relevant writings using the three themes of production, content and consumption. A comparison between students' and established practitioners' writing, using the criteria for the intended learning outcomes for the critical studies module, found that there were both some similarities and some important differences. On the basis of the evidence, the journal could provide the students with a more insightful understanding of their studio practice if there is: • A revision of the assessment criteria, using the saturation points of established practitioners writing in my analysis tables; • Much greater fostering of interest into the reading of established practitioners' writing; and• A team of tutors who are able and willing to teach critical studies/research alongside the studio work. These findings have implications for the training of the staff as well as the structure of the degree courses in art and design.
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Hall, Nora R. "You and your environment: a program of participatory art activities to enhance students' understanding of design elements." Thesis, Boston University, 1988. https://hdl.handle.net/2144/37158.
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Thesis (M.F.A.)--Boston University<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-01
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de, Menezes Nicole Maria. "Me, Myself and I : Designing a space for students to self-reflect through self-portraiture." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86925.
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The Project focused on self-reflection and insight, linking these processes to an artistic one – painting. As a way to respond to the research question: Does self-portraiture have the potential to guide us through self-reflection and insight? Workshops combining art and ways of thinking were designed and facilitated by the author, with the aim of improving the self-reflection and insight of students at LNU, based on theories of brain function and thinking. Using the workshop format, the author guided the participants through an experience of introspection through painting self-portraits. Areas of design included workshop, collaborative and critical design. A simple three-step design process was employed to create the Project, focusing on What, How and Why. Next steps included prototyping, designing the questionnaires which students completed, designing the art workshops, and advertising the workshops across campus. Results included nine respondents to questionnaires, four participants in the final workshop, and an array of findings regarding the self-reflection process and insight experienced by students through the design process. Although limitations were experienced, including a small number of participants, the results of combining self-portraiture and self-reflection and insight were mainly positive. It was concluded that this process could be proposed as a means to enhance self-reflection amongst students. Recommendations from the workshops included scaling up the process to include greater numbers of students and reaching an agreement with LNU to hold periodic self-portraiture workshops throughout the academic year, to enhance students’ self-reflection, insight and art skills. The author concluded that by holding workshops to paint self-portraits, along with exercises in self-reflection and insight, she had created a safe space for reflection. In future, students could be provided with guidance and support to use art as a platform for improving Self-reflection and insight, and at the same time enhance their art skills and potentially improve their well-being.
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Othman, Mustafa Sayed Rennels Max R. "The effects of computer-assisted interactive video in teaching two-dimensional design to college art students." Normal, Ill. Illinois State University, 1987. http://wwwlib.umi.com/cr/ilstu/fullcit?p8713222.
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Thesis (Ed. D.)--Illinois State University, 1987.<br>Title from title page screen, viewed August 2, 2005. Dissertation Committee: Max R. Rennels (chair), Harry L. Campbell, Heather Hanlon, Robert E. Stefl. Includes bibliographical references (leaves 54-59) and abstract. Also available in print.
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Jones, Tom. "A social model of learning constructed from the perceptions of marginalised art and design students." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/10020794/.
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A social model of learning is proposed on the basis of findings from an investigation conducted in order to understand the learning experiences of some institutionally marginalised students within the art and design sector of post-16 British education. The research thus contributes to the growing body of generic knowledge about student experience and forms a significant addition to the limited number of studies of learning experience specific to art and design. The focus of research and the researcher's professional interest in art and design combine to determine an eclectic and researcher inclusive approach to the methodology. Juxtaposing institutional practice in post-16 art and design with theoretical precepts drawn from the wider field of education for adults shows that marginalisation is a social rather than academic phenomenon. It also reveals a paucity of studies about student learning experience in the sector, thereby providing a rationale for conducting a systematic investigation. Phenomenological analysis of accounts provided by marginalised students shows that they explicitly construct learning as a holistic experience of continuously coping with diverse practical circumstances and conflicting ideas in a dynamic of changing self-perceptions. On these grounds, the findings from this investigation are hypothesised as a social approach to learning. Following substantiation by juxtaposition with established theoretical positions and comparable studies of practice, the hypothesis is proposed as a social model of learning. It is argued that under current circumstances the approach of students hitherto marginalised in art and design is likely to become typical of most future students in the sector. Deploying the social model of learning in conjunction with the liberal apprenticeship model typical of art and design institutions would therefore enable the sector to respond more effectively and positively to challenges posed by the prevailing socio-economic circumstances and government imperatives to widen participation.
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Christopher-Yarrington, Laura. "Art criticism and aesthetics activities for fourth and fifth graders: Design, implementation and exploration of students' responses." Thesis, The University of Arizona, 1998. http://hdl.handle.net/10150/278666.
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This study explored two areas: (1) teacher implementation of aesthetic and critical activities in the classroom; and (2) the nature of fourth and fifth grade students' responses during such activities. A series of lessons were designed and taught to fourth and fifth grade students. The study had two goals: (1) to solicit responses from the students that would illustrate their cognitive levels and their stages of understanding art; and (2) to provide a venue by which the researcher would assess her ability to design and facilitate philosophical and interpretive activities. Data from the study indicates that these students recognize expressive qualities of portraits, understand basic symbolism, apply the concept of figurative expression to their own abstract representations, and give clearly stated reasons for their aesthetic beliefs. Reflections on the teacher's participation in the study indicate need for fine tuning of questioning and facilitating strategies, and a greater historical knowledge of art and aesthetic theories.
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Ezell, Deborah Mcpherson. "Effect of Chemoscan Creation on High School Students' Attitudes Toward Science." ScholarWorks, 2020. https://scholarworks.waldenu.edu/dissertations/7926.
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Whether the activity of creating digital art influences high school students' attitudes toward science is unknown. The purpose of this study was to determine if the creation of artistic digital chemoscans by high school students influences their attitudes toward science. In this study, ninth grade high school students' attitudes toward science were examined after participating in the creation of chemoscans in their science classroom. The theory of affective domain helped explain the process that leads to a person's behavior toward a certain phenomenon in the educational setting. The research questions concerned the use of chemoscan creation in the physical science classroom and if and whether implementation effected a change in students' attitudes toward science. Archival pre- and posttest data from the Test of Science Related Attitude was used to measure high school students' attitudes toward science in 7 categories. Archived student pre- and posttest data were treated with multiple regression for analysis. Key findings of this study showed that creation of artistic digital chemoscans (a) impacted one of the seven subscales of science attitude from the Test of Science related Attitude entitled attitude toward the normality of scientists, (b) did not have an impact on the any of the other six subscales from the TOSRA and (c) was influenced by teacher effect. This study may contribute to social change by providing improved training for science teachers who implement digital art activities, which may lead to some students enjoying science more and then possibly going into science careers.
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Church, Elizabeth Ann. "An Autoethnographic Study of the Effectiveness of Teaching Art Appreciation through Pinhole Photography to Home Schooled Students." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/17.
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This research studies the effectiveness of teaching art appreciation to home schooled children ages 10-17 through a DBAE curriculum in pinhole photography via a weekend workshop. An autoethnographic approach to recording data about the students’ learning and my experience as their teacher was used in the research. Data was recorded as journal notes during and after each workshop from my experiences as their teacher and analyzed according to a grounded theory based on open coding. The workshop was open for registration of up to 25 home schooled students of any race, male or female, from the ages of 10 - 17. While the research reports a successful change in students’ appreciation of photography as a result of the workshop, parental values proved to be both an obstacle and area of potential future research.
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Thren, Dawn T. "An investigation on how a video program will contribute to high school art teachers', guidance counselors', and prospective students' understanding of the nature and requirements of the Kutztown University Communications Design Program." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1994. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 1994.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2723. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves 25-26).
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Art, ETSU Department of, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 1991. https://dc.etsu.edu/mockingbird/25.
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Timothy C. Barbee [Self Portrait Series; Self-Portrait Series]; Kim Barker [World Gone Mad; Untitled Graphic]; Julie Branham [Splunge; Something Wicked This Way Comes; Banzai Bar]; Joe Brown [Coral Reef]; Roger Carper [ICU; The Return]; Todd Cregger [Mocking Bird]; Norman Eades [The Color of Wind]; Melanie Edwards [Friends; Ghandi; Paradise]; Eric R. Fish [Why Not Minot?]; Nicholas Taylor Jimenez [The Ride Home]; Gediyon Kiflle [Memento Mori (Memory of the Dead)]; Miller Lyons [Vietnam, I Weep]; Thomas Keats McKnight [And They Shall Take Up Serpents; Dusty Walls]; Sierra Merrell [Embrace]; Dan Mills [90's Nippy Flippin' Through The Channels; The Double Helix]; Don Morgan [Self Portrait; Portrait]; Avis M. Reid [Mama Hensley; Saint Lydia]; Paul Shelton [Rita Vespucci]; Jeff Tolley [Daddy]; Wesley Venable [One Mao's Castle: A Song For The Parting]; Winn Ann Weesner [Wash-A-Rama]; Tamara L. Wilkins [A Tree Maybe?]; William J. Wright [A Requiem For Youth]<br>https://dc.etsu.edu/mockingbird/1022/thumbnail.jpg
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Wong, Mei-yee, and 黃美儀. "Civic education programme in art and design lesson: a case study of secondary one students in a secondaryschool." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31961149.
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Broadhead, Samantha Jane. "'I always wanted to be creative' : post-access to HE art and design students, phronesis and democratic education." Thesis, University of Sunderland, 2016. http://sure.sunderland.ac.uk/6585/.
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The thesis drew upon the findings of a longitudinal study about post- Access to HE students’ experiences as they undertook their degrees in art and design. It used the theoretical frameworks developed by Basil Bernstein alongside Aristotle’s notion of phronesis or practical wisdom to analyse the data. Through narrative inquiry (Andrews, 2014; Butler- Kisber, 2010; Clandinin and Connelly, 2004) it has been possible to show that these students used continuous reflexivity and practical wisdom in order to meet both the demands of the degree programme and those of their families. At the same time they were pursuing the dream of becoming an artist or designer; seeing this as part of living a good life. The key research questions were firstly; did post-Access to HE students receive a democratic education as defined by Basil Bernstein (2000) when they studied in art and design higher education? Secondly, were post-Access to HE students able to draw upon their practical wisdom in order to act well for themselves and others whilst studying their degrees in art and design? And finally did receiving a democratic education also entail students as well staff being able to deliberate wisely according to their previous experiences and practical wisdom? The institutions where the students studied appeared to be mostly inflexible so that the post- Access students had to be adaptable and responsive in order to achieve excellence in their art and design work. The imagined future was an important strand of the students’ stories. In this future the aim was to be paid for creative work whist paying off the student loan. The degree was seen, in some cases, as being instrumental in gaining employment in the art and design industry and not an end in itself. Some students began making external links in their first year with a view to gaining experience for the future. Post-Access to HE students did not always enjoy their academic achievements due to worry and self-doubt coming from a perception that they were different from the other students in their cohort. It was found that some aspects of art and design pedagogy positioned mature students as ‘other’. However, on occasion all mature and younger students drew upon their past experiences and character to act well on their degrees for themselves and others; often through generous acts of friendship. This was sometimes stymied by the managerialism of the institution so students did not always maintain or develop self- confidence; feel included or participate politically in their education (important facets of Bernstein’s democratic education).
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Harper, Daniel J. "Career Choice and Career Construction of Undergraduate Students at For-Profit Institutions: The Effect of Institutional Marketing on Students." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1540382329306359.
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Mo, Juexiao. "ARG design for orientation of college students in mainland China." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/118351/2/Juexiao%20Mo%20Thesis.pdf.
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This project - ZOOMBREAK, is an Alternate Reality Game (ARG) designed to serve as an alternative to traditional university orientation events, especially in the context of China. It leverages the social engagement of an ARG to encourage participation, facilitate cooperation between new students, and build a culture of camaraderie. The exegetical document evidences a rigorous design-based research approach strengthened by a thorough context and case study analysis to inform the overall design concept and techniques for delivery. The analysis has included formats such as games, television shows, and marketing campaigns with similar themes and objectives, which informed the creation, evaluation, and refinement of the work. Hence, this exegesis may be used as a guide and reference for similar projects in the future.
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Zhu, Hua. "The effectiveness of a creativity course on developing Chinese design students' creative thinking." Scholarly Commons, 2015. https://scholarlycommons.pacific.edu/uop_etds/12.
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The ability to think creatively has been recognized as a skill necessary for design students’ personal and professional development and success. Therefore, in recent years, the core educational aim of design education in China shifted emphasis from training students in skills such as drawing and painting, toward encouraging them to be creative and become problem-solvers. Based on a non-equivalent control group, pretest- posttest design, this quasi-experimental study examined the effectiveness of a creativity course in developing creative thinking in Chinese university design students. The researcher developed a ten-week course plan in concordance with Davis’ AUTA model (1982) (a model of creativity development based on Awareness, Understanding, Techniques, and Self-Actualization) to improve students’ creative thinking. This research design used a convenience sample of two first-year design classes that comprised a treatment group of 31 students and a control group of 31 students, making a total of 62 participants. The treatment group took the ten-week creativity training course, whereas the control group did not attend the course. ANCOVA was used to analyze the pretest and posttest scores for the Figural Torrance Tests of Creative Thinking. The results showed there were significant differences between the treatment group and control group on overall posttest scores and three subscores of creativity thinking in Fluency, Originality and Elaboration. Although there were no significant differences in two subscores of creative thinking, the treatment group did show improvement on all five subscores. The results demonstrated that the ten-week creativity training course improved design students’ creativity level, especially in the overall creative thinking. Recommendations for both educational policy makers and educators based on this study include: a) allowing creativity enhancing instruction as separate courses to become an integral part of the design educational process and no longer consider it as the inessential of the design curricula; b) providing students more opportunities to use creative skills and creative thinking techniques to solve real design problems; c) providing pre-service and in-service teacher training programs to implement creativity instruction effectively.
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Weiner, Stephanie Davis. "My Experiences of Integrating a Cross-cultural Curriculum with Latino Students in an Art Education Classroom." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/62.
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An approach to teaching art using a cross-cultural curriculum to create enthusiasm amongst Latino students and myself was the basis for my research. I collected my data using auto-ethnographical recordings and documenting my results in a pre-evaluation in December 2009, and an implementation of the study in January and February of 2010, with third grade students in a public school in Metro Atlanta. After the pre-evaluation I decided to use a more cross-cultural and tactile approach. I first implemented a lesson based on the Maori of New Zealand. I furthered my research by implementing a second lesson based on Chinese New Year dragon puppets. This lesson was also cross-cultural, but created a more tactile experience. I found that teaching about a culture rather than a singular artist, using tactile materials, and having step-by-step directions that led to a specific outcome created more enthusiasm in my classroom.
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Goudie, Mun Har Eliza. "Student teachers' experiences of the art and design curriculum : a transformative pedagogy." Thesis, University College London (University of London), 1999. http://discovery.ucl.ac.uk/10020332/.
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The thesis examines the learning process in the critical reflective activity of art production. It invokes a notion of critical aesthetics as a normative theory about how we ought to educate student teachers to be reflective autonomous learners in a world of change and uncertainty. As a teacher-researcher in the study, the writer introduces a pedagogy of critical aesthetics to engage students in the social construction of collective and self knowledge. It is argued that the aesthetic formation of visual art is rooted in social and moral consciousness and that this pedagogy enables learners to perceive the Art curriculum as a process of making sense of their everyday life experiences. Under appropriate pedagogic interventions, they adopt different modes of aesthetic understanding in the construction of symbolic forms and reflexively monitor their aesthetic actions to create new cultural meanings. Grounded in the empirical data of the students' visual texts and pedagogic discourse, the writer develops a notion of sublimation as a modality by which various kinds and levels of consciousness are integrated or combined in the production of cultural forms. The thesis examines the complex relationships between the subjective formation of consciousness, procedural operations of morality and the external reality of sociocultural life. This mobilization of internal human energies in non-discursive and discursive communications may be ideological and produce intended or unintended consequences. While visual art as a cognitive tool in the education of persons is not highly recognized in teacher education in Hong Kong, the self-empowering engagement with critical and aesthetic activities creates a space for symbolic resistance to inequitable social conditions and education. The concept of de-alienation of sensuous, affective and critical beings points to the possibility of social and curricular change as a consequence of authentic education through a sublimated process of expanding of human energy.
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McGowan, B. J. "A longitudinal study of the experiences and concerns of postgraduate Chinese students studying Art & Design in a UK university." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/1560292/.
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The purpose of this research was to enhance our understanding of the experiences of visiting Chinese students throughout the duration of their two-year postgraduate studies in creative programmes in a UK university. The specific areas examined were: one, the students’ perceptions of, and perspectives on, their academic and social experiences; and two, identifying how such experiences changed or developed as the students progressed through the two-years of their studies. The research involved a two-year longitudinal study of Chinese students who arrived in September 2009 at a well-known Art College in London. These students were enrolled on art and design postgraduate courses that placed a premium upon the ability to use their imagination to generate new ideas and then develop such ideas in an innovative manner. The study examined the possibility that as such courses do not base themselves on established bodies of knowledge or transmissive pedagogies, that it could possibly challenge the students’ prevailing epistemological concepts and pedagogical assumptions. The method of enquiry was via a qualitative methodology within an interpretative approach, utilising data obtained by audio-recorded, semi-structured interviews, following British Educational Research Association guidelines. Three sets of interviews were undertaken with each student: near the beginning, at the middle and at the end of their two-year courses, thereby fulfilling the longitudinal basis of this study. The approach to analysis was characterised by thematic coding with a focus on understanding the ‘themes of concern’ from the narrative accounts gathered from the interview data. Originally it had been anticipated that challenges arising from the nature of the programmes, specifically the focus on creativity and criticality, would be the main difficulty the students would encounter. However it ultimately emerged that their lack of colloquial English, pedagogical issues and socio-cultural difficulties would be their major problems. However, whilst these three main challenges were identified by all of the students there was significant variation in their perceived impact on individual students over the two year duration of the programme.
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McKillop, Chris. "'Stories about ... assessment' : understanding and enhancing students' experiences of assessment in art and design higher education using on-line storytelling and visual representations." Thesis, Robert Gordon University, 2006. http://hdl.handle.net/10059/230.
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This thesis aims to investigate students’ qualitative experiences of assessment in art and design higher education using storytelling and visual representations. It aims to investigate whether collaborative storytelling can encourage students to reflect on, and learn from, each others’ experiences of assessment. In order to examine these aims, an on-line tool, ‘StoriesAbout… Assessment’ was designed and developed, based on an adapted model of storytelling as a reflective tool in higher education. Visual representations of students’ experiences were also used to identify the affective aspects of the assessment experience. In using these novel methods, the research aimed to highlight the whole student learning experience and how assessment affects that experience. Traditional methods of surveying and evaluation do not usually focus on this, nor do they provide a reflective, learning process for students. The analysis of stories led to a greater understanding of students’ experiences of assessment in art and design by identifying a number of key issues: the impact of negative experiences, the need for greater clarity of assessment criteria due to the subjective nature of the discipline, the tension students perceive between their role as creative practitioners in an educational setting and their role in the wider art world, the value of peer support and appropriate feedback. The storytelling model enabled students to view stories from different perspectives and to consider changes to their practice, and the model has demonstrated its efficacy in supporting reflective thinking and transformative learning. The emotional aspect to students’ experiences was particularly evident in their visual representations which often used strong imagery to depict how the stress of assessment affected them. The drawings also showed stereotypes of assessment, such as images of exams, indicating that these previous experiences had become synonymous with assessment, despite there being few formal exams in art and design. In summary, this thesis contributes two new methods for understanding and enhancing the student learning experience, which have been proven in the context of art and design higher education.
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Albright, Audrey L. "Art for the Home-Schooled Student: A Document Analysis of Art Curricula Commonly Used by Georgia Home-Schoolers." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/64.
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The purpose of this study was both to determine the most popular art curricula used by home-schooled students in Georgia and also to access whether or not these curricula align with State and National Standards for art education as well as current trends in the field. This research was approached from a document analysis standpoint and individual curriculum documents were examined and evaluated. Seven curricula/teaching resources were identified as the most popular in the state of Georgia and these were evaluated individually to identify themes, which were then compared to themes present in the National and State Standards for art education. While there was some overlap in themes from the curricula examined and the State and National Standards, it was determined that on the whole the curricula made no concerted effort to adhere to these standards.
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Walker, Jacinda N. "Design Journeys: Strategies For Increasing Diversity In Design Disciplines." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469162518.
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/mockingbird/39.
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Michelle Benson [Sugarcoated]; Blaine Boles [A Portrait of My Mother; Ode to Cockroaches; Place d’Italie, June 14th, 2016; To Marlies, The Fun of Living in and Leaving Delirium]; Brandon Bragg [Close to the Moon]; Matthew Brown [Philosophy Department]; Rickey Bump [Meta-Forms]; Gabe Cameron [The Red Maple]; Rebecca Cox [Sentiments 3 & 4]; Brooke Day [Honey, Sweetie, Sugar]; Nancy Jane Earnest [Blue Chair]; Kathryn Haaland Greene [Don’t Let Go]; Seth Grindstaff [Styrofoam and String]; Rick Harris [Respect]; Bradley Hartsell [Mia’s Non-accredited Biology Course of Anthropologic Learning; The In-Between (Or, En Svenska Historia)]; Jonathan Hill [Bethlehem; Interview with Dr. Don Johnson]; Janice Hornburg [The Names of Stars]; Mark Hutton [Midlife; River of Salvation]; Don Johnson [Bucket Soccer; House by the River; Things Partially Obscured, in the Dark or Far Away; Total Eclipse: Rock Creek, Montana]; Kelsey Kiser [Before the Council]; Abby N. Lewis [In-Between, Mirror Perceptions]; Keith Maultbay [Duck Pond]; Katie Murphy [Emily]; Andrew Norris [Illusion and Virile]; Emily Parris [Amethyst]; Shai Perry [Self Discovery]; Jared Sapp [Mavka]; Hannah Schean [Toothless]; Todd Simmons [Pythagorean Decay]; Jodie Strapp [Submarine]; Adam Timbs [Epiphany of a Defeatist Who Stubbornly Fished a Rainstorm on His Birthday, September 7th, 2014]; Michelle Wanzor [Out of Your Control]<br>https://dc.etsu.edu/mockingbird/1043/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/mockingbird/40.
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Jillian Bailey [Faded]; Taylor Campbell [Move to Jupiter]; Elizabeth Chapman [Sepsis]; Arizona Clawson [13%; November]; Thomas Chase Clayton [Alcohol, Love, and Other Things that Kill You]; Alexandria Craft [Electric Love; Watauga Lake in Autumn]; Brooke Day [Seated and Lovely]; Kelly Dorton [Alternative Quotes]; Nancy Jane Earnest [Home before Dark (Autumn Reflections along I-26)]; Jeremy Fahn [Close Distance; Meaningless Stare]; Seth Grindstaff [Letter to Dreamer]; Kayla Hackney [The Imposter]; Bardley Hartsell [August Chapel]; Zöe Hester [MOASS]; Janice Hornburg [October Shower; Orogeny]; Mark Hutton [Old South]; Emily Johnson [Delicacy]; Rachel Nicole Lawson [Everystudent]; Emily Williams McElroy [Sacrament]; Andrew Miller [A Field and a Fire]; Tess Montana [Pretty Lips]; William Rieppe Moore [Before the Bird Went Weightless]; Katie Murphy [To Love and to Cherish]; Avery Myers [Heron]; Raina Nief [Escaping Consumerism]; Hannah Purdy [October, 1938]; Elizabeth Rees [Reflection]; Amber Rookstool [Off the Blue Ridge Parkway towards Alleghany]; Calvin Ross [Forest Soliloquy; Keeper of the Plains]; Amanda Sawyers [On Funerals and Family Reunions]; Hannah Schean [The Eye of the Night]; Lacy Snapp [Fear of Getting Wet]; Kalliope Strapp [Masculine vs Feminine]; Adam Timbs [Blackberry Picking; Spring’s First Rain]; Katie Watts [Downed Logs; Over Grown]; Alexis Whitaker [Interruption]; Ashlyn York [Manhandling]<br>https://dc.etsu.edu/mockingbird/1044/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/mockingbird/41.
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Sam Campbell [Nightwatchers; Waffle House]; Brynne Carlisle [Better to be Pissed Off, Than to be Pissed On]; Elizabeth Chapman [Communication]; Megan Cruey [Wearing Hajib in London: The Tale of a Bond Formed Abroad]; Jessica Dunker [The Sound of Color]; Nancy Jane Earnest [Conjuring; Measures of Necessity]; Olivia Ellis [Jungle Fever]; Matthew LA Gilbert [A Conversation With Tamara Baxter]; Lia Hall [A Bookish Love]; Amber Howard [Eve’N Adam]; Kayla Ireson [The Rebuff of Discovery]; Abby Lewis [0.6 Inches; Over the Shoulder of the Moon; Sentries of the Cemetery]; Dillon McCroskey [Paralysis Under Popcorn Ceilings]; Micah McCrotty [Cartography; The Grey Hawk]; Rieppe Moore [Kindle Gathering; Lines Held in Husk]; Raina Nief [Untitled (Blue quilt)]; Hannah Oakes [I’ll Have the Steak]; Emma Owens [Ella Va, Poco a Poco; She Goes, By and By]; Emily Price [Earthworm Exodus; Greenville, TN; Styrofoam]; Lizzy Rees [Untitled (bag with rifle)]; Amber Rookstool [A Goddess’s Hysteria; Cat Scratches; Shaking Ground; Tierra Temblorosa]; Dayton Sheffield [Three Seconds]; Lacy Snapp [Heart Pine; Red Oak; Roble Rojo]; Zoey Thomas [Juliana]<br>https://dc.etsu.edu/mockingbird/1045/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/mockingbird/42.
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Cheston Axton [Dropping One Hundred and Twenty Feet in Four Seconds]; Matthew Bennett [Meltdown #?]; Jessica Dunker [Border of Success]; Nancy Jane Earnest [Roan Mountain Rain]; Scottie Garber-Roberts [Scenes in the Life of a Modern Woman]; Haley Grindstaff [Ad Astra]; G. Johnson [The Pool]; Abby N. Lewis [4th of July; Someone’s in the Attic]; Alex Mauger [Gollum Sonnet]; Dillon McCroskey [Do You Hear the Creek Talking?; Fever Dream]; Harley Mercadal [A Contemporary Experience of Death; A Trailer’s Secret; Grad School Conversations; Una experiencia contemporaránea de la muerte; Unforgiven]; William Rieppe Moore [Night Watch; The scent of early morning coffee clouds the dawn]; Matthew Powers [Star Shells; The Ruins of God’s Corpse]; Emily Price [Collards and Turmeric; Flowering Weeds in Late Spring; Fruit, Stone, and Soil]; Amber Rookstool [Autumn-Colored Memory; Once upon a Time a Girl Believed in Magic; There Is a Yellow Rose on the Scroll of My Violin]; Dayton Sheffield [Under the Hummingbird’s Wing]; Trevor Stanley [Be My Baby; Boys Can’t Wear Makeup]; Sam Campbell [An Interview With Darius Stewart]; Zoey Thomas [Lilliana]; Emily Williams [California Butterflies]<br>https://dc.etsu.edu/mockingbird/1046/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/mockingbird/1.
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Riley Armstrong [2084]; Brian Baker [Heretica Malleus]; Matthew J. Brown [A Functional Use of Space]; Patrick Burke [Soda Fired Vase]; Carmen Burroughs [Honeysuckle]; Danielle Byington [Calamine Typewriter; Conception; Words, with You in Mind]; Gabe Cameron [Juxtaposition]; Catherine Pritchard Childress [The Cinnamon Peeler’s Wife; Bathsheba’s Bath; Blossoming Indigo]; Joshua Cole [Four Seasons]; Brooke Day [Ornament]; Nancy Jane Eanest [Scraps of a Life]; Olivia Ellis [Grumpy Livie]; Matthew Gilbert [Contingency]; Jonathan Hill [Chiaksan; Buried in the Mountain]; Hunter Hilton [A List of Things Someone]; Janice Hornburg [How to Become a Fossil]; Alisa Johnson [Flower]; Lindsey King [Sparking]; Katie Lea [Meta Moments]; Rachel Maynard [Triggered: Reading with a Raw Heart]; Beth Miller [At What Cost]; Shalam Minter [Fracture 1 & 11]; Amanda Musick [Mother Is My Light]; Andrew Norris [This Looks Like a Job for Aquaman]; Elizabeth Saulsbury [Deserted]; Kelsey A. Solomon [A Song for My Mooresburg Springs Mothers; Because they told me to write my own history; Interview with Catherine Pritchard Childress]; Adonica Supertramp [A Shift in Perspective]; Linda Tipton [Albatross]; Laura Traister [Alcedo Atthis; Beach Seining; Circumventing the Street Preacher; Indian Morning; The Interruption]; Kathryn Haaland [I Am Something New]; Whitney Parkinson [Flow]; C.J. Wehr [Unwanted Changes]; Haley White [Untitled Owl]<br>https://dc.etsu.edu/mockingbird/1000/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/mockingbird/3.
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Blaine Boles [My Father]; Kevin Brown [Heterophemize (from A Lexicon of Lost Words], Latibulate (from A Lexicon of Lost Words]]; Dayna Bruell [Black and Blue]; Danielle Byington [About a Cheerleader I Used to Know, The Shining, Thunder and Nursery Rhymes, On The Lady and the Unicorn]; Raleigh Cody [Broken Handle, Digging Trench in Unicoi, TN]; Rima Day [Untitled]; V. Kelsey Ellis [Doomed Beauty]; Tucker Foster [Excerpts from “Driving Like an Idiot”]; Lauren Fowler [The Cut]; Trish Gibson [On Jack and the Dead Old Lady in the Bathtub from Brantner: Annalee 16, Taylor 24, Mariah 18, Catlett: Anna 16, Jackson 12]; Matthew L. Gilbert [Counting Thunder on Edgewater Drive, After a Summer Rain, The Makeup Box ]; Lyn Govette [Meditations on a Storm]; Kathryn Haaland [Untitled (Ring]]; Michael Hale [Three Wise Men, Atrocities]; Hannah Harper [Jill]; Cory Howell [Hospital Meadows, Drive after Rain]; Becca Irvin [Tapered]; Megan King [Katrina]; Freddie Lyle [Contraption]; Emily Matney [Balance]; Beth Miller [Autumn Road, Interview with Kevin Brown]; Priyanka Modi [Tenfold’s Light Hide]; Daniel Isaac Ratliff [Walking the Right Way: Coming to Terms with My Pentecostal Holiness Upbringing]; Tyler Ridgeway [Time Capsules and With & Without]; Kelsey A. Solomon [My first cup of coffee, After Reading Hélène Cixous on a Windy October Evening, the Female Poet Writes for Herself]; Dana T. Speight [The Sunflower Room];Mary Emily Vatt [Chopin Nocturne Op. 9 No. 2]; Susan Voorhees [Rise and Fall]; Chantel Wehr [Speak with Me (The Seeds)]<br>https://dc.etsu.edu/mockingbird/1002/thumbnail.jpg
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Language, ETSU Department of Literature and, and ETSU Department of Art and Design. "The Mockingbird." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/mockingbird/4.
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Andrew Barnes [Good Stock]; Josh Blevins [Firebird]; Joseph Bowman [Epilogue]; Nikki Buckner-McCoy [Bargaining]; Andrew Butler [Octet and Sestet from an Asheville Balcony, Convalescent Haiku, Alchemy, Coming of Age Again and The Graduate]; Danielle Byington [Children until We Die]; Disconnected Rima Day [Quilt]; Ashley Fox [Baptism, Interview with Jane Hicks, His Girl]; Hannah Harper [Selkie]; Hunter Hines [Inward Spiral]; Mary Hunter [Learning Norn Iron]; Becca Irvin [Altered Vessel]; Storm Ketron [Origin: Johnson City, TN]; Derek Laurendeau [Pop-Up Book I , Metamorphosis]; Kimberly Leland [Empty Nest]; Caroline Lowery [Stella]; Freddie Lyle [Untitled II]; Kelly Meadows [Seek]; Andrea Menendez [Radio Children]; Shalam Minter [Mirror, Mirror]; Jerianne Paul [Go Singing into Zion, Rafters]; Tyler Ridgeway [The Void]; Lauren Roberts [Yellow House with Sign]; Jared Sand [The Mouthpiece]; Joseph Sloan [Goddess of the Harvest:How I Met My Wife]; Cate Strain [For Piper on My 46th Birthday]; Daniel Taylor [Astray]; Adam Timbs [The Older City]; Jacob Vines [The Canyon Black]; Kaci Wells [Untitled]<br>https://dc.etsu.edu/mockingbird/1003/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/mockingbird/2.
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Devon Koren Asdell [Natural Bridge]; Jessica Brice [The Furrowed Field]; Amy Chartier [Through the Road and of My Heart]; Victoria Cunningham [Concealment July 2001]; Carie Dutro [A Friend of Mine Once Told Me]; Nancy Jane Earnest [Summer Ritual]; Franci Doyle [Jackass]; Mike Garrett [Game]; Spicey Gould [Passage]; Megan Jewell Kern [On Three]; Jessica Hodges [Just 2]; Gregory Marlow [Charlie’s Wife]; Shanda Miller [Affirmations]; Neli Jennifer Minthorn [Untitled]; Ouzounova [Stairway to a Sense of Place]; Alison Pack [Accessories]; James Sharp [Boones Creek]; Deborah Smith [The Game]; Kevin Stephenson [A Tale of Two Tales]; Pam Tabor [Letting Go]; Chris Vaughn [Foretold]; Rachel Williamson [Retired Barber];<br>https://dc.etsu.edu/mockingbird/1001/thumbnail.jpg
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Language, ETSU Department of Literature and, and ETSU Department of Art and Design. "The Mockingbird." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/mockingbird/5.
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Matthew Allen [Decline]; Maria Bledsoe [Gentility of Steel for Jack Higgs]; Joseph Bowman [All That’s Left]; Keith Brake [Walk-Off]; Madison Brown [Blue Plums]; DeVan Burton [Lemons on the Avenue]; Sam Campbell [Fading]; Luke Champouillon [Cold steel infinity]; Maggie Colvett [Seasonal, Postdiluvians, Voie ]; Rima Day [Rococo Head]; Emily Eversgerd [Spring Frost]; Nancy Fischman [Bottle I]; Jane Hicks [Mistress Mine]; John Hodgson [Jormungandr]; Jake Ingram [Marie]; Heather Justice [Tortoise Man]; Laura Higgs Kappel [An Interview with Dr. Jack Higgs by His Daughter,Laura Higgs Kappel]; Robert Kottage [Bonnaroo 2007: A “Coming of Middle Age” Story]; Adam Lambert [Picture of My Father as a Young Man, April 18th , Words I wish we had]; Derek Laurendeau [Desire]; Jake Lawson [A Great Collapse]; Kim McCoy [Turtle Truck]; Nell McGrady [Painting in First Person]; Jody Mitchell [Plato’s Chair]; Daniel Morefield [When I Die]; Melanie Norris [Frank]; Jerianne Paul [Utah Territory, 1861]; Charles Anthony Perkins [Station 13: Atonement]; Rita Quillen [October Dusk]; Janet Leigh Robinson [Laura]; Laura Simpson [The Rabbit Pot]; Nicholas Smith [Flute, A Poem for the Palm of Your Hand]; Natasha Snyder [Garden Party]; Alyssa Spooner [This Shed Had a Tree Fall on It, Dragon]; Greta Talton [Photograph from an Old Album]; Sara West [Silver Spoon, Have You Heard the One about the Methodist Who Walks into the Southern Baptist Convention?]<br>https://dc.etsu.edu/mockingbird/1004/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/mockingbird/7.
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Rachel Bates [Traps]; Kyle Blauw [Body No. 1: I Simply Wanted the Physique of a Swimmer and Didn’t Really Care for Swimming]; Frances A. Borgers [Rappacini’s Goblet]; Spenser Brenner [Uncle Sam]; Sam Campbell [Interview with Rita Sims Quillen]; Therese L.Castaneda [A Belizean Folktale: The Misery of Margarita]; Catherine Pritchard Childress [Housewife’s Howl]; Maggie Colvett [To a friend, who yawned in fall]; Alex Dykes [City Wind]; Ashley Fox [Our Own]; Ashley Hagy [Sunset]; Charles Hagy [A Dance of Cultures: Working with Desert Flowers at the Shakespeare and Friends Renaissance Faire]; Josh Holley [Bob and Carson on a Couch]; Mollie Horney [Fearless]; Chris Witkowski, Kesha Miller & Hannah Irvin [Bartonian Wormhole]; Becca Irvin [Stoneware Ash Bowl]; Storm Ketron [Hang Me, Oh Hang Me]; Robert Kottage [The Red Skylark]; Kimberley Leland [Waterway]; Jody Mitchell [Juggling]; Mary Molony [What Are You Serving For]; Joseph Riner [Untitled (Series]]; Stephanie Streeter [Fever Dream, Or Carrying the Twins]; Victoria L. Vanderveer [Order Up]; Sara Sutterfield Winn [Visual Flight Rules, siren]; Katherine D. Zimmerman [Bobbi Rai’s Concrete Sculptures]<br>https://dc.etsu.edu/mockingbird/1005/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of Literature and Language. "The Mockingbird." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/mockingbird/6.
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Jessica Augier [Step]; Ani Bolkan [She’s Long Gone, Snapshot 1]; Joshua Burd [Marle Bowl]; Caron Castle [Denial, Enspenserian Stanza]; Rebecca Catron [Desert Whispers]; Luke Champouillon [Done Playing]; Anthony Cole [In the Search of Thebes]; Lanora Davis [Corset]; Andrew Frost [Ben & David]; Sterlin Hammond [Floundering]; Bradley Hartsel [By and by, Vinyl]; Leona Holman [The Ojibawa Dictionary of Phrases: Gii-ayaa (Ge-a-ya] , V. 1. He Became My Hero]; Greg Houser [Adam Stanifer]; Robert Kottage [September]; Justin Kyle [March of the Dead]; Adam Lambert [The Pub and Roy Harper]; Tina Michael [Mother’s Postcards]; Ethan Palmer [Love Song , The Collapse]; Audrey Peters [Words Matter]; Juliet Ramirez [Balloon Fruit]; Andrew M. Scott [Untitled #3]; Brittany Shope [Losing It]; Derek Slagle [Oil Spill]; Sam Smith [Skulk Tale , Man’s Man]; Natasha Snyder [Woman’s Home Companion]; Daia Stager [Here]; Sherry Tucciarone [Inland]; Victoria Vanderveer [That’s the Way It Should Be: A Single Woman’s Questions On True Love , Anonymous]; Jacob Vines [Whisper Whisper , Mission Statement, Epilogues]; Evan Walker [7:17]; Brittany Willis [Untitled]; Issac Wilson [Their Daily Bread, A Trip to the Farm]<br>https://dc.etsu.edu/mockingbird/1006/thumbnail.jpg
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Design, ETSU Department of Art &, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/mockingbird/9.
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Maja Savic [Yuko, No. 2]; Brian Bowman[Circadian]; Tina "Kitty" Michael [Comperhension]; Kellye Evans [The Seven Crows]; Whitney L. Ellison [Deej]; Robert Kottage [Attention Deflicit Dingo]; David Mazure [Door]; Samantha Gregory [Education???]; Matthew Israel Byrge [Reading Beckett: A Fragment]; Reese Chamness [Lines in Space IA]; Meara Bridges [Your Words are like the Ocean]; Amanda Kate Rigell [Crossing Over]; Seth Arnall [HIV Baby Rattle]; Kimberly Foli [Oburoni Reflections]; Nicole Osborne [Starting Resist]; Jasen Bacon [The Office of Tipton, Hersch, and Long, Plastic Surgeons, No Smoking]; Shanon Kelley [Round Trip on the Rainbow Tail]; Isaac Wilson [Converstion Sur la Terrasse]; Hailey Eaton [Untitled]<br>https://dc.etsu.edu/mockingbird/1007/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/mockingbird/8.
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David Mazure [Questionable Moral Action 261 & Sacred Geometry (Face #1] ]; Reese Chamness [Object #11]; Christine Buchanan [Figure No. 1]; Daniel Marinelli [And the Birds of Appetite ]; Jennifer Osborne [ The Azores]; John Simmons [Tall Bottles]; Jessica Augier[ Pushed Over, Sometimes I've believed as many as six impossible things before breakfast.]; T. M. Williams [A Diner]; Marshall Parrent [The Corpse of Anthony Edlemeyer]; Amber Nixon [Desert Sand Blows Away Army Wife's Dreams of Marriage, A Cat's Eye ]; Jeri Allison [Ganesha]; K. Hawkins [Beyond the Gate]; Fletcher Dyer [Health Care (Kinetic]]; Fletcher Dyer[ Tree of Life]; Mary Tapp [Brickston Mill]; Karen Ankabrandt [Morning Prayer]; Stephanie Sarten [Color Recreation]; Jerome Edward Arnold [Ritual]; T. M. Williams [Pine Mountain Road]; Ellie Rinehart [Mule Day: A Little Homespun Fun for the Good Ol' Boys and Girls of Columbia, Tennessee.]; Jason Burns [ Please Do Not Touch]; Jamie Merriman-Pacton [The Cruise Will Go On: Cuban Refugees and My Vacation in Wonderland]<br>https://dc.etsu.edu/mockingbird/1008/thumbnail.jpg
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Design, ETSU Department of Art &, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/mockingbird/10.
Full textAbstract:
Kathy Parker [Reluctant Aubade]; Joshua Burd [Pitcher]; Thomas Cantrell [Call]; Reese Chamness [Drowning]; Tyrone LaRue [Dana]; Lindy Russell [Devoured]; Mary Nees [In Entropy]; Christine Buchanan [Gina]; Stephanie Bowman [Lone Figure in a Dark Landscape]; Tyrone LaRue [Man]; David Mazure [Morality]; Travis Brown [Roan Mountain]; Mary Nees [A Vehement East Wind, Their Line Goes Out]; Kathy Parker [Birthday, Layover]; Daniel Marinelli [Phylactarian]; Betsy Allen [Rock It, Man: Confessions of a Music Pirate]; Natasha Conner [Hallowed Plastic]; Lori Ann Manis [Death, Be Proud]; Ciprian Begu [The Sphere]; Kathleen Libby [Girl in the Storm]; Samira Daniels [Untitled]<br>https://dc.etsu.edu/mockingbird/1009/thumbnail.jpg
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Design, ETSU Department of Art &, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/mockingbird/11.
Full textAbstract:
Jerome Arnold ["Seraphino" Painting]; Brook Bailey ["Let's Roll": The Battle for United Flight 93, "Many Thank to the Rock and Roll Hall of Fame and Museum: How I Realized Turning Twenty-Five isn't Going to Kill Me" ]; U. Bryant ["Silenced by Sociey-Battered Woman"]; Thomas Cantrell ["Lilies for Jenny"]; David Cooper ["Untitled" Graphite Drawing]; John Freese [" Untitled" Painting]; Greg Howser ["Burdens of tl1e Soul"]; Jeff King [''Just Business"]; Daniel Marinellj ["Train of Thought"]; John E. May["Coming Soon ... " ]; Daruth Padilla ["The Key" Intaglio]; Marshall Parrent [ "Different Angles"]; Kurt Pivko["Nest" Metals]; Cyndi Ramsey ["What Your Lamaze Class Doesn't Teach You: Survival Tips for Hosting a Party During Childbirth"]; Mandy Rhoden ["Everything but the ... " Color Photograph ]; Lindy Russell ["Glazed Over"]; Dese'Rae L. Stage ["The Ball" ]; Trent Stroud ["Re-creation" Collage]; Jennifer Tate["Shielded"]<br>https://dc.etsu.edu/mockingbird/1010/thumbnail.jpg
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Sciences, ETSU Department of Arts and, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/mockingbird/12.
Full textAbstract:
Jeremy Arnold [Blasphemy]; Mattie Arwood [Momma Told me The Truth]; Kara Bledsoe [Autumn Deposits]; Erika Basile [The Red Dress]; Taylor Burnham [Rocket's Red Glare]; Atela Chandler [How Do I Measure Up?]; Laura Cross [A Collectible's Journey to my Clothes Hamper]; Kenny Dyer [Piper]; Jeremiah Jenkins [Faith]; Angelique Lynch [Tea for Two]; Lori Ann Maris [It's a Living?]; Adrienne Meade [Girl on a Trash Can]; Susan Monson [One Day at a Time, Feathers]; Daruth Padilla [Serenity]; Robert Prowse [All that Shimmers]; Kristin Riddle [Lillies]; Lindsay Russel [Coffee]; Jonathan Snellings [The Keeper, A Home Instead]; Ashley Thomas [Socks]; Nina Williamson [Affaires D'amour (Love Affair < With my closet>]<br>https://dc.etsu.edu/mockingbird/1011/thumbnail.jpg
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Design, ETSU Department of Art and, and ETSU Department of English. "The Mockingbird." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/mockingbird/12.
Full textAbstract:
Aleta Chandler Cooper [Google]; LiaPun-Chuen [Plate Face]; Travis Eisenbise [Waiting]; Randall Green [1021 Railroad Ties]; Kari Hancock [And hold the Mustard]; Daryl Herron [Vituperation]; Jacqueline King [Self Portrait of a Librarian]; Jeff Kise [Saggar Bowl with Concave]; Kathleen Libby [I was Still Awake in Time for Church]; Angelique Lynch [Fly Away]; Michelle Martini [Fingers off the Home Keys, Chrome vs. Steel]; Laura Roehl [Bubbles]; Larry Rovers [Torn]; Katherine Schram [Spending an Afternoon with the Dead: Our Trek through the Parisian Catacombs]; Jonathon Snellings [Tears for Anthony]; Beth Steffey [My Mother's Memory]; Tommy Williams [Form Study #1]; Penny Willis [Shade]; Danriel Zimmer [Foxglove]<br>https://dc.etsu.edu/mockingbird/1012/thumbnail.jpg