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Kehoe, Peggy. "Self discovery and personal creation /." Online version of thesis, 1991. http://hdl.handle.net/1850/11073.
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Witt, Susanna. "Creating creation readings of Pasternak's Doktor Živago /." Doctoral thesis, Stockholm : Almqvist och Wiksell International, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46340409.html.
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Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
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Green, Charles. "Thief in the attic : artistic collaborations and modified identities in international art after 1968 /." Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Cseh, Genevieve. "Flow in visual creativity." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225306.
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Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.
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Saxton, Linda K. "Computer imagery and creative energy /." Online version of thesis, 1987. http://hdl.handle.net/1850/10309.
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Wedel, Valerie A. "The undoing of the self an artistic exploration /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5004.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Vita. Includes bibliographical references.
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Hall, Wendy E. "Ceramic handbuilt vessels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725080.
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The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.<br>Department of Art
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Murphy, Eric. "Five earthenware vessels with mixed media for reflection and contemplation." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941719.
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As humans and society have evolved, living has become more abstract and individualized. This report on the creative project discusses the artistic process and how each of the five works personalized or called attention to the abstractness of a beholder's existence. Each of the mixed-media works centered around a hand-built ceramic granary form which referenced the human drive to store resources. During exhibition at Ball State University, beholders would construct an association to storage by resolving the disparities caused by the mix of images and materials in each artwork.The artistic process was defined into three categories of experiences: personal investigation, experimentation and skill-building. A major component of personal investigation was the development of the Visual Vocabulary, a collection of devices, images and ideas from the artist's life experiences. The experimentation category occurred when the elements of the visual vocabulary were conceptualized into a scenario for an artwork. The physical work involved in making each artwork was part of the skill-building category. How each work was constructed and the exhibition was also discussed.<br>Department of Art
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Still, Frederick George. "Digital Collage-Access to inspiration: The use of multimedia as a catalyst for creative thought." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2891.
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This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.
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De, Muro Theodore Edward. "Making a case for clay in art education /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.<br>Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).
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Bradley, S. Burtis. "Sacramental elements of creativity in the work of Dorothy L. Sayers." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.
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Payne, Emily. "The creative process in performance : a study of clarinettists." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:652aa4a1-347b-41e2-8ba3-a71eee9c3e5a.
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This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.
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Leclerc, Josée. "La poïétique, lieu du jaillissement de l'oeuvre picturale /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
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Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /." Diss., Connect to online resource - MSU authorized users, 2008.
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Goudreau, Hélène. "Influence de l'enseignement de l'esthétique sur la créativité des élèves de sixième année primaire en regard du programme du ministère de l'éducation du Québec en art /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.
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Gao, Wei Zhi. "Creative criticism : the example of James Joyce /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9422.
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Alleoni, Natália Vasconcellos 1985. "Entre rastros, laços e traços : o corpo, suas memórias e um processo criativo em dança." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284490.
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Previous issue date: 2013<br>Resumo: Entre Rastros, Laços e Traços: O corpo, suas memórias e um processo criativo em dança.A pesquisa baseou-se na competência dos laboratórios como espaços de (dês) condicionamento, de reflexão e (re) construção das memórias, bem como propôs uma dança compostas pelas elaborações de conteúdos pessoais em diálogo com experimentações do presente. É um estudo de caso que aborda o tema arquetípico do feminino a partir das memórias de formação em dança da pesquisadora-artista. Esse estudo dividiu-se em três momentos: laboratórios de improvisação, estudo do material expressivo e criação da dramaturgia cênica. Como matéria-prima da investigação, podemos citar as memórias resignificadas e as imagens corporais ¿ mentais e gestuais. Como instrumentos de criação, temos a observação das sensações e impulsos expressivos e o diálogo entre a psicologia profunda de Jung ¿ principalmente no que diz respeito ao processo de individuação - e os conteúdos que emergem do corpo em laboratório de criação. Por fim, como produto final do estudo, a poética e a dramaturgia cênica que, nesse caso, são frutos das experiências e dos afetos vividos. A pesquisa possibilitou que a artista vivenciasse diferentes conteúdos por meio de experiências diversas e trocas intensas, indo do narcisismo ao desenvolvimento do corpo próprio. Valeu-se, para tal, de três eixos norteadores: os rastros (percurso de formação em dança), os laços (afetos e afinidades) e os traços (qualidade expressiva e linguagem cênica). O solo de dança Pela finita beleza da rosa é assim, fruto e produto final do processo corporal da bailarina autora dessa pesquisa<br>Abstract: Between Tracks, Loops and Traces - The body, its memories and the autobiographical creative process in dance.The research was based on the competence of laboratories as spaces of conditioning and deconditioning, reflection, construction and deconstruction of memories. Additinally, the dance proposed was created by the elaborations of personal contents in dialogue with the present experiments. The present research is a case study approaching the theme of the archetypal feminine, initiating from the dance training memories of the researcher-artist.This study is divided into three stages: the improvisation labs, the research of expressive phrases, and the creation of a performance. The investigative source to this research is finding new meanings, mental and gestural, to the researcher's memories and body image. As instruments of creation, the artist observes the sensations, impulses and expressive dialogue between Jung's depth psychology, regarding the process of individuation, and the contents of the body that emerge in a dance lab setting. Finally, as the final result emerges, the poetic performance is the result of the experiences and emotions lived throughout the process.The research enabled the artist to experience different contents by several experiences and intense exchanges, from the narcissism to the the development of the body itself. Three guiding principles were used: the tracks (in dance training pathway), loops (affections and affinities) and traces (expressive quality and scenic language).The solo dance For the rose's finite beauty is therefore both the object and purpose of this research in dance<br>Mestrado<br>Artes da Cena<br>Mestra em Artes da Cena
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Keasorn, Thitacharee Rennels Max R. "A cross-cultural comparison of style of perceptual mode and creativity among subjects majoring in art from Thailand and the United States." Normal, Ill. Illinois State University, 1989. http://wwwlib.umi.com/cr/ilstu/fullcit?p9004087.
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Thesis (Ed. D.)--Illinois State University, 1989.<br>Title from title page screen, viewed October 21, 2005. Dissertation Committee: Max R. Rennels (chair), Normand W. Madore, Marilyn P. Newby, Thomas E. Malone. Includes bibliographical references (leaves 73-78) and abstract. Also available in print.
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Lebel, Jean. "Pérégrination sur une ligne de vie /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995.<br>"Communication de recherche présentée pour l'obtention du grade de maître es arts (M.A.), extensionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi" Les diapositives qui accompagnent ce document sont disponibles à l'audiovidéothèque. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
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Pan, Yee Lin. "The development of creative thinking in adolescents in Hong Kong : a sociocultural interpretation /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19508.pdf.
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Bellingham, Robin. "A phenomenological and thematic interpretation of the experience of creativity." Click here to access this resource online, 2008. http://hdl.handle.net/10292/432.
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Creativity is a nebulous concept, lacking both clear articulations and common understandings of meaning. Due to a lack of clear alternatives the concept of creativity is increasingly becoming infused with economically driven vocabulary, associations, interests and ideologies. There is an immediate need to provide alternatives to the „creative economy‟ view of creativity, because of its insidious effect on educational institutions and practices and because it promotes a generally impoverished view of the meaning of creativity and of human potential. Reductionist thought; the tendency to understand concepts as separate and distinct from one another prevents us from easily conceptualising an experience such as creativity which involves the simultaneous experience of seemingly paradoxical elements such as individuality and unity, intellect and intuition and freedom and discipline. Democracy is a metaphor which can help to articulate and understand the paradoxical experience of creativity. Democracy stands for the potential to make meaning from the integrated exploration of individuality and of unity, which I argue is a fundamental dynamic of the creative experience. I further suggest that the essence of the creative experience is a democratic attunement to existence, in which subject and object, self and environment, intellect and intuition and freedom and discipline are experienced as in a democratic relationship with one another. This way of understanding creativity provides an alternative to the creative economy view. It implies some significant changes to traditional educational emphases, including a movement away from primarily individualistically oriented curricula and toward curricula and educational values which situate the individual within an integrated eco-system.
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Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /." Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.
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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.<br>Bibliography: leaves 241-251.<br>Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.<br>This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.<br>Mode of access: World Wide Web.<br>251 leaves
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Oliveira, Lineker Henrique de 1987. "Por uma experimentação indisciplinar do artista da cena." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284618.
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Orientador: Matteo Bonfitto Júnior<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T18:29:54Z (GMT). No. of bitstreams: 2
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Previous issue date: 2013<br>Resumo: Pensar a experimentação como um caminho possível ao desenvolvimento técnico-poético do artista da cena e à criação. Pensar uma prática corporal e vocal integrada, sob o prisma da corporeidade. Pensar a criação artística sob um olhar inter, trans e indisciplinar. Essas são algumas questões que norteiam este estudo, que se propõe como um material a ser apropriado e experimentado por artistas da cena que buscam ampliar as fronteiras de seus saberes e fazeres. A pesquisa apresenta a sistematização de alguns exercícios que têm por objetivos experimentar e reconhecer algumas possibilidades da conexão entre corpo e voz, voz e movimento, considerando ainda os aspectos sensíveis e pulsionais presentes na criação artística. Apoiando-se ainda em outras práticas artísticas, essa sistematização foi integrada ao processo de criação do espetáculo "Depois", que teve a participação de atrizes, bailarinas e cantoras, alunas e ex-alunas do Instituto de Artes da UNICAMP, integrantes do "NUA ¿ Coletivo Artístico Indisciplinar<br>Abstract: The abstract is available with the full electronic document<br>Mestrado<br>Artes da Cena<br>Mestre em Artes da Cena
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Secunda, David. "Developing a performance with special needs students : a case study in creativity." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29481.
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This thesis advances the proposition that learning disabled students' participation in kinesthetic or dance and mime performance activities provides an alternative expressive mode to the verbally oriented activities through which creativity has traditionally been examined and evaluated. Between February and May, 1989, I designed and carried out research project in an elementary school in Vancouver, B.C. A group of students, characterized as "learning disabled," participated under my direction in the design, rehearsal, and presentation of a performance of mime and movement to a narrated text developed mainly by the students. Techniques of participant observation and interview (as well as videotape recordings) were used to document both students' activities and the responses of students and their teachers The technique of cognitive mapping was used to analyze observations of the students in kinesthetic activities. Results of this case study have implications for theory and practice. Theoretical implications relate to conceptions o creativity derived from Maslow's description of "peak experiences" and from analyzing Weisberg's definition of creativity. An applied outcome of this research allows practical generalizations about the use, design, and implementation of programmed kinesthetic activities as a means of encouraging creativity among learning disabled students.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
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Dunn, Jennifer Erin. "Ambiguous and ambivalent signatures : rewriting, revision, and resistance in Emma Tennant's fiction." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:6a4e8319-422a-48b9-8e43-cd05d742450f.
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While existing criticism of Emma Tennant's work emphasizes its feminist agenda, less attention has been paid to her rewriting of different narratives and discourses. Tennant's career has centered on challenging literary values as well as generic categories, realist conventions, and gender stereotypes. Contrary to implications that rewriting is "re-vision," an "act of survival" that corrects or subverts earlier texts, this thesis argues that Tennant's characteristic resistance to categories also extends to the work of rewriting and revision. Her texts suggest that the act of "writing back" is not as straightforward as it may seem, but deeply ambiguous and ambivalent. Developing theories of the "signature" that return the writer-as-agent to the otherwise anonymous field of intertextuality, this thesis traces Tennant's figurations of writing, metafictional devices, and intertextual allusions to show how these relate to themes in the fiction. Examining groupings of the texts from different critical perspectives, each chapter shows how Tennant's rewritings destabilize notions of originality, identity, and agency, and represent political discourses and social progress in an ambivalent way. While this thesis offers very specific insights into Tennant's work, the close readings also encompass broader themes, such as feminism and postmodernism, the gothic, myths of home and exile, and the ventriloquistic techniques of pastiche and biofiction. The arguments centered on her work contribute to the larger discourse on rewriting in two ways. First, in problematizing assumptions that rewriting inherently strives toward progress or correction, this thesis argues that rewriting can dramatize the ambiguity and ambivalence that haunt acts of resistance. Second, in advancing challenges to the idea that intertextuality functions anonymously, it argues that rewriting can return agency to the text by offering representations of authorship that engage with literary and cultural history.
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Dallaire, Sylvie. "Fables d'O : images de l'invisible." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.<br>Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de la maîtrise en arts plastiques extentionné de l'Universtié du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU
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Helguero, Lorenzo. "Transgresion y modernidad la prosa de Rubén Darío /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/453505739/viewonline.
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Lewinsohn, Ana Caldas 1979. "Metáforas de trabalho no território de criação : provocações do corpo-em-arte na preparação do ator." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285293.
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Orientador: Renato Ferracini<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T17:41:06Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Cada sala de ensaio, cada grupo e processo de criação utiliza, em suas práticas, o que podemos chamar de metáforas de trabalho. As metáforas de trabalho são ideias, ações, imagens, comandos verbais utilizados em práticas de ensaio, aulas ou processos criativos para auxiliarem os atuantes a entrarem em um estado de experimentação. A utilização de metáforas de trabalho em práticas teatrais possibilita a construção de um corpo-em-arte, gerando e potencializando estados de criação, repetição, atualização e manutenção de ações-matrizes físico-vocais no contexto poético ficcional e espetacular. Essa pesquisa investiga a potência dessas provocações, na busca de criar uma relação mais íntima entre conceitos e a prática artística, e de uma reflexão teórica cada vez mais próxima do processo criativo, utilizando seus paradigmas, sua linguagem e terminologia para discutir questões pertinentes sobre o trabalho do ator contemporâneo<br>Abstract: Each rehearsal room, each group and each creation process engage in their practices, what we call work metaphors. Work metaphors are ideas, actions, images, verbal commands used in rehearsal practice, in classes or in creative processes to help actors achieve a state of experimentation. The use of work metaphors in theatrical practice enables the construction of a body-in-art, generating and expanding states of creation, repetition, revision and maintenance of physico-vocal template actions in the poetical, fictional and scenic context. This research investigates the potential of such provocations, searching to produce a more intimate relationship between concepts and actual practice and hence to produce a theoretical reflection that approximates the creative process, employing its paradigms, its language and terminology to discuss questions relevant to the work of the contemporary actor<br>Doutorado<br>Artes da Cena<br>Doutora em Artes da Cena
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Robitaille, Bianka. "Les rencontres singulières et collectives en art : sources de création /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.
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Moraes, Ana Luisa Fernandes de. "Manifestações expressivas e simbólicas." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251214.
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Orientadores: Adilson Nascimento de Jesus, Ana Angélica Medeiros Albano<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-18T11:25:00Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: O objetivo da pesquisa foi buscar expressões que revelassem uma experiência simbólica através de práticas corporais oferecidas tanto aos internos de uma instituição psiquiátrica como para mulheres universitárias. O método utilizado no trabalho foi qualitativo e baseado nos estudos de Eloísa Penna (2005, 2007). Os dados dos internos da clínica psiquiátrica vieram através da atuação profissional da pesquisadora durante o período de três anos. E para as mulheres universitárias foram realizados dezesseis encontros. Em ambos os grupos foram utilizados recursos expressivos, como a criação em dança e o desenho livre. Dentre todos os participantes, foram selecionados três casos para seguir com as análises. Os dois primeiros casos, que são os do grupo dos internos da instituição psiquiátrica, mostraram a expressão de imagens circulares que revelaram uma saudade do estado primordial vivido no primeiro ano de vida. Também associou tais manifestações com o arquétipo do Self e sendo uma tendência do inconsciente em compensar o caos vigente na consciência. O terceiro caso corresponde ao grupo de improvisação em dança e com o foco nas imagens de árvores que foram desenhadas por uma participante ao longo dos encontros. Através destas imagens, foi compreendida a árvore novamente como um arquétipo do Self. Também percebeu na pesquisa que os símbolos, por serem abstratos, apenas existem quando se notam suas manifestações no tempo presente. Além do mais que jamais é possível expressá-los de maneira satisfatória, já que a própria linguagem acaba perturbando a verdadeira essência de um símbolo.<br>Abstract: The research objective was to seek expressions that reveal a symbolic experience through bodily practices offered to interne in a psychiatric institution as college women. The method used in the study was qualitative and based on studies of Eloisa Penna (2005, 2007). The data of inmates of the psychiatric clinic came through the researcher's professional performance during the period of three years. And for the college women were held sixteen meetings. In both groups significant resources were used as dance creation and drawing freedom. Among all participants, we select three cases to proceed with the analysis. The first two cases, which are the group of inmates of the psychiatric institution, showed the expression of circular images that revealed a longing for the primordial state lived in the first year of life. Also associated with such manifestations of the archetypal Self and the unconscious is a tendency to compensate for the chaos prevailing in consciousness. The third case corresponds to group improvisation in dance and with the focus on images of trees that were drawn by a participant during the meetings. Through these images it was understood the tree again as an archetype of the Self. It has also been realized in the research that the symbols only exist when we perceive its manifestation in the present time, due to the fact they are abstract. Furthermore we can never express them in a satisfactory manner, since the language itself ends up disturbing the real essence of a symbol.<br>Mestrado<br>Educação, Conhecimento, Linguagem e Arte<br>Mestre em Educação
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Whitman, Eric. "A case study on Ed Young Jr's creative team approach to sermon development." Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p001-1063.
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Rife, Martine Courant. "Rhetorical invention in copyright imbued environments." Diss., Connect to online resource - MSU authorized users, 2008.
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Pitre, Nicholas. "Angle incarné /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1990. http://theses.uqac.ca.
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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1990.<br>Programme de la maîtrise en arts plastiques extentionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Tremblay, Gisèle. "Liens de mémoire : (démarche de création en situation de paradoxe entre la mémoire et l'oubli) /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.
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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1993.<br>Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de la maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Costin, Pierre. "Itinéraire de lieux fragmentés : (photographie) /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.
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Bertolini, Liliana Maria 1962. "Processos criativos : uma experiência com a Orquestra Infanto-juvenil da EMIA /." São Paulo, 2019. http://hdl.handle.net/11449/183630.
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Orientador(a): Marisa Trench de Oliveira Fonterrada<br>Banca: Maria Consiglia Raphaela Carrozzo Latorre<br>Banca: Fabio Miguel<br>Resumo: Resumo Este trabalho é um estudo de caso desenvolvido no Instituto de Artes da UNESP no Programa de Pós-graduação em Música, no curso de Mestrado. O objetivo principal deste trabalho foi compreender de que modo se desenvolveram as práticas criativas com a Orquestra infanto-juvenil da EMIA no período de 2015 a 2018. Para este fim, foi levantada uma série de questões relacionadas ao modo de trabalho, que incentivou, a um só tempo, a capacidade de improvisar e o aumento de segurança e autonomia no instrumento e no grupo. Para sustentar as ações e reflexões da pesquisa foram estudadas as ideias de Schafer, que colaboraram para o trabalho inicial de apreciação musical com foco na escuta ativa de peças do repertório dos séculos XX e XXI, por meio de propostas interativas. Os estudos de Koellreutter sustentaram o trabalho de improvisações dos alunos, e a pesquisa de Chefa Alonso inspirou e nutriu o trabalho de improvisação livre com a orquestra, com foco na investigação sonora do próprio instrumento e nas infinitas maneiras de interação e escuta entre os participantes. O que se constatou foi a compreensão de várias camadas de aprendizados dos alunos, bem como da própria pesquisadora/regente do grupo. Aspectos como a atitude de escuta, de compreensão da forma, de interatividade, foram incorporados não somente nas improvisações, mas na sua forma de tocar. A confiança, bem como a dimensão que estes aspectos exercem na vida dos alunos, foi comprovada na diversidade de relatos cheios de... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This work is a case study developed at the Institute of Arts of UNESP in the Postgraduate Program in Music, in the Master course. The main objective of this work was to understand how the creative practices were developed with EMIA's Children/Youth Orchestra in the period between 2015 and 2018. To this end, a series of issues related to the way of work was raised, which encouraged both the ability to improvise and increase security and autonomy in the instrument and in the group. In order to support the actions and reflections of the research, Schafer 's ideas were studied, collaborating with the initial phase of musical appreciation focusing on the active listening of pieces from the repertoire of the XX and XXI centuries, through interactive proposals. Koellreutter's studies assisted the students' improvisation work, and Chefa Alonso's research inspired and nurtured free improvisation work with the orchestra, focusing on the sonorous research of the instrument itself and the endless ways of interaction and listening among participants. What was found was the understanding of several layers of learning of the students, as well as the researcher / regent of the group itself. Aspects such as the attitude of listening, understanding of form and interactivity were incorporated not only in improvisations, but in the way they played. The confidence, as well as the dimension that these aspects exert in the lives of the students, has been proven in the diversity of the... (Complete abstract click electronic access below)<br>Mestre
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Quinteros, Carmen Veronica School of Sociology & Anthropology UNSW. "Creativity, order and discipline." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2004. http://handle.unsw.edu.au/1959.4/20741.
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For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.
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Osman, Hazem S. (Hazem Samy). "Crossings: journey through Le Corbusier's Villa la Roche." Ottawa, 1999.
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Marchand, Roger. "Un art sous zéro /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.
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Memoire (M.A.)-- Universite du Quebec a Chicoutimi, 1993.<br>Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU
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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.
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Rodrigues, Erika [UNESP]. "Olhar tecer des: (cor)pos forças fluxos." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/90124.
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rodrigues_e_me_rcla.pdf: 984759 bytes, checksum: 03e407e9c5c265253357e555be35abe9 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Entre a voracidade incontrolável que cavouca fissuras na escrita, as muitas vozes sobrepostas nas leituras dos autores e a euforia no espanto da infância, se faz este estudo. Entre os inquietos e incapturáveis movimentos que arremessam a escrita em fluxos que pulsam fora das linhas e as perguntas disparadas, (re)inventadas e embaralhadas na (co)mposição de espaços no cotidiano escolar. No palpitar dos interstícios em que cintilam vislumbramentos, a escrita se transmuta ao cair vertiginosamente nos labirintos cujas reconfigurações não cessam de se desfazerem, nos contágios de um olhar sem face, mudo, à espreita, no qual a pupila se expande e, ao mesmo tempo, se contrai, atraindo e expulsando as imagens para o assombro da cegueira em que irrompem visões de um olho cego, olhar cuja pupila desgovernada bailarina as confusões de uma menina festejando a desorganização dos corpos, pupila que invade todo o corpo e, na escuridão, vive as nervuras do abismo que atrai para fora, no fascínio das forças em que não há margens, não há rotas e não há rostos. No desfazimento dos rostos, o corpo se (re)inventa em cores e carícias, na feitura de cor(pos) em festa, corpos ex espelho-água-vidro, na delicadeza acqua corpo, em corpos nuvens que redobram e invertem em chão-céu o pátio da escola e tocam as distâncias intransponíveis do universo, translucidez azul de corpos que fluem em um rio sem fim, corpos que não se conformam ao esquadrinhamento das funções e localizações do organismo, não se enquadram à formatação de sujeitos e não se detém aos contornos dos papéis. Nas tentativas de recriar corpos-outros são disparados pensamentos que se acercam dos deslimites de um corpo na tensão dos fluxos intermitentes que se esvaem, deixando o rastro das intensidades que se apossam dos corpos e das escritas...<br>Between the uncontrollable voracity that digs crevices in the written word, the many overlapping voices in the readings of the authors and the euphoria in the wonders of childhood, over which this study was done. Between the restless and untraceable movements that throw the written word in a flow that pulsates outside the lines and the discharged questions, (re)invented and mixed in the (co)mposition of spaces in everyday school life. In the beat of the interstices in which glimpses sparkle, the written word transmutes when it plummets in the labyrinths whose reconfigurations do not cease to undo themselves, in the contagions, of a look without a face, mute, lurking, in which the pupil expands and at the same time contracts, attracting and expelling the images to the fright of the blindness in which visions erupt from a blind eye, the look whose out of control pupil dances the confusions of a girl celebrating the disorganization of the bodies, the pupil that invades the whole body and, in the darkness, lives the veins of the abyss that attracts to the outside, in fascination of the forces in which there are no margins and there are no routes and there are no faces. In the undoing of the faces, the body (re)invents itself in colors and strokes, in the making of bodies partying, bodies ex mirror-water-glass, in delicateness acqua body, in cloud bodies that contort and reverse into ground-sky the courtyard of the school and they touch the unreachable distances of the universe, blue translucency of bodies that flow in an endless river, bodies that do not abide by the framework of the functions and the locations of the organism, they do not fit into the formatting of subjects and are not limited by the outline of the paper. In the attempts of recreating other-bodies are discharged thoughts that come close to the vastness of a body in tension... (Complete abstract click electronic access below)
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Lamonica, Claire Coleman Neuleib Janice. "Conflict and creativity in student writing groups a case study investigation /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9633421.
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Thesis (D.A.)--Illinois State University, 1996.<br>Title from title page screen, viewed May 23, 2006. Dissertation Committee: Janice Grace Neuleib (chair), James Robert Kalmbach, Heather Ann Brodie Graves, John Francis Cragen. Includes bibliographical references (leaves 215-222) and abstract. Also available in print.
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Baron, Annie. ""Pour perpétuer le souvenir de la chose" : installation de mises en scène de la vie quotidienne /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.
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Bliss, Shirley E. "The Art Process in Therapy: A Phenomenological Study." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935726/.
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This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.
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Araujo, Maria Eunice Azambuja de. "Tramas da criação participativa: a experiência comunicativa nas obras de Elida Tessler e Beth Moysés." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21321.
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Previous issue date: 2018-06-18<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The present research is the result of studies of the creative processes of the
contemporary process art works by Elida Tessler and Beth Moysés, which modify
over time, tending towards the unfinished and coinciding with the life of the artist.
Art works that are constituted by the participation of people in its process, with the
proposition of actions and the activation of experiences, whose sensorial
aesthetic is completed by the action of the spectator, requiring a more active
reception. The research was carried out through the observation of a diversity of
documents of creative processes so to formulate hypothesis about the main knots
of the creation networks studied. For this purpose, the theory of creation
processes conceived by Cecília Almeida Salles was used as an instrument for the
critique of the processes and as an itinerary for the study and understanding of
the art works. The aim of the research is to analyze the communicational aspects
of practices that exceed the relation artist spectator and integrate people in their
processes, creating a collaboration structure. The objective is to understand the
artistic-creative procedures that unleash processes of singularization,
collectivization and acting in networks<br>A presente pesquisa é resultado dos estudos dos processos criativos das obras
processuais contemporâneas de Elida Tessler e Beth Moysés, as quais
modificam-se ao longo do tempo, tendendo ao inacabamento e a coincidir com a
vida do artista. Obras que constituem-se da participação de pessoas em seu
processo, tendo uma proposição de ações e ativação de experiências, cuja
estética sensorial se completa pela ação do outro, requerendo uma recepção
cada vez mais ativa. A pesquisa é desenvolvida a partir da observação de uma
diversidade de documentos dos processos de criação, para assim formular
hipóteses sobre os principais nós das redes de criação estudadas. Para isso, foi
utilizada a teoria de processos de criação concebida por Cecília Almeida Salles,
como instrumento para a crítica dos processos e roteiro para o estudo e
entendimento das obras. A pesquisa se propõe a analisar os aspectos
comunicacionais em práticas que extrapolam a relação artista x espectador e
integram pessoas em seus processos, criando uma estrutura de colaboração. O
objetivo é compreender os procedimentos artístico-criativos que desencadeiam
processos de singularização, de coletivização e de atuação em redes