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Douglas, Blanche Daw. "Understanding the image in art therapy: a phenomenological-hermeneutic investigation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002475.
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Part One of the research seeks to establish a context wherein certain assumptions pertaining to the interpretative dimensions of understanding the image in art therapy can be considered and reviewed. Notions about the image, meaning and reality are discussed both in terms of how they relate to current art therapy practice, and how they may be alternatively thought about, both from the perspective of ancient Hellenic Greek thought, and more contemporary thought, particularly that of phenomenological and philosophical-hermeneutics. Part Two of the research investigates the phenomenon of understanding the image in an art therapy situation, with a view to reconsidering certain of the assumptions raised in the first part of the thesis (phrased in the form of research questions). It did this utilizing a qualitative method, by exposing four respondents (patients), and two therapists to an art therapy situation in which images were created out of clay. The respondents (patients) and therapists articulated their understanding of the image production procedure, and the meaning of the images created. The way understanding occurred in the empirical part of the research was explained and illustrated by means of the hermeneutic circle, which was operational on a number of different levels. The results of the research suggest that the meaning of the image in art therapy is a creative synthesis, which emerges from within a dialectics of exchange. This exchange involves a number of meaning-generating contexts, of which the patient’s experience, and the therapist’s knowledge, form only a part. The outcome of this exchange is the derived meaning of the image, which represents a ‘fictional’ world that gives the patient and therapist a way of understanding the patient’s situation. The process of the research, which investigates the way understanding of the image in art therapy occurs, is at the same time, an application of the principles of understanding
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Webb-Ferebee, Kelly. "Expressive Arts Therapy with Bereaved Families." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2861/.
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Most current grief programs support the children and/or parents of bereaved families rather than the family as a whole. This exploratory study was a quantitative and qualitative investigation of the use of expressive arts therapy with bereaved families during a weekend camp experience and a series of followup sessions. The purpose of the study was to determine the effectiveness of using expressive arts activities in improving the functioning of the bereaved family as a whole as well as individual family members. Participants included eight families who lost a child to a chronic illness between 2 to 36 months months prior to the onset of the study. Children ranged in age from 3 to15, and parents ranged in age from 26 to 66, for a total of 27 participants. The Child Life Department at Children's Medical Center of Dallas, a division of The University of Texas Southwestern Medical Center in Dallas, Texas recruited the families. Participants received flyers and invitational letters and registered through the mail. Families attended a weekend camp where they experienced a wide variety of expressive arts activities in a combination of group formats: multi-family groups, parents' group, developmental age groups for children, total childrens' group, individual family group, mothers' group, and fathers' group. The research design was a pretest/posttest quasi-experimental control group design, but a control group could not be established. Therefore, one-tailed t-tests were used to compare participant functioning between the beginning and end of the study. Instruments used in this study included the Family Environment Scale, the Behavior Assessment System for Children the Beck Anxiety Inventory and the Beck Depression Inventory. In addition, the researcher used qualitative analysis to assess contents of family members' and counseling staff's journals, expressive arts products, and family members' evaluations. Results of this exploratory study indicated some improvements in children's, parents' and total family functioning. Expressive arts therapy shows promise in effecting constructive change in bereaved families and is deserving of further research.
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Mole, Amanda Lee. "Irony in the art of architectural construction." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22409.
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Belan, Kyra. "The effect of sexist attitudes on the perception of visual artists by community college and university students." FIU Digital Commons, 1992. http://digitalcommons.fiu.edu/etd/1507.
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This study compared the effects of sexist labeling on the perceptions of visual artists by the community college and university students and determined their sex role orientation.
The 370 students were shown five slides of an artist's works and were given six versions of an artist's biography. It contained embedded sexual labeling (woman, girl, person/ she, man, guy, person/he). The Artist Evaluation Questionnaire was administered to the female and male community college and university students that required the students to evaluate the female and male artists on several aspects of affective and cognitive measures. The questionnaire consisted of 9 items that had to be rated by the participants. In addition, the students filled out the Demographic Questionnaire and the BEM Sex Role Inventory, titled the Attitude Questionnaire. The Analysis of Variance testing procedures were administered to analyze the responses.
The results disclosed gender differences in students' ratings. The female artist's work, when the artist was referred to by the neutral sexual label, "person", received significantly higher ratings from the female students. The male students gave the female artist her highest ratings when she was referred to by the low status sexual label, "girl". Both sexes did not express statistically significant preferences for any of the male sexual labels.
Gender difference became apparent when it was found that female students rated both sexes equally, and their ratings were lower than those of the male students. The male students rated the female artist's work higher than the work of the male artist.
The analysis of the sex role inventory questionnaire revealed the absence of the feminine (expressive) and masculine (instrumental) personalities among the students. The personalities of almost all the students were androgynous, with a few within the range of the near feminine, and a few within the range of the near masculine.
The study reveals that there are differences in perception of sexual labels among the community college and university students.
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Lloyd, Sharni, and mikewood@deakin edu au. "Exploratory surgery of the female psyche." Deakin University, 1996. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051111.115947.
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The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is feminine authority, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society.
Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following;
Explore their own psychology beyond the existing socially constructed gender roles.
Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes.
Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science.
Archetypal myths of the feminine have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, Individuation is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The true feminine is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority.
This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her.
Western epistemology, with its emphasis on objective investigation and empiricism contributes to the support for and promotion of inferior female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view.
Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for truth and absolute can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure.
Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment.
Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to eve and the siren. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the feminine aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess.
The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings.
Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian.
The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices
and technique while making reference to imagery from previous works, The Three Graces Victorious, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated.
Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed.
To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his Four Seasons series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys.
Although The Three Graces Victorious; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.
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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
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Bader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
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Wedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
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This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.
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Wentzel, Andrieta. "The four cycles of Herakles : towards the visual articulation of myth as psychological process." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/642.
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My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form
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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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Nicol, Tracy-Lee. "Aspects of memory in the sculptural work of Jane Alexander 1982-2009." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002213.
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Over three decades of research has shown that memories have significant effect on the behaviour, attitudes, beliefs, and identities of individuals and collectives, revealing also how experiences of trauma and acts of narrativisation have pertinence to the ways in which memories are stored and reconstructed. In this thesis a link is developed between memory, trauma, narrativisation processes and the interpretation of works by Jane Alexander, a contemporary artist whose work is informed by observations about South African life. Alexander’s sculptures are revealed to be not only important vessels of collective memories and experiences, but also evocations of individuals’ countermemories and traumas that remain unarticulated and invisible. Through an exploration of the workings of memory and its relation to her art, it is revealed how the past continues to exert its influence on many of South Africa’s present sociopolitical concerns and interpersonal dynamics. Indeed constantly changing memories have a significant effect on future generations’ perceptions of, and connectedness to, the past. While theories about memory have been deployed in Art History as well as the Humanities in general, Alexander’s work has not previously been considered in light of the influence of these ideas. This thesis thus contributes a new dimension to literature on the artist.
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Ramabhai, Leena I. "The effect of load carriage on selected metabolic and perceptual responses of military personnel." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1005189.
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Taking a multi-disciplinary, integrated approach, the present study sought to examine selected physiological and psycho-physical parameters related to load carriage involving a 12 km march under military conditions. Military constraints hampered, but did not entirely inhibit the secondary aim of the study which concerned the effectiveness of relativising loads in order to normalise responses for all soldiers, irrespective of morphological diversity. Forty three subjects were measured in six groups using a test-retest experimental protocol. They were involved in a rest-broken 12 km march at 4 km.h⁻¹ under 40.5 kg absolute total load and under a relative load of 37% of body mass. Heart rates, ratings of perceived exertion (RPE) as well as area and intensity of discomfort were monitored for all subjects. Ten subjects were measured more extensively with regard to physiology using the Metamax, a portable ergospirometry system that provides all the data needed for a complete functional analysis of lung, heart, circulation and metabolic activity. Physiological responses (fc; fb; V̇T; V̇E; V̇O₂; EE; V̇CO₂; R; T°) indicated subjects were not severely physically taxed and that the loads imposed constituted a sub-maximal demand. Moreover, there appeared to be a limited cumulative effect over the 3.5 h. Data from the first and third hours were similar, while the significantly higher responses in the second hour reflected the challenge of the undulating terrain encountered during this section of the march. All responses during the Relative load conditions mirrored those of the Absolute load condition but, because the demands were less, the trends occurred at a reduced level. Furthermore, the reduction in inter-individual variability indicates that relativised load carriage tends to stress the soldiers in a more uniform manner. All "local" RPE responses were higher than "central" ratings, suggesting soldiers were in good cardiovascular condition and experienced marginally more strain in the lower limbs. There was increased perceived strain corresponding to the increase in gradient, with little cumulative effect over the three hours. The shoulders and feet were the two regions in which most discomfort was experienced; the shoulders being the worst area in the first hour and the feet being rated the worst after the third hour of marching. This study clearly demonstrates the probability of a significant improvement in mean combat-readiness following loaded marching by showing that, if loads are set at levels commensurate with individual capabilities to carry them without undue strain, unnecessary physical demands experienced by smaller, more gracile soldiers are reduced.
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Grindrod, Josie. "The space in-between : psychoanalysis and the imaginary realm of art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1350.
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Ayers, David Lee. "An architectural expression in the age of video culture." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23435.
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Meistre, Brent Arthur. "Road culture : an investigation of the road as a means of mental and physical exploration." Thesis, Rhodes University, 2000. http://eprints.ru.ac.za/2324/1/MEISTRE-MA-TR00-78.pdf.
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Chapter one considers various manifestations of the concept of ‘journey’ and how they have changed over history. The Odyssean journey that the hero undertakes to reach a point of self-realisation is investigated. This leads to a other discussion of types of journeys such as pilgrimages, as well as ‘wandering’. These are contrasted with the twentieth century perceptions of journey. Questions of travel are then dealt with: how the nature of the traveller's path has changed over the centuries, various points of travel and gender, and how in the last century solitary travel has been transformed into mass tourism.
The second chapter deals specifically with the motorcar, the mobility it enables and how it has led to the rise of a roadside culture. Different factors that influenced the rise of the motorcar are looked at. The motorcar as a cell and eroticism and the car are also investigated. The twentieth century city, it's restructuring, as well as the highway systems is discussed.
In Chapter Three, the sense of freedom that the motorcar created is considered in particular reference to escape, aimlessness, and road weariness, as well as the landscape as a symbol of freedom. This leads to a discussion on the notion of speed, the sense of power and the romanticisation of death in car crashes.
Chapter Four investigates masculinity and the road. The frontier as a place in the psyche of the male is also dealt with. The road as a means of testing and regaining masculinity in the mid-twentieth century is considered. Issues of the male domination of the land and the feminine are discussed, with the chapter ending with a brief examination of the woman as traveller.
Lastly the masters’ submission exhibition, entitled RODE is discussed with direct reference to the theories investigated in the previous chapters. Individual works as well as the methodology are looked at closely.
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Oliveira, Neto Mario Cysneiros de. "A morada do artista." Universidade Católica de Pernambuco, 2018. http://tede2.unicap.br:8080/handle/tede/989.
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In this dissertation we have realized a reflective study over some of the reasons for the existence of the creative impulse and of Art. We had as a general goal to investigate the motivations for production and appreciation of art through theories of psychanalyses, philosophy and immersion in the artistic universe of Francisco Brennand. From psychanalyses, we’ve studied the concepts of pulsion, phantasy and sublimation in Sigmund Freud, the bond between sexuality and regression to the motherly womb in Sándor Ferenczi and the theory of creativity of Donald Woods Winnicott. From philosophy, we’ve used the concept of will from Arthur Schopenhauer, the subjective experience of spaces in the theory of Gaston Bachelard and the transcendence phenomena under the prism of Plato. Concerning the field research, we’ve investigated the creative aspects of Francisco Brennand and his relations with his atelier through personal contact and an interview with the artist, visits to the Oficina Brennand and access to the artistic and bibliographical collection of the place, as well as through texts and videos published in the media. Having collected the data, we’ve stablished connections between his artistic production with the theories studied and we’ve developed some thought and intuitions. We’ve oriented the research from dimensions, three spaces, the intrapsychic, intersubjective and transcendence, and to facilitate the understanding of our purpose we’ve created a metaphorical image, The Tree of Existence, which, respecting this tripartition, organizes our theoretical writings and offers a general view of the existing dynamics between the dimensions. We’ve considered the presence of a feeling of existential discomfort due to the interaction between those dimensions, and the existence of a conflict of opposing forces, each plane seeking to impose itself over the other and be dominant. Then we followed the guiding hypothesis that through the fruition of art, its creation and contemplation, there would be a reduction in the feeling of discomfort, and that this decrease would happen through two main experiences, two phenomena, the existential increase due to the achievement of metaphysical planes and the movement of return to a mythical past of fusion and completeness – the fire. This fact showed resemblances between the path and destiny of sexuality and art, sex and the divine, chaos and the superior world. The present text sought to explore some of these purposes and their means of realization.
Realizamos nesta dissertação um estudo reflexivo sobre algumas razões da existência do impulso criativo e da Arte. Tivemos como objetivo geral investigar as motivações da produção e apreciação da arte através de teorias da psicanálise, filosofia e imersão no universo artístico de Francisco Brennand. Da psicanálise, estudamos os conceitos pulsão, fantasia e sublimação em Sigmund Freud, o vínculo entre sexualidade e regressão ao útero materno em Sándor Ferenczi e a teoria da criatividade de Donald Woods Winnicott. Da filosofia, utilizamos o conceito de vontade de Arthur Schopenhauer, a vivência subjetiva dos espaços na teoria de Gaston Bachelard e os fenômenos da transcendência sob o prisma de Platão. Sobre a pesquisa de campo, investigamos os aspectos criativos de Francisco Brennand e sua relação com seu atelier a partir do contato pessoal e entrevista com o artista, por meio de visitas à Oficina Brennand e acesso ao acervo artístico e bibliográfico do local, por textos e vídeos publicados na mídia. Colhidos os dados, estabelecemos conexões entre sua produção artística com as teorias estudadas e desenvolvemos algumas intuições e reflexões. Orientamos a pesquisa a partir de dimensões, três espaços, o intrapsíquico, intersubjetivo e transcendência, e para facilitar o entendimento de nosso propósito criamos uma imagem metafórica, A Árvore da existência, que, respeitando essa tripartição, organiza nosso escrito teórico e oferta um panorama geral da dinâmica entre as dimensões. Consideramos a presença de um sentimento de mal-estar existencial decorrente da interação entre tais dimensões, por existir um conflito de forças opostas, cada plano buscando se impor aos demais e ser predominante. Então seguimos a hipótese norteadora de que pela fruição da arte, sua criação e contemplação, haveria a diminuição do mal-estar; e que tal minoração de desconforto ocorreria a partir de duas experiências principais, dois fenômenos, a ampliação existencial com alcance de planos metafísicos e o movimento de retorno a um passado mítico de fusão e completude – o fogo. Tal fato demonstrou semelhanças entre os caminhos e destinos da sexualidade e arte, o sexo e o divino, o caos e o mundo superior. E o presente texto buscou explorar alguns desses propósitos e suas vias de realização.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Silva, Mércia Gomes da. "A presença da linguagem plástica na ação clínica: diálogos com a perspectiva fenomenólogica existencial." Universidade Católica de Pernambuco, 2015. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1113.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEste estudo parte de interrogações provenientes da experiência da autora como psicóloga em diferentes contextos clínicos, nos quais utilizou a expressão plástica. Objetiva compreender como se dá a presença da linguagem plástica na ação clínica em uma perspectiva fenomenológica existencial, além de apresentar a presença da linguagem plástica em diferentes práticas clínicas e discutir a ação clínica psicológica sob uma perspectiva fenomenológica existencial. Sua base fenomenal acolhe a experiência da pesquisadora e de psicólogas clínicas que se dispuseram a participar como interlocutoras. O procedimento de colheita das narrativas aconteceu via entrevista/depoimento, que permitiu o compartilhamento de experiências sobre o fazer clínico das participantes e via Diário de Bordo para registro da experiência da autora/pesquisadora. Através deste contexto, percorre-se sentidos traçados em diferentes modalidades de práticas clínicas desenvolvidas pelas quatro interlocutoras, objetivando oferecer suporte psicológico àqueles que buscam (re) pensar sobre o cuidado e o modo como conduzem suas existências. A aproximação e interpretação das experiências, inspirada na Analítica do Sentido desenvolvida por Dulce Critelli, aponta como a linguagem plástica pode assumir uma posição de presença e entrelaçamento com o trabalho clínico, de modo que, de tão entremeadas que se apresentam e acontecem, não é possível reduzi-las a uma lógica de mero uso ou aplicação técnica. Nessa direção, a linguagem plástica é refletida como mais próxima de uma dimensão poética e gestual, uma vez que foge às relações causais e explicativas tal como cotidianamente a linguagem tem sido moldada em nosso tempo. São tecidas considerações que apontam para um entendimento de que a ação clínica − em um movimento de errância e construção de sentidos − contribui para que as pessoas possam implicar-se e cuidar de suas existências a partir da ampliação da experiência que fazem com a própria linguagem. Perspectiva esta atrelada a uma noção que considera a íntima relação entre ser, sentir, pensar e agir no mundo. Desse modo, compreende a ação clínica como uma oportunidade de escuta e acolhimento às dimensões ética, estética/sensível e poética que compõem a existência, valorizando o horizonte compreensivo do cliente/usuário/grupo para que possa se apropriar do modo como está sintonizado no mundo.
This study starts from questions originated by the authors experience as a psychologist in different clinical contexts, in which the plastic expression was used. The study aims to understand how the presence of the plastic language works on the clinical action under an existential phenomenological perspective, to present the presence of the plastic language in different clinical practices and discuss the clinical psychology action under an existential phenomenological perspective. The phenomenal basis is given by the researchers experience and by clinical psychologists who accept to participate as interlocutors. The narratives collection procedure happened through interviews/testimonials, that allowed the exchange of experiences regarding the clinical practices of the participants and through a field report where the author/ researchers experiences were registered.Through this context it is possible to go along different senses outlined in different clinical practices modalities developed by the four interlocutors. Aiming to offer psychological support for those who look toward (re)thinking about care and the way they lead their existences. The approaching and interpretation of the experiences, inspired on the analytics sense developed by Dulce Critelli points how plastic language can assume a position of presence and interlacement with the clinical work, so that, presenting and happening in a so interspersed way, is not possible to reduce to a logic of mere use or technical application. On this direction, plastic language is reflected as being closer to a poetic and gestural dimension, once that it runs away from causal and explicative relations as language has been daily molded in our times. Considerations are set concerning an understanding that clinical action in an errant movement and senses building contributes for the people to imply and care about their existences starting from the experiences expansion they make with their own language. This perspective is linked to a notion that considers the intimal relation among being, feeling, thinking and acting in the world. This way, understand the clinical action as an opportunity of listening and embracement to ethical, esthetic/sensible and poetical dimensions that composes existence. Giving value to the client/user/groups comprehensive horizon so they can appropriate the way they are connected to the world.
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Malan, Marinique. "Vyfjarige dogter se gebruik van kunsmedia in terapie : 'n refleksie." Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2793.
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Thesis (MEdPsych (Educational Psychology))--University of Stellenbosch, 2008.ENGLISH ABSTRACT: The focus of this study is a reflection by an educational psychologist of a five year old girl and her use of art media during her therapy sessions. The rational behind art therapy is that underlying feelings and problems are brought to the surface through the interaction with art media and art production (Oster & Crone, 2004). This enables the client to perceive the problem visually and learn how to process it. Educational psychologists are not necessarily trained to do art therapy. However the use of creative media can form part of their practice. A principle of art therapy – to create a safe environment for the person to work uninterrupted, was used in this study. A qualitative ex post facto study was used to complete this research. This entails a study of an occurrence (a child‟s use of art media in therapy) after it has been observed by the researcher. The aim of this research was to study, by means of a case study, a five year old girl‟s interaction with art media such as paint, clay and felt-tip pens throughout her therapy process. The amount of time spent with media, techniques and colours used, symbols made, as well as verbal and non-verbal behavior was observed. The participant‟s therapy sessions and informal interviews with her mother were recorded on video. The videotapes were studied and field notes of these, together with personal records and the artistic products that resulted from her sessions were used for data-collection. In addition and to enrich the study the possible meaning of the symbols depicted were also discussed. Inductive data-analyses (bottom to top) were used to process the data. The researcher‟s perspective during the study was of a reflective practitioner. The description of the participant‟s interaction with art media showed that she became more involved with it as time passed. There were noticeable changes in her use of colour, techniques and media. A positive change in her verbal and nonverbal behaviour was observed towards the end of her therapy-process.
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Shinga, Gladness Ntokozo. "Factors involved in combat readiness with hardiness as a mediator: an exploratory study." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97837.
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Thesis (MCom)--Stellenbosch University, 2015ENGLISH ABSTRACT : The continued and ever growing involvement of the South African National Defence Force (SANDF) to complex peacekeeping operations over the African continent has opened a platform in the academic field to better sharpen the SANDF’s performance and contribution to achieve peace in Africa. Previous deployments to various African countries has tested the SANDF’s level of preparedness. Although the organisation gives effort to train its forces to reach the desired level of combat readiness, the nature of the operations to which soldiers partake in has proven to be more demanding. This study was driven by the need to explore and provide a broader perspective of what constitute combat readiness. Utilising the SANDF, the study aimed to explore the relationship between the soldier’s relationship with the spouse (RWS) and the soldier’s relationship with the unit (RWU), and hardiness as a possible mediator variable to combat readiness (CR). Previous research and theories were explored to provide a theoretical background for the study variables. A non-experimental controlled inquiry was used to test the hypothesised relationship among the variables. A sample of 363 participants (across ranks, gender and race) was randomly selected from South African Infantry Battalion Group mobilising for a deployment to Sudan. Hypothesised relationships among the independent variables, mediator variable and dependent variable was determined using the correlational analysis (Spearman correlation). Partial Least Squares (PLS) – measurement and structural model was used to test the study model for combat readiness. The results showed significant correlations between the soldier’s RWS and CR. Furthermore, significant correlations were found between soldier’s RWU and CR. Partial mediation was explained by the path coefficients from RWU>hardiness>CR. No full mediating effect was found. The results also showed insignificant correlations between soldiers RWS and hardiness (rather than between soldier’s RWS and CR. These results were in support to previous research and proved to add insight to future research on CR.
AFRIKAANSE OPSOMMING : Geen opsomming beskikbaarbaar nie.
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Roux, Susan Elizabeth. "Van moi tot je : die verband tussen die ontwikkeling van die subjek en die kunsmaakproses." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/900.
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Wasinski, Christophe. "La représentation de Soi et de l'Autre dans la pensée stratégique: une analyse de la culture stratégique occidentale." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210952.
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Recherche sur l'existence d'une culture stratégique typiquement occidentale, européenne et américaine, culture qui trouverait l'un de ses fondements dans les représentations des combattants dans la pensée stratégique depuis la RenaissanceDoctorat en sciences politiques
info:eu-repo/semantics/nonPublished
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.
Full textAbstract:
When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Wilson, Sylvia. "Fragments : an art-based narrative inquiry." Thesis, 2000. http://hdl.handle.net/2429/11013.
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As I investigate, construct, and tell autobiographic narratives of mothering, of loss, and of hope,
both the process of research and the "story fabric" evolve as both written and visual, an interplay
of image and text. I involve myself in this investigation as I expect that it is in these places of
loss, disability, and dependence that one can find things of great value, perhaps a way of being
with each other, of caring, of sharing of self, and of receiving the other that does not depend on
growth or achievement or on progress in learning. Ted Aoki writes of "face to face living"
(1993, p. 59) of teacher and student. Living, as it were, not at a distance, but face to face and
engaged as we open ourselves to the daily struggles and challenges we bring to our work, our
teachingAearning, and to our research. Autobiographic narrative offers a way in, extends an
invitation to give and to receive.
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Basile, Joseph John. "Mediterranean and continental European stone warrior statuary of the 7th to 5th centuries B.C. aspects of diffusion, acculturation, innovation, and tradition /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/30769253.html.
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Sacks, Glenda. "Image-making and contemporary social myth." Diss., 1992. http://hdl.handle.net/10500/17652.
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In our Post-Modern milieu there has been a renewed attempt in art to communicate with the viewer. My hypothesis is that particular images provoke empathic responses in the viewer. Iconographical and formal characteristics in images which provoke empathy are discussed and Lipps' ( 1905) and Worringer's (1908) theories of empathy are examined. The psychological profile of a viewer is considered in the light of Freud's familial model of the human psyche with its emphasis on sexual instincts. The theoretical framework within which my hypothesis
operates is based upon Bryson, Holly and Moxey's ( 1991) interventionist response to visual interpretation. They foreground the viewer's historicity in the viewing of an image and their approach is contrasted with that of the perceptualists (Wollheim, Gombrich and others) who maintain that the historicity of the viewer is unimportant. Finally it is argued that art can have a transforming potential if the artist provokes empathy in the viewer.Art History, Visual Arts & Musicology
M.A. (Fine Arts)
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"美的意義: 創作者的角度 = The meaning of beauty from the perspective of creators." 1998. http://library.cuhk.edu.hk/record=b5896282.
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張經緯.論文(哲學碩士) -- 香港中文大學硏究院敎育學部, 1998.
參考文獻: leaves 64-66.
中英文摘要.
Zhang Jingwei.
Chapter 第1章： --- 引言 --- p.1
Chapter 1.1 --- 研究背景 --- p.1
Chapter 1.2 --- 研究問題 --- p.3
Chapter 1.3 --- 研究目的 --- p.3
Chapter 1.4 --- 研究重要性 --- p.4
Chapter 第2章： --- 文獻回顧 --- p.5
Chapter 2. 1 --- 美學 --- p.5
Chapter 2.1.1 --- “自上而下的美´學ح與“自下而上的美´學ح --- p.5
Chapter 2.1.2 --- 客觀論美學與主觀論美學 --- p.5
Chapter 2.1.3 --- 美學發展的簡介 --- p.5
Chapter 2.2 --- 藝術心理學 --- p.6
Chapter 2.2.1 --- 藝術心理學之始 --- p.6
Chapter 2.2.2 --- 藝術心理學發展的三大取向 --- p.7
Chapter 2.3 --- 完形心理學 --- p.9
Chapter 2.3.1 --- 完形心理學的源起 --- p.9
Chapter 2.3.2 --- 完形(Gestalt) --- p.10
Chapter 2.3.3 --- 同型論(lsomorphism) --- p.11
Chapter 2.3.4 --- 圖形與背景 --- p.12
Chapter 2.3.5 --- 完形視知覺組織定律 --- p.12
Chapter 2.4 --- ARNHEIM的完形藝術心理學 --- p.16
Chapter 2.4.1 --- 視覺思維 --- p.16
Chapter 2.4.2 --- 形狀與形式 --- p.17
Chapter 2.4.3 --- 形式與力 --- p.17
Chapter 2.4.4 --- “美即適´切ح及“美即動力性結構對´應ح --- p.18
Chapter 第3章： --- 研究方法 --- p.21
Chapter 3.1 --- 研究對象 --- p.21
Chapter 3.2 --- 研究過程 --- p.21
Chapter 3.3 --- 材料 --- p.22
Chapter 3.4 --- 資料分析 --- p.22
Chapter 第4章： --- 研究結果及討論 --- p.26
Chapter 4. 1 --- 砌圖過程 --- p.27
Chapter 4. 1.1 --- “具意´念ح的創作開端及過程 --- p.27
Chapter 4. 1.2 --- """乏意´念ح的創作開端及“具意´念ح的創作過程" --- p.28
Chapter A) --- 漸現式 --- p.28
Chapter B) --- 頓現式 --- p.29
Chapter C) --- 速現式 --- p.30
Chapter D) --- 平衡式 --- p.31
Chapter E) --- 反覆驗式 --- p.33
Chapter 4.2 --- 美的解釋 --- p.33
Chapter 4.2.1 --- 初步個案分析 --- p.33
Chapter 4.2.2 --- 美的解釋分類歸類過程及架構重建 --- p.33
Chapter 4.2.3 --- 美的解釋類別要義 --- p.35
Chapter 4.2.4 --- 美的解釋分類架構 --- p.35
Chapter 4.2.5 --- 美的解釋分佈與個案組別分佈 --- p.37
Chapter 4. 3 --- 美的解釋與個人獨特性及經驗的關係 --- p.42
Chapter 4.3.1 --- 美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.43
Chapter 4.3.2 --- 美的解釋類別與個人獨特性(包括經驗)的關係---以解釋類別為單位的整理 --- p.46
Chapter 4.3.2.A --- 形式特質(F0)與個人獨特性 --- p.46
Chapter A1 --- 視覺元素/構圖原則(Visual Elements/ Compos itional Principles)與個人獨特性 --- p.46
Chapter A2 --- 表徵(Representation)與個人獨特性 --- p.48
Chapter 4.3.2.B --- 個人關聯(PR)與個人獨特性 --- p.48
Chapter B1 --- 自我肯定(Self-assurance)與個人獨特性 --- p.48
Chapter B2 --- 感覺(Fee ling)與個人獨特性 --- p.49
Chapter B3 --- 喜好/價值(Liking/Value)與個人獨特性 --- p.51
Chapter B4 --- 意念（ldea)與個人獨特性 --- p.51
Chapter 4.3.2.C --- 創作關係(CR)類別與個人獨特性 --- p.55
Chapter C1 --- 思想空間(Horizon)與個人獨特性 --- p.55
Chapter C2 --- 創作態度/感受(Attitude/Feeling of Creation)與個人獨特性 --- p.55
Chapter 4.3.2.D --- 互動 (IN)與個人獨特性 --- p.55
Chapter 第5章： --- 結論 --- p.58
Chapter 5.1 --- 研究結果摘要 --- p.58
Chapter 5.1.1 --- 砌圖過程 --- p.58
Chapter 5.1.2 --- 美的解釋 --- p.58
Chapter 5.1.3 --- 美的解釋與個人獨特性(包括經驗)的關係 --- p.61
Chapter 5.2 --- 研究限制建議 --- p.62
參考資料 --- p.64
附錄 A---幾何圖形(GEOMETRIC SHAPES)舉隅及其數量與色彩分佈表 --- p.67
附錄 B---不規則圖形（IRREGULAR SHAPES)(1:5. 3) --- p.73
附錄 C---幾何圖形與不規則圖形色表 --- p.77
附錄 D---“GUMMED MOSAICS JUMBO PAC´Kح舉隅 --- p.78
附錄 E---創作指引 --- p.79
"附錄 F---審美訪談(AESTHETIC JUDGMENT INTERVIEW, AJI)" --- p.80
附錄 G---美的解釋個案分析 --- p.82
附錄 H---美的解釋分類(以個案為單位) --- p.107
附錄 I---美的解釋類別要義 --- p.117
附錄 J---美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.125
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Needham, Tessa, University of Western Sydney, College of Arts, and School of Communication Arts. "Provocative and transformative performance." 2007. http://handle.uws.edu.au:8081/1959.7/32410.
Full textAbstract:
What tools do performers use to provoke their audiences to change? What is the nature and potential extent of this change? ‘Provocative and Transformative Performance’ looks at the potential of performance to provoke attitudinal and behavioural change. Through a combination of theoretical and practical research, the project attempts to locate specific characteristics of performances that may be both provocative and transformative. Although previous research has interrogated the efficacy of performance, this project attempts to interrogate the nature of attitudinal and behavioural change through performance in a new way. The approach is triangulated, shifting perspective from performance maker to audience member to performance theorist. Bodily, a solo performance investigating body image issues, was created both as a response to this research and as a performative tool for generating research data. The Bodily data arises from a personal response to the performance and from focus groups conducted with audience members of the piece. The performance is integrated as a necessary part of this research, as it illuminates the process of a provocative performance maker. Alchemy permeates this thesis, weaving through the analysis as a metaphor for transformation. An alchemist undertakes the quest for philosophical gold through several complex processes. The alchemical moment of ‘projection’ is particularly significant; this is the climax, the final operation before gold is achieved. The thesis is written in a multi-vocal style, incorporating the analytical voice, the poetic alchemical metaphor, personal responses to performance and a performance development journal. The research project is a methodological and evaluative engagement with provocative and transformative performance, taking into account the intention of the performer, the instrumentation performers employ in order to provoke and transform their audiences, and the potential illumination of an issue for the audience through performance. Through this theoretical framework, the thesis aims to throw light on the ways in which performance can provoke transformation.Doctor of Philosophy (PhD)
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Simonis, Esther Malan. "Archaeological methodology and art making : excavating parallels." Thesis, 2006. http://hdl.handle.net/10500/1716.
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Khoza, Bongani. "The lamppost: a metaphorical reflection on archival absences and presences." Thesis, 2016. http://hdl.handle.net/10539/19941.
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Dissertation in fulfilment of the degree of Master of Arts in Fine Arts by coursework and research report at the University of the Witwatersrand 2014My research intends to appropriate and recast Jacques Derrida’s ideas by seeking to interpret the written text as supplementary to photographic images. I use a close reading of Judith Coullie’s introductory text to Selves in Question: Interviews on Southern African Auto/biography (2006) to explore Santu Mofokeng’s representation of his biography and autobiography. Through selected works by Mofokeng, I highlight photographic ways and writing modes of expressing and locating his voice, drawing on the artist’s own subjective reality, memory and metaphor. The Truth and Reconciliation Commission (TRC) in conjunction with the introductory text to Selves in Question serve to provide much historical evidence and contexts to the complexities of writing a personal narrative in an exploration of freedom within the confines of oppression. I nevertheless acknowledge that some narratives are heavily dependent on a collaborative relationship. The negotiated different moments and perspectives that make up various presented narratives are born from spaces and places that act as intersections within the private and public in a constant state of stasis and movement..
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Marrion, Leslie Virginia. "Art therapists' approaches to the treatment of body image distortion and guilt in sexually-abused girls ages 4, 8, and 13." Thesis, 1990. https://dspace.library.uvic.ca//handle/1828/9466.
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(Finkelhor, 1986; Haugaard & Dickon Reppucci, 1988) have
concluded that there is insufficient information on how to
treat child sexual abuse (CSA). The reported incidence of
CSA has substantially increased, hence, the need for
treatment approaches has escalated. The purpose of this
study was to provide clinicians who treat CSA with a
descriptive account of the methods currently used by art
therapists to treat sexually-abused children of differing
ages who present with different issues.
One hundred and forty-six certified and/or diplomaed art
therapists, aged 26 to 66, who had training and experience in
CSA treatment were solicited through the national art therapy
associations in Canada and the United States. They responded
to case-simulation surveys which consisted of a case history,
photograph, and self-portrait of a hypothetical sexually abused
girl aged 4, 8, or 13 who presented with either the
issue of body image distortion or guilt. Open-ended or
multiple choice research questions on the art therapist's
treatment approach, choice of media, directives, use of time,
use of therapeutic interactions, use of debriefing process,
opinions on the function of art in the session, and method of
evaluation were utilized to obtain a qualitative description
of the art therapy approach to working with a child of a
certain age presenting with a particular issue.
A content analysis of the qualitative data resulted in
the identification of thematic categories which described the
goals, directives, debriefing process, and the function of
art in the session. The responses to the questions on time
use and media were analyzed similarly. The frequency of
responses for the multiple choice answers and the thematic
categories were calculated and then compared across the age
and issue variables, in the form of percentages. A
comprehensive clinical description of the art therapists'
approaches to CSA treatment was obtained for the whole
sample, and across age, and issue. The subjects' responses
were paraphrased to illustrate these differences for each
question.
The main findings were: (a) art therapists addressed the
main issues of CSA, as described by traditional verbal
therapists (Sgroi, 1982), and employed both directive and
nondirective styles in their approaches; (b) art therapists
were sensitive to the developmental level of the child
depicted in the case simulation and adapted their approach
to meet the child's needs (i.e., the sessions with younger
children were characterized by different media choices,
and directives, the therapists spent more time being
supportive and nurturing, provided physical contact, snacks,
used art-as-therapy, spent less time discussing and more
time playing and doing, allowing the child to work out her
issues through using her body and the media whereas with the
adolescents, art was used as psychotherapy and catharsis more
frequently and discussion and debriefing were utilized to
help change her thinking about the abuse experience), (c)
art therapists responded differently to the body image
distortion and guilt case simulations (i.e., activities
designed to solicit representations of feelings and of the
offender were more frequently reported for the guilt case
simulations while self-portraits and safe places were more
frequent in the responses to the body image distortion
case simulations, and (d) the findings on the function of
art in treating CSA replicated the earlier study by Marrion,
Landell, and Bradley (1988).
This study provided a clinical description of art
therapists' approaches to treating CSA. It illustrated the
function of the art directives, the use of media, the
debriefing process, and the art products themselves. The
descriptions of these may aid clinicians in understanding how
this sample of art therapists worked with sexually-abused
children and may prompt them to undertake training in this
discipline as a way broadening their approach to working with
sexually-abused children.Graduate
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Crow, William Brice. "The Domain-Specificity of Epistemological Understanding in Making Aesthetic Judgments." Thesis, 2017. https://doi.org/10.7916/D80G3QTF.
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Literature in arts education suggests that experiences in the arts support the development of thinking skills such as critical thinking and reasoning (Fiske, 1999; Eisner, 2004; Greene, Kisida, and Bowen, 2014). But do individuals make aesthetic judgments supported by critical thinking and reasoning, or are these judgments based only on subjective preferences or personal taste? The present study examines whether undergraduate college students from an elite private university serving primarily students of high socioeconomic status (SES) and a public university serving primarily low SES students (n=150) invoke criteria when making evaluative judgments across the domains of visual art, music, and a non-aesthetic more general domain. Students were asked to compare two works of art (visual art or music), and to compare two fictional political candidates and to indicate whether one could be judged superior to the other and if so on what basis. Responses reflected levels of epistemological understanding—that is, whether judgments are based primarily on facts (Absolutist level), subjective opinions (Multiplist level), or criteria (Evaluativist level).
The majority of participants displayed Multiplist levels in the aesthetic domains. Evaluativist levels were more common in the non-aesthetic domain, although significantly so only in comparison to the music domain among the students from the private elite university.
Group comparisons across the two aesthetic domains showed that individuals scored at the Evaluativist level with more frequency in the visual art domain as compared to the music domain. However, this difference was significant only among the participants from the private elite university and not among the participants from the public university. The general educational and social background of the participants (private elite university setting versus public university setting) proved to be the strongest predictor of Evaluativist-level responses.
Continued research in epistemological understanding in the aesthetic domain is needed, as development in epistemological thinking may afford insights into the degree to which individuals exercise critical thinking about the arts, and how such thinking can be fostered.
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Collie, Katharine Rosemary. "A narrative view of visual creative expression as psychosocial support for women with breast cancer." Thesis, 2003. http://hdl.handle.net/2429/15046.
Full textAbstract:
As breast cancer incidence and survival rates increase, there is an urgent need to make
appropriate psychosocial support available to all women with breast cancer. In this qualitative
study, narrative inquiry was used to examine how women with breast cancer used visual
creative expression (art therapy and/or independent art making) to address psychosocial needs
that arose for them after their diagnoses. Seventeen women, aged 37-82, participated in this
investigation. Data analysis of in-depth interviews with these women focused on narratives
they constructed about why they turned to art therapy and/or independent art making and how
it helped to be involved in these activities. Particular attention was given to the issue of
meaning making.
Four storylines emerged from the analysis. "Art and art therapy as a haven" came from
narratives about using art making or art therapy for comfort and affirmation. The narratives
that comprised "getting a clearer view" were about using visual creative expression to create a
clear picture of emotional experience. "Clearing the way emotionally" came from narratives
about self-expression and about processing difficult emotions. The narratives that yielded
"expanding and enlivening the self were about the women fortifying and energizing
themselves through visual creative expression. Two minor themes related to the role of the art
therapist and negative experiences with art therapy also emerged.
In their narratives, the women portrayed visual creative expression as flexible,
compelling, and powerful means of addressing multiple psychosocial needs simultaneously.
Above all, the storylines show that the women valued visual creative expression as a way to
reduce the feeling of threat to existence, to affirm present existence, and to promote the
ongoing existence of both their psyches and their bodies.
The results of this study contribute to the field of psycho-oncology by extending
understandings of meaning making in relation to breast cancer, supplying detailed
explanations from the perspectives of women with breast cancer of how visual creative
expression can be helpful, and providing valuable insight into how psychosocial support
services based on visual creative expression might meet needs of women with breast cancer
that would not be met through other types of services.
34
"The art of explaining organizational changes to employees: reducing negative reactions through effective communication." 2003. http://library.cuhk.edu.hk/record=b5891455.
Full textAbstract:
Hau Wing-sze.Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 82-90).
Abstracts in English and Chinese ; questionnaire also in Chinese.
Abstract --- p.i
摘要 --- p.iii
Acknowledgement --- p.iv
Table of Content --- p.v
List of Tables --- p.vii
List of Figures --- p.viii
List of Appendices --- p.1
Chapter Chapter One: --- Introduction --- p.2
Psychological contract violations (PCV) --- p.4
Psychological contract violations after organizational changes --- p.5
Employees' reactions of psychology contract violations --- p.6
Managerial explanations of organizational changes --- p.9
Perceived legitimacy of explanations --- p.12
Impression Positivity --- p.14
Perceived sincerity --- p.17
Mediation analyses --- p.18
Overview --- p.19
Chapter Chapter Two: --- Method --- p.22
Overview --- p.22
Study 1 --- p.22
Study 2 --- p.25
Chapter Chapter Three: --- Results --- p.32
Descriptive Analyses --- p.32
Correlations between predictors and criteria --- p.42
Regression Analysis --- p.45
Mediating effects of job satisfaction --- p.56
Mediating effects of PCV --- p.61
Chapter Chapter Four: --- Discussion --- p.62
Psychological contract violations and employees' reactions --- p.62
Ameliorative effects of explanations --- p.63
Ineffective sides of explanations --- p.65
"Three-way interactions between PCV, perceived legitimacy and impression positivity" --- p.68
Mediating effects of job satisfaction --- p.69
Multiple explanations --- p.70
Explanations --- p.71
Limitations of the Study --- p.73
Implications for Intervention --- p.74
Conclusions --- p.80
References --- p.82
35
Swanepoel, Marna. "Digital art therapy and trauma : a psycho-educational perspective." Diss., 2014. http://hdl.handle.net/10500/13721.
Full textAbstract:
This study explores the possible use of digital media as an effective psychotherapeutic aid
in art psychotherapy, specifically in addressing the effects of trauma experienced by
adolescents.
A literature review provides evidence on what exactly can be understood under the
concepts 'art psychotherapy' and 'digital media'. The literature study further
investigates trauma, its treatment and how art psychotherapy can be used as a
psychotherapeutic tool with adolescents who have been exposed to trauma.
An empirical study including six participants, chosen through a specific sampling process,
and whose background information regulates the appropriate methods of intervention
demonstrates the practicality of digital media in art psychotherapy. Data gathered from
pre-assessment activities, art psychotherapy sessions and post-assessment activities are
analysed, interpreted, and reduced through a systematic process. The empirical findings are
then presented in a detailed, concise manner
From the empirical investigation, it is determined that digital media can be used as a
successful tool in art psychotherapy, specifically with adolescents who have experienced
trauma. The researcher gained experience in the implementation of digital media in art
psychotherapy and was able to provide valuable information about this practice,
specifically for professionals interested in the field of art psychotherapy. The researcher
was also able to identify limitations and further areas for research in this field.Psychology of Education
M. A. (Guidance and Counselling)--University of South Africa --2013
36
Killoran, Vanessa. "Exploring learners’ experiences of creative expressive arts activities introduced into life orientation." Thesis, 2013. http://hdl.handle.net/10210/8516.
Full textAbstract:
M.Ed. (Educational Psychology)Art making is seen as an opportunity to express one's self imaginatively, authentically, and spontaneously, an experience that, over time, can lead to personal fulfilment, emotional reparation, and recovery (Malchiodi, 2003). Taking into consideration the South African context, and the many psychological, social and emotional and learning barriers, through the creation of art and reflecting on the art products and methods people can increase awareness of self and others. It will also aid in coping with symptoms of stress and traumatic experiences, and enhance cognitive abilities (American Art Therapy Association, 2002). The aim of the paper is to assess and provide feedback on how learners experience the introduction of creative expressive arts activities into their school curriculum within the Life Orientation subject,. The research followed a phenomenological research design through the purposive sampling of nine learners from a school for learners with special educational needs. Data was collected through the means of group interviews, incomplete sentences and observations, then analysed by means of thematic analysis. Using socio-cultural theory as my literature framework and a socio-constructivist research paradigm, two main themes emerged. The first was that the learners experienced inter-personal development, which linked to the second theme of intra-personal development, through a psychological timeframe. Furthermore, I was able to determine which activities the learners enjoyed and which would need to be included in future creative expressive arts activities for the enjoyment of the learners. Through the emergence of this research the school communities will be better informed as to the value that creative expressive arts engagement could have in a school setting.
37
Van, Heerden Ariana. "The flow brain state of painting and drawing artists." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001485.
Full textAbstract:
D. Tech. Fine and Applied ArtThe aim of this study was to investigate whether there is an association between art making and the brain state known as flow, a construct defined by Mihaly Csikszentmihalyi. Links were sought between artists' perceived propensity to experience flow and quantified experimental data of the same art-making events. A predominantly psychological theoretical framework had to be created, contextual as well as conceptual, of historical and contemporary leanings that have formulated understandings of creativity and flow. These indicate that flow can trace its origins to concepts of human happiness and excellence, motivation, self-determination and peak experiences. These concepts illustrate that in pursuing intrinsic endeavours such as art making, a person is continuously engaged in reflectivity and deliberation concerning his or her actions and aims, which tend to be self-motivated or autotelic. In this study the autotelic and self-reflecting leanings of art making were found to be germane to flow. A key aspect for understanding the flow experience is Arne Dietrich's hypothesis of transient hypofrontality, described as enabling the temporary suppression of the analytical and meta-conscious capacities of the explicit system. In this study, transient hypofrontality was found to be germane to interpretations of flow and art making.
38
Du, Toit Muriel. "Art in therapy with neuropsychologically impaired clients." Diss., 1998. http://hdl.handle.net/10500/16713.
Full textAbstract:
The research process illustrates the interaction between the therapist and the neuropsychological
impaired client in the therapeutic context where we utilised drawing and painting as a creative
medium I descn'be the interaction from a systems paradigm New paradigm research is used as
the researcher is included in the research findings. The focus is on new meanings that the
therapist and clients generated. Three case studies are descn'bed in this study. A circular
description is given of the use of drawing and painting in therapy. The losses that the clients
suffer are described and explained to make sense of the interaction. The use of art is described
and incorporated in the therapeutic process as creative exercises were important ways to connect
with the clients. This study illustrates that creativity should always be part of the therapeutic
endeavour, especially when understanding the verbal expression of the client is difficult.Psychology
M.A. (Clinical Psychology)
39
Romp, Andreas Johannes. "A critical analysis of the present neuropsychological and neuroanatomical theories and knowledge of art perception and artistic production taking creativity into account." Diss., 2014. http://hdl.handle.net/10500/20027.
Full textAbstract:
Text in EnglishThe present paper analyses the neuroanatomical and neuropsychological backgrounds of art reception and art creation in modern visual art and creative processes. It critically presents two models of aesthetic experience to provide a comprehensive theoretical basis for the discussion. The research purpose is to show that with increasing experience and expertise the referential frame of the aesthetic judgment is changing and that neural processes involved in object recognition provide a starting point for visual aesthetics. Thus, the investigation focuses on constructing and testing neuropsychological theories that fall in the domain called 'neuroaesthetics'. These theories, in turn, serve as a starting point to formulate neural laws of art and aesthetics and aesthetic experience. Some artistic styles, such as expressionism, reflect specific neural processes. Various studies indicate correlations between hemispheric specialisation and art or creativity and show the right hemisphere plays a particular role in it. However, studies exploring the neural correlates of aesthetic preference have yielded mixed results. Furthermore, neuroimaging studies have proved that different categories of modern artworks are processed in different areas of the brain. These diverging results will be discussed in a critical assessment of the two models of aesthetic experience. Besides, the question of identifying exclusive neural correlates of aesthetic preference will be raised. Comparing amateurs and experts has revealed the more reduced the cortical activation, the more efficiently it works. Biological and neuropsychological factors of creativity point out the meaning of the activation level, cognitive inhibition and prefrontal cortex. Divergent thinking differs from convergent thinking in terms of the neural level. Neurodegenerative processes and brain injuries sometimes influence the artistic output surprisingly or even launch it. Lesion studies contributing to understanding art experience will be explained.
Psychology
M.A. (Psychology)
40
Cruise, Wilma. "Artist as subject : subject as object." Diss., 1997. http://hdl.handle.net/10500/17941.
Full textAbstract:
The artist uses herself as the object of study. Her subjective position is
validated within a theoretical framework provided by feminism,
existentialism and Freudian theory. The three world views provide the
context for an analysis of sculpture produced between the years 1988
and 1997. Three one-person exhibitions held in 1990, 1993 and 1996,
are examined in terms of their iconographic emphasis and their
theoretical bias. The role of the unconscious in the genesis of the
sculptures and the problem of author/reader dichotomies in interpretation
are dealt with as thematic threads throughout the dissertation.Department of History of Art and Fine Arts
M.A. (Fine Arts)
41
Odendaal, Marié Antoinette. "Visual strategies in video art : the simulation of traumatic memories." Diss., 2021. http://hdl.handle.net/10500/27613.
Full textAbstract:
This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei
Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events.Art and Music
M.V.A.
42
Chaitow, Tanya School of Arts UNSW. "Nothing personal." 2007. http://handle.unsw.edu.au/1959.4/44254.
Full textAbstract:
The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.
43
Reddy, Rovaine. "The writings on the wall : perspectives on South African bathroom graffiti." Thesis, 2011. http://hdl.handle.net/10413/7547.
Full textAbstract:
This study explored the content, tone and amount of graffiti produced in South African bathrooms in KwaZulu-Natal. Raw graffiti was collected during 2008 from „institutions of higher education?. One of the primary aims of this study was to investigate if gender identities continue to operate in private, anonymous contexts. Politeness theory is utilized as a theoretical framework to generate hypotheses about the direction of influence gender may exert on graffiti if it continues to operate in private contexts. Inscriptions were written down in books. Thematic analysis was then applied, which led to the generation of content categories in content analysis on which chi-squared statistical procedures were applied. The categories were analysed in terms of amount, dominant content and tone, and were stratified in relation to gender. Ecosystems theory was used in an attempt to more holistically understand our sample within the context in which it was created. This study has found that gender had a significant influence on the amount, content, and tone of the graffiti produced. It was found that males dominantly produced tags and political graffiti content, and were more likely than females to produce neutral and negatively toned graffiti. Females produced significantly more graffiti than males and dominantly produced interpersonal content. We hypothesised that our findings were due to gender roles being internalised and continuing to operate in private contexts, especially in contexts where gender is salient, like a bathroom. We argued that the cognitive representation of an inscriber?s gendered audience influences them to behave in gendertypical ways, and in this behaviour their gender is performed, even in the private, anonymous context of the bathroom.Thesis (M.Soc.Sci.)-University of KwaZulu-Natal, Durban, 2011.
44
Noqamza, Mtandiwesizwe Patriot. "The Interpretation of children's drawings : guidelines for teachers." Thesis, 2002. http://hdl.handle.net/10500/848.
Full text
45
Mosehle, Tselane Dricca. "Implementing antiretroviral treatment programmes to support employees living with HIV in adherence: the case of companies partnering with the Swedish workplace HIV/AIDS programme (SWHAP)." Diss., 2020. http://hdl.handle.net/10500/27117.
Full textAbstract:
Text in English with abstracts and keywords in English, Tswana and SepediProviding support to employees living with HIV to adhere with treatment at home and at work is the key to prolong life and wellbeing of those who are infected and affected by HIV/AIDS pandemic. This study was qualitative explorative research. The study used qualitative method of collecting data which allowed the researcher to conduct interviews at the natural settings where it was convenient for participants to take interview calls. The purpose of this study was to explore how implementation of ART programmes support employees living with HIV (ELWHIV) to adhere with treatment at home and work so that gaps and areas of improvement are identified. The study took place at SWHAP companies that are based in Ekurhuleni, Gauteng. The study used purposive sampling to identify key informants who were directly involved in the implementation of the ART programmes. Data was largely analysed using content, thematic and triangulation analysis. Theory of social ecology and empowerment theory were applied as companies are seen using workplaces as safe space to provide counselling and psychosocial support to ELWHIV through Reality Wellness. Findings: The findings of the study revealed that ART programmes are in place in SWHAP companies and are also ongoing. The study also reveals that Reality Wellness provided counselling and psychosocial support to ELWHIV to adhere with treatment at home and at work. The study further reveals that ELWHIV fear to disclose their HIV status because of stigma and discrimination. Recommendations: More dialogue and further studies on ART programmes particularly on ART adherence at home and at work need to be done. Management should take ownership and get involved directly with ART programmes and enhance support to ELWHIV to adhere with treatment at home and at work.
Go tshegetsa badiri ba ba tshelang ka mogare wa HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong go botlhokwa go tshegetsa botshelo le itekanelo ya ba ba tshwaeditsweng le ba ba amilweng ke leroborobo la AIDS. Thutopatlisiso eno e ne e lebelela mabaka mme e tlhotlhomisa. Mokgwa wa go lebelela mabaka go kokoanya data o letlile mmatlisisi go dira dipotsolotso mo mafelong a tlwaelo a banni-le-seabe moo go neng go le bonolo mo go bone go araba megala ya dipotsolotso. Maikemisetso a thutopatlisiso eno, e ne e le go tlhotlhomisa ka moo go tsenngwa tirisong ga mananeo a ART go tshegetsang badiri ba ba tshelang ka HIV (ELWHIV) ka go na go obamela tiriso ya kalafi kwa gae le kwa tirong gore go kgone go supiwa diphatlha le dikarolo tse di ka tokafadiwang. Thutopatlisiso e dirilwe kwa ditlamong tsa SWHAP tse di kwa Ekurhuleni, Gauteng. Go diragaditswe mokgwa wa go tlhopha sampole go ya ka maikaelelo a thutopatlisiso go supa basedimosetsi ba botlhokwa ba ba neng ba na le seabe ka tlhamalalo mo go tsenngweng tirisong ga mananeo a ART. Go lokolotswe data go dirisiwa molokololo wa diteng, morero le tiriso ya melebo e e farologaneng go lokolola. Go dirisitswe tiori ya ikholoji ya loago le tiori ya maatlafatso ka ntlha ya fa ditlamo di bonwa di dirisa mafelo a tiro jaaka dibaka tse di bolokesegileng tsa go tlamela tshegetso ya maikutlo le tshegetso ya tlhaloganyoloago go badiri ba ba tshelang ka HIV ka itekanelo ya nnete. Diphitlhelelo: Diphitlhelelo tsa thutopatlisiso di bontsha gore mananeo a ART a gona mo ditlamong tsa SWHAP mme a tswelela pele. Itekanelo ya nnete e tlamela ka tshegetso ya maikutlo le ya tlhaloganyoloago go badiri ba ba tshelang ka HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong. Gape thutopatlisiso e bontsha gore badiri ba ba tshelang ka HIV ba tshaba go senola seemo sa bona sa HIV ka ntlha ya sekgobo le go tlhaolwa. Dikatlenegiso: Go tshwanetse ga nna le dipuisano le dithutopatlisiso tse dingwe tsa manaeo a ART, bogolo segolo kobamelo ya tiriso ya ART kwa gae le kwa tirong. Botsamaisi bo tshwanetse go nna beng ba, e bile bo nne le seabe ka tlhamalalo mo mananeong a ART le go tshegetsa badiri ba ba tshelang ka HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong.
Go fa bašomi bao ba phelago ka HIV gore ba obamele go nwa dihlare ka gae le mošomong ke selo se bohlokwa go dira gore ba phele lebaka le letelele le gore bao ba fetetšwego le go angwa ke leuba la AIDS ba phele gabotse. Dinyakišišo tše di bile tša boleng le tša go utolla. Mokgwa wa go kgoboketša tshedimošo wa boleng o kgontšhitše monyakišiši go dira dipoledišano ka seemong sa tlhago sa mokgathatema fao go bilego bonolo go yena go araba megala ya dipoledišano. Maikemišetšo a dinyakišišo tše e bile go utolla ka fao go tsenya tirišong ga mananeo a ART go thekgago bašomi bao ba phelago ka HIV (ELWHIV) go obamela go nwa dihlare ka gae le mošomong gore dikgoba le dibaka tša kaonafalo di tsebje. Dinyakišišo tše di dirilwe ka dikhamphaning tša SWHAP tšeo di lego ka Ekurhuleni, Gauteng. Go dira sampole ka maikemišetšo go phethagaditšwe ka nepo ya go tseba baseboši ba bohlokwa bao ba bego ba kgatha tema thwii ka mananeong a ART. Tshedimošo e sekasekilwe ka go šomiša tshekatsheko ya diteng, ya morero le ya seemokhutlotharo. Teori ya ekholotši ya leago le theori ya maatlafatšo di dirišitšwe ka ge dikhamphani di bonwa e le tšeo di šomišago mafelo a mošomong bjalo ka mafelo ao a bolokegilego a go fana ka keletšo le thekgo ya tša menagano go ELWHIV ka go diriša temogo ya seemo sa makgonthe. Dikutollo: Dikutollo tša dinyakišišo di utolla gore mananeo a ART a tsentšwe tirišong ka dikhamphaning tša SWHAP ebile a tšwela pele. Temogo ya seemo sa makgonthe e fana ka keletšo le thekgo ya menagano go ELWHIV ka nepo ya gore ba omabele go nwa dihlare ka gae le mošomong. Dinyakišišo di tšwela pele go utolla gore ELWHIV ba tšhoga go tsebagatša maemo a bona a HIV ka lebaka la kgobošo le kgethologanyo. Ditšhišinyo: Dingangišano tše dingwe le dinyakišišo go tšwela pele ka go mananeo a ART, kudukudu mabapi le go obamela go nwa dihlare tša ART ka gae le mošomong, di swanetše go dirwa. Ba taolo ba swanetše go tšea maikarabelo a mananeo a ART le go kgatha tema ka go ona thwii le go maatlafatša thekgo go ELWHIV ka nepo ya go obamela go nwa dihlare ka gae le mošomong.
Health Studies
M.A. (Social Behaviour Studies in HIV/AIDS)
46
Mosehle, Tselane Dricca. "Implementing antiretroviral treatment programmes to support employees living with HIV in adherence:." Diss., 2002. http://hdl.handle.net/10500/27117.
Full textAbstract:
Text in English with abstracts and keywords in English, Tswana and SepediProviding support to employees living with HIV to adhere with treatment at home and at work is the key to prolong life and wellbeing of those who are infected and affected by HIV/AIDS pandemic. This study was qualitative explorative research. The study used qualitative method of collecting data which allowed the researcher to conduct interviews at the natural settings where it was convenient for participants to take interview calls. The purpose of this study was to explore how implementation of ART programmes support employees living with HIV (ELWHIV) to adhere with treatment at home and work so that gaps and areas of improvement are identified. The study took place at SWHAP companies that are based in Ekurhuleni, Gauteng. The study used purposive sampling to identify key informants who were directly involved in the implementation of the ART programmes. Data was largely analysed using content, thematic and triangulation analysis. Theory of social ecology and empowerment theory were applied as companies are seen using workplaces as safe space to provide counselling and psychosocial support to ELWHIV through Reality Wellness. Findings: The findings of the study revealed that ART programmes are in place in SWHAP companies and are also ongoing. The study also reveals that Reality Wellness provided counselling and psychosocial support to ELWHIV to adhere with treatment at home and at work. The study further reveals that ELWHIV fear to disclose their HIV status because of stigma and discrimination. Recommendations: More dialogue and further studies on ART programmes particularly on ART adherence at home and at work need to be done. Management should take ownership and get involved directly with ART programmes and enhance support to ELWHIV to adhere with treatment at home and at work.
Go tshegetsa badiri ba ba tshelang ka mogare wa HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong go botlhokwa go tshegetsa botshelo le itekanelo ya ba ba tshwaeditsweng le ba ba amilweng ke leroborobo la AIDS. Thutopatlisiso eno e ne e lebelela mabaka mme e tlhotlhomisa. Mokgwa wa go lebelela mabaka go kokoanya data o letlile mmatlisisi go dira dipotsolotso mo mafelong a tlwaelo a banni-le-seabe moo go neng go le bonolo mo go bone go araba megala ya dipotsolotso. Maikemisetso a thutopatlisiso eno, e ne e le go tlhotlhomisa ka moo go tsenngwa tirisong ga mananeo a ART go tshegetsang badiri ba ba tshelang ka HIV (ELWHIV) ka go na go obamela tiriso ya kalafi kwa gae le kwa tirong gore go kgone go supiwa diphatlha le dikarolo tse di ka tokafadiwang. Thutopatlisiso e dirilwe kwa ditlamong tsa SWHAP tse di kwa Ekurhuleni, Gauteng. Go diragaditswe mokgwa wa go tlhopha sampole go ya ka maikaelelo a thutopatlisiso go supa basedimosetsi ba botlhokwa ba ba neng ba na le seabe ka tlhamalalo mo go tsenngweng tirisong ga mananeo a ART. Go lokolotswe data go dirisiwa molokololo wa diteng, morero le tiriso ya melebo e e farologaneng go lokolola. Go dirisitswe tiori ya ikholoji ya loago le tiori ya maatlafatso ka ntlha ya fa ditlamo di bonwa di dirisa mafelo a tiro jaaka dibaka tse di bolokesegileng tsa go tlamela tshegetso ya maikutlo le tshegetso ya tlhaloganyoloago go badiri ba ba tshelang ka HIV ka itekanelo ya nnete. Diphitlhelelo: Diphitlhelelo tsa thutopatlisiso di bontsha gore mananeo a ART a gona mo ditlamong tsa SWHAP mme a tswelela pele. Itekanelo ya nnete e tlamela ka tshegetso ya maikutlo le ya tlhaloganyoloago go badiri ba ba tshelang ka HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong. Gape thutopatlisiso e bontsha gore badiri ba ba tshelang ka HIV ba tshaba go senola seemo sa bona sa HIV ka ntlha ya sekgobo le go tlhaolwa. Dikatlenegiso: Go tshwanetse ga nna le dipuisano le dithutopatlisiso tse dingwe tsa manaeo a ART, bogolo segolo kobamelo ya tiriso ya ART kwa gae le kwa tirong. Botsamaisi bo tshwanetse go nna beng ba, e bile bo nne le seabe ka tlhamalalo mo mananeong a ART le go tshegetsa badiri ba ba tshelang ka HIV gore ba obamele tiriso ya kalafi kwa gae le kwa tirong.
Go fa bašomi bao ba phelago ka HIV gore ba obamele go nwa dihlare ka gae le mošomong ke selo se bohlokwa go dira gore ba phele lebaka le letelele le gore bao ba fetetšwego le go angwa ke leuba la AIDS ba phele gabotse. Dinyakišišo tše di bile tša boleng le tša go utolla. Mokgwa wa go kgoboketša tshedimošo wa boleng o kgontšhitše monyakišiši go dira dipoledišano ka seemong sa tlhago sa mokgathatema fao go bilego bonolo go yena go araba megala ya dipoledišano. Maikemišetšo a dinyakišišo tše e bile go utolla ka fao go tsenya tirišong ga mananeo a ART go thekgago bašomi bao ba phelago ka HIV (ELWHIV) go obamela go nwa dihlare ka gae le mošomong gore dikgoba le dibaka tša kaonafalo di tsebje. Dinyakišišo tše di dirilwe ka dikhamphaning tša SWHAP tšeo di lego ka Ekurhuleni, Gauteng. Go dira sampole ka maikemišetšo go phethagaditšwe ka nepo ya go tseba baseboši ba bohlokwa bao ba bego ba kgatha tema thwii ka mananeong a ART. Tshedimošo e sekasekilwe ka go šomiša tshekatsheko ya diteng, ya morero le ya seemokhutlotharo. Teori ya ekholotši ya leago le theori ya maatlafatšo di dirišitšwe ka ge dikhamphani di bonwa e le tšeo di šomišago mafelo a mošomong bjalo ka mafelo ao a bolokegilego a go fana ka keletšo le thekgo ya tša menagano go ELWHIV ka go diriša temogo ya seemo sa makgonthe. Dikutollo: Dikutollo tša dinyakišišo di utolla gore mananeo a ART a tsentšwe tirišong ka dikhamphaning tša SWHAP ebile a tšwela pele. Temogo ya seemo sa makgonthe e fana ka keletšo le thekgo ya menagano go ELWHIV ka nepo ya gore ba omabele go nwa dihlare ka gae le mošomong. Dinyakišišo di tšwela pele go utolla gore ELWHIV ba tšhoga go tsebagatša maemo a bona a HIV ka lebaka la kgobošo le kgethologanyo. Ditšhišinyo: Dingangišano tše dingwe le dinyakišišo go tšwela pele ka go mananeo a ART, kudukudu mabapi le go obamela go nwa dihlare tša ART ka gae le mošomong, di swanetše go dirwa. Ba taolo ba swanetše go tšea maikarabelo a mananeo a ART le go kgatha tema ka go ona thwii le go maatlafatša thekgo go ELWHIV ka nepo ya go obamela go nwa dihlare ka gae le mošomong.
Health Studies
M.A. (Social Behaviour Studies in HIV/AIDS)
47
Willemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art." Diss., 2010. http://hdl.handle.net/10500/4343.
Full textAbstract:
As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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Mangeya, Hugh. "Sociologuistic analysis of graffiri written in Shona and English found in selected urban areas of Zimbabwe." Thesis, 2014. http://hdl.handle.net/10500/18670.
Full textAbstract:
Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three
significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on
a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to
perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay
person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality.African Languages
D. Litt. et Phil. (African Languages)
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Brown, Margaret E. "Advertising to the elite : the role of innovation of fine art in advertising in the development of the advertising industry." Thesis, 2015. http://hdl.handle.net/1805/8497.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)This study explores the intersection of the developments in the growing advertising, railroad, and automotive sectors of the U.S. economy. It examines the latter two sectors’ advertising to the elite by focusing on how industries that targeted the luxury market used fine art to emphasize and underscore the exceptionalism of that high-end market compared with the mass market. It does so by looking at the transition from using art as a decorative component unrelated to the product to using art specifically designed to advertise a product or experience. In the literature, advertising history has been delineated rather narrowly as the history of advertising to the mass consumer or as the history of advertising a specific type of product. This work broadens the focus in advertising history to show that luxury advertisers, as a sub-category of advertisers, developed particular advertising strategies, which recognized and exploited the relationship between their respective service or product, and a consciously selected audience for their respective advertisements. It shows that high art became a differentiating characteristic of advertising strategies aimed at the social elite market. This work also proposes the need for adding a specific timeline for the development of luxury advertising to the broad, more generally known outline of advertising history.
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Bester, Catharina Adriana. "Affektiewe faktore wat met uitvoerende kuns op sekondêre skoolvlak verband hou." Thesis, 2003. http://hdl.handle.net/10500/1767.
Full textAbstract:
Text in AfrikaansIn the performing arts (music, dance and drama) affective factors do not only play a role during the performance of a work, but are present from the moment when a work is selected up to the completion of the performance. In order to analyse the continuous presence of affective factors in the performing arts, a literature study was undertaken in which the affective requirements of music, dance and drama works in different style periods were identified. The affective implications of adolescent development in a performing arts context were also researched. The most important affective factors which can influence the arts learner seem to be motivation, stress, anxiety and self-concept. A questionnaire was developed to measure these factors in a music, dance and drama context. An empirical investigation was carried out involving 297 learners. With the data obtained from the empirical investigation the reliability and validity of the questionnaire could be determined. Norms were also developed for the questionnaire. Hypotheses on the role of affective factors in the performing arts were tested statistically. The hypotheses dealt with the underlying relationship between the different affective factors, the role of affective factors in the different performing arts, the development of affective factors during the secondary school years, the relationship between affective factors and achievement in an art field as well as the role of other variables such as gender, social relations and home circumstances. Recommendations were made to teachers, parents and learners. The recommendations are aimed at the enhancement of motivation and self-concept as well as the reduction of anxiety and stress.
Teacher Education
D.Ed.