Dissertations / Theses on the topic 'Rhodes University – School of Art'

Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Delores Liston. ETD. Includes bibliographical references (p. 214-222) and appendices.

Thesis (M.A.)--University of Cincinnati, 2008.
Advisor: Theresa Leininger-Miller, PhD (Committee Chair); Mikiko Hirayama, PhD (Committee Member); Anne Timpano, MA (Committee Member). Title from electronic thesis title page (viewed May 8, 2008). Includes abstract. Keywords: Elma Pratt; International School of Art; Zakopane, Poland; Miami University Art Museum; folk art; material culture; art education; museum collections; Polish folk art; women in art education; Brooklyn Museum; Franz Cizek. Includes bibliographical references.

This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.

Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Barbara Mallory. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 135-146) and appendices.

Thesis (MA--Communication Studies) -- AUT University, 2007.
Includes bibliographical references. Also held in print (xi, 242 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 708.99383 LAN)

Thesis (M.S.)--Kutztown University of Pennsylvania, 1994.
Source: Masters Abstracts International, Volume: 45-06, page: 2723. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves 25-26).

I was born in Beirut, Lebanon in 1983 in the midst of the Lebanese civil war. Due to my country’s difficult circumstances, my family decided to move to Saudi Arabia when I was a few weeks old in order for my sisters and I to be raised in a stable environment all the while maintaining proximity to our homeland. My father worked in a company that organised fairs, and early on, I was exposed to the production of graphic banners, poster imagery, and vinyl sign making. I returned to Lebanon at the age of 13 to achieve my high school education all the while maintaining my fascination with the world of graphic imageries. My fascination eventually materialized with my move to London at the age of 18 where I decided to attend St- Martin’s School of Art. This expatriate move sublimated my cultural detachment from my homeland, which had already been preset from childhood. Since we could not vacation in our homeland due to the war, my family and I spent most of my childhood traveling to foreign countries. I was thus imbued with many different cultures during my formative years , none of which happened to be my home culture. The sense of detachment and ‘not-belonging’ to a source culture, as well as not having the time to fully adapt to a place, has been influential in the way I would eventually perceive the world. To my perception today, most things in our world look unoriginal, with ‘original’ denoting an object’s stem source that has gone through various conventions only to be presented to me through many layers of mediation. The sense of nothingness and blankness, partly affected by states of suspension whilst travelling as well as the complexity of information I was presented with, is always something I think about when I produce work today. The technical evolution of the production and dissemination of images is central to my research. My intellectual point of departure is French philosopher Bernard Stiegler’s (1994) statement that “man is nothing other than a technical living being” and that the becoming of man and technics are the same thing. My research interest is twofold focusing in first part on the evolution from analog to digital technologies in relation to our perception of images and how we acquire knowledge from them, and in second part on the role that imaging technologies play in the production of ideology. As a response to the evolution from the analog to the digital and the overload of information and media-based production, I exploit, in my current art practice, the material realities of the image – inherent in its digital or mechanical production or in its physical or virtual distribution – as a way to generate aesthetic production and meaning. I assert and define images as objects that are part of an active system with their meaning impossible to be defined as inseparable from their material realities. Relevant to the research is the recent emergence of young artists namely – Walead Beshty, Marcus Amm, Eileen Quinlan, Marisa Olson, Anthony Pearson, and Wade Guyton among many, who are driven by a sense of urgency, nostalgia and/or celebration of images’ means of production, circulation and interpretation in today’s world. The research focuses on Walead Beshty and Wade Guyton’s practices after comparing the art practices of Sol Lewitt with Agnes Martin, and discussing the art practice of Roni Horn. These three artists are known to deal with the concerns of materiality and immateriality in different ways; they call our attention to life’s moments of comfort and ‘full nothingness’ all the while exploring the contradiction of ‘being no more’, yet becoming ‘a lot more’ than what they really are. This sense of the “real” versus the “elusive” is what I try to explore and define when I create work.

This research was undertaken within the broader concept of Corporate Social Investments and how this concept is integrated within the context of staff retention and what this means for business and creating employment opportunities for people with disabilities. Illustrated through the description of CSI literature and intending to explain the link between CSI and employee retention, research questions presented as part of the outcomes for the research examines notion that there is a relationship between Corporate Social Investment and Employee Retention. Reference to the case study "Rhodes / Kuyasa Partnership" illustrates how such partnerships attempt to create opportunities for the community, the organisation, people with disabilities and employees at large. The case study was written to be used as a teaching case study in the context of Human Resources, Business Sustainability and Corporate Social Investment. The effectiveness and viability of the Kuyasa / Rhodes partnership will highlight acceptance and or non acceptance of people with disability by the non-disabled workforce. This case study will highlight CSI linkages that lead to staff retention, higher job satisfaction, lower turnover of staff, enhanced community engagement, creating opportunities that accommodate people with special needs, developing models that can be replicated in other organisations, creating additional opportunities for existing staff. Metcalf (2008:61) suggests that organisations need to ensure that the leadership and organisation culture within organisations is appropriate to engage staff with disabilities and non-disabled staff, and that their most senior managers demonstrate their commitment to develop, and help others develop, in the same way. The Kuyasa Rhodes Partnership may have started off as a Retention Strategy, however has given rise to a social initiative that can be replicated in other enabling organisations. The case study material was acquired through one on one interviews, and a focus group session on the effectiveness with the retention of such employees with intellectual disabilities, internship and mentoring issues, and as well as issues such as affirmative action, and the benefits and shortcomings of staff retention to the organisation. Key stakeholders interviewed for this case study expressed differing view -points, and in particular the benefits and shortcomings of this initiative. The Rhodes Kuyasa initiative appears to have achieved some success in enabling young adults / learners to work in a mainstream working environment by developing employment skills and life skills, and by improving their employment opportunities. Factors critical to the continuation of such initiatives included: the close involvement with both partners (Rhodes and the Kuyasa Special School), the sensitive treatment of the learners, and creating internal departmental partnerships within the Rhodes environment. A selected group of ten learners were mentored and provided with full time employment within the industrial Campus Food Services facility. Discussion that was highlighted in the case study must give consideration to a more investigative approach into overcoming the barriers of discrimination in the workplace and the major barriers to skills development. These have highlighted a number of relatively consistent themes around what were the successful and unsuccessful strategies. Integration of people with disabilities within the Rhodes University service areas has had positive effects for the disabled learner and employee workplace. People with disabilities indicated on how having mainstream employment allowed them to be independent, have a purpose in life and enhance their self worth in their communities and place of employment. Furthermore, being employed had positive repercussions on the person‘s co-workers. By demonstrating their competence, people with disabilities have had significant impact on other people‘s attitudes to disabled persons. Discussions held with the Principal of the Kuyasa Specialised School highlighted the need for crucial planning within special schools for disabled people in the area of transition from school to skills development and work. Skills development guidance is important in ensuring a choice of relevant interventions and obtaining the necessary information. Some staff expressed frustration at being with co-workers who questioned their presence and placement in the kitchen environment. Even though the disabled person was suitably placed they faced stereotypical behaviour and attitudes from their co-workers on what people with disabilities can or cannot do. Staff with intellectual disabilities commented that their co-workers see them as needing constant attention and care and not being capable of working. Some of the staff with disabilities had to work much harder to be recognised by their co-workers and supervisors. Currently few people with disabilities seem to be receiving career guidance while at school, as reflected in the case studies. One person with an intellectual disability described how the intervention of developing a comprehensive school leaving plan, which was then implemented by the school, allowed for good transition from school to Rhodes University. The role of personal factors such as life skills, personal motivation, the desire for personal achievement and a positive attitude were common themes that came out of the focus group. Initiatives to ensure that people accept themselves, their circumstances and are able to express their desires and realise their dreams are important factors. In addressing the barriers, co-worker attitudes make a big difference to how effectively the disabled person is able to participate in the training and employment. The future focus must be enabling and in line with successes and failures in the areas of employee integration in the workplace, life-skills development for people with disabilities. A clear career guidance plan should be developed for all disabled children before they leave school. This plan should include provision of adequate information on different career options and training. The negative attitudes of co-workers and supervisors should be changed by providing training support to ensure that they feel confident to meet the needs of disabled staff. Employers should be providing support and information on how to meet the needs of disabled employees. People with intellectual disabilities are an integral part of the South African population. Business and social enterprises need to have a focused inclusive strategy to integrate people with intellectual disabilities within the South African society to ensure equity and diversity awareness. Working with people with intellectual disabilities has been the focus of this research to ensure long term sustainable employment, CSI and Employment equity. Integrating Corporate Social Investment policies with Human Resources Equity policies are important factors in ensuring that people with intellectual disabilities are a fundamental focus in recruitment and retention strategies within business and social enterprises. Initiatives such as the Kuyasa / Rhodes Partnership are attempting to align to the overall objectives of incorporating people with intellectual disabilities into mainstream work, in particular, with the objective of incorporating people with disabilities in some accessible sections within the organisation. This contributes to the Rhodes University Campus Food Services becoming an example of excellence in the CSI and employee retention field. It is hoped that this teaching case study will make an important contribution to students learning about sustainable business practices, and for business focusing on employment recruitment and retention strategies to integrate people with intellectual disabilities within their organisations.

La peinture « classique » persane a perdu ses caractéristiques en se rapprochant de la peinture occidentale; puis à l'époque Qajar, avec le changement culturel et social, une nouvelle peinture est née tandis que, simultanément, une évolution apparaissait dans son enseignement. Ainsi l'art de la peinture se divise en « art mineur » et « art majeur », dont l'enseignement suit, pour chacun d'eux, un chemin différent. La peinture « réaliste », comme manifestation de l'art majeur, s'est installée à l'école de Ṣanīʿ-al-Molk puis à l'école Dār al-Fonūn pour arriver enfin à l'école de Kamāl-al-Molk qui est devenue la Faculté des Beaux-Arts en 1940. Dans ce contexte les étudiants apprenaient le « style » de Kamal-al-Molk et celui de certains mouvements occidentaux, mais d'une manière incomplète. A la même période, la miniature, c'est- à- dire « l'art mineur », était encouragée afin de représenter la splendeur ancienne. Dans ce processus l’«Administration Culture et Art » a été attentive à la « miniature » en tant que peinture « traditionnelle », ce qui lui a permis d'être enseignée à l’École Secondaire des Beaux-Arts, issue de l'Ecole des artisanats anciens. Dans les années 1330 Š./1950, cette administration a fondé la Faculté des Arts Décoratifs et les Biennales de Téhéran. Par la suite, la peinture s'est orientée avec plus d'intensité vers l'art « Moderne » occidental et en même temps vers l'art et les effets visuels traditionnels d'Iran. A cette époque où s'opérait aussi la modification du système de l’enseignement de la Faculté des Beaux-Arts, les peintres d'Iran étaient divisés en deux groupes: les partisans des styles occidentaux et les néo-traditionalistes. Ces derniers, pour obtenir l’identité, utilisaient les éléments traditionnels tout en suivant les « méthodes » de l'art moderne. En face, les partisans des styles occidentaux avaient commencé par des œuvres figuratives de style expressionniste et étaient arrivés à l'art abstrait. Ils s'étaient libérés eux-mêmes de la contrainte des traditions et des signes de l'identité iranienne. Parallèlement, les miniaturistes en tant que peintres « traditionnels », pour continuer à exister, utilisaient exclusivement les paramètres de l'art réaliste. En revanche, les diplômés de l'Université, artistes « modernes », utilisaient les éléments de l'art de la miniature quand ils voulaient exprimer l'identité
The classical Persian painting lost some of its characteristics by opening up to the occidental painting. In the Qajar era, thanks to the cultural and social changes, a new painting was born with its new teaching methods. Thus the art of painting got divided into “minor art” and “major art”, each of them being taught in a different way. The realistic painting as a manifestation of the “major” art was first practiced in Ṣanīʿ-al-Molk art school, then in Dār al-Fonūn school and finally in Kamāl-al-Molk art school which in 1940, became the Faculty of Fine Arts. The students were studying both Kamāl-al-Molk style and some European styles, but incompletely. At the same time, the miniature, that is to say the “minor art”, was encouraged so that it represented the splendour of ancient times. In this process the Office of culture and art paid special attention to “miniature” as traditional painting. That is the reason why it has been taught in Secondary School of Fine Arts, descended from “Ancient Crafts School”. From 1330s to 1950s, this administration has established the Faculty of Decorative Arts and the Biennale of Tehran. Subsequently, the painting has turned more intensely towards modern occidental art, using at the same time the visual effects of traditional Iranian artistic creation. At that time when the educational system at the Faculty of Fine Arts was going through changes, the painters of Iran got divided into two groups: supporters of occidental painting and neo-traditionalists. The latter, in order to find their own identity, use some traditional elements applying, at the same time the methods of modern art. The supporters of the occidental styles started with figurative painting of the expressionist style and ended up in abstract art. They freed themselves from the constraints of the traditions and symbols of Iranian identity. On the other hand, in order to continue to exist as so called “traditional painters”, the miniaturists use only the parameters of realistic art. However, when the university graduates, the modern painters wanted to express their cultural identity, they used the elements of the art of miniature

O objetivo principal desta pesquisa orientou-se pela intenção de dar visibilidade à produção brasileira em Educação de pesquisas tipo pesquisa-ação / investigação-ação, focalizando, sobretudo, a pesquisa-ação colaborativa. Essas concepções de pesquisa estimulam a aproximação entre professores e pesquisadores, por meio da colaboração em processos investigativos desenvolvidos com, para e pelos professores sobre as práticas escolares. Na maioria dos casos, tais pesquisas foram desenvolvidas nas escolas. Este estudo foi desenvolvido em quatro estágios: O primeiro é constituído por um estudo bibliográfico que objetivou indicar os teóricos que influíram nessa modalidade de pesquisa em seu enraizamento no Brasil. Para isso, tomamos alguns autores: Saul, Freire, Thiollent, Barbier, Costa, André, Nóvoa, Geraldi, Fiorentini, Pereira, Stenhouse, Elliott, Carr, Kemmis e Zeichner. Num segundo momento, fizemos um mapeamento das dissertações e teses tipo pesquisa-ação / investigação-ação produzidas nos Programas de Pós-Graduação em Educação do Brasil no período entre 1966-2002, apresentando-os em categorias e subcategorias investigadas. O terceiro é constituído por um estudo documental qualitativo sobre uma amostra de pesquisas-ação, designadas por pesquisas-ação colaborativas. Procuramos dar visibilidade aos processos empreendidos em tais pesquisas: Como se organizaram? Como os processos foram conduzidos? Que estratégias foram utilizadas pelos pesquisadores para estimular o professor a refletir e a investigar suas práticas? Como aconteceu o processo de mudança? No que os professores mudaram? Que problemas enfrentaram? Que procedimentos de análise e coleta de dados utilizaram? Na quarta sessão, traçamos nossas considerações finais. Nela procuramos relacionar as práticas empreendidas nas teses e dissertações estudadas (categorias empíricas: focos das pesquisas; espaço de concretização das pesquisas; organização processual das pesquisas; repercussão do processo; problemas enfrentados; e recursos metodológicos utilizados) e as teorias sobre pesquisa-ação.
The main object of this research aimed for giving visibility to the Brazilian production in action-research / action-inquiry, focusing overall on collaborative action-research. These research\'s conceptions stimulates the approach among teachers and researchers, by collaborating on investigative proceedings developed with, for e by teachers on school practices. In most cases, those researches were developed in schools. This study was developed in four sections: The first one is formed by a bibliographic study that aimed to indicate the theoreticians that have influenced this modality of research in Brazil. In order to achieve that some authors were taken: Saul, Freire, Thiollent, Barbier, Costa, André, Nóvoa, Geraldi, Fiorentini, Pereira, Stenhouse, Elliott, Carr, Kemmis and Zeichner. On the second part we have mapped dissertations and thesis on this kind of action-research, produced in Post Graduation Programs of Education in Brazil, between 1966-2002, presenting them in categories and subcategories investigated. The third one is formed by a qualitative documental study about a sample of actionresearches, designed by collaborative action-researches. It aimed to give visibility to process undertaken in those researches. How did they get organized? How the process were lead? Which strategies were used by the researches to stimulate teachers to reflect and investigate their practices? How happened the changing process? How have the teachers changed? What kind of problems they faced? Which proceedings of analysis and collecting of data did they use? On the fourth section, supported by the first and third parts, we related the practices undertaken in thesis and dissertations studied (empirical categories: researches\'s focus; space of materialization of the researches; procedural organization of the researches; repercussion of the process; problems faced and; methodological resources used) and the theories about action-research.

La ricerca approfondisce il ruolo svolto da Adriano Bernareggi, sacerdote milanese, poi dal 1932 vescovo di Bergamo, nel movimento di rinnovamento degli studi ecclesiastici che ha attraversato il primo trentennio del Novecento. Formatosi presso le Università Gregoriana e Lateranense, nel clima segnato dal modernismo e dalla reazione pontificia, Bernareggi insegnò presso il Seminario di Milano, dal 1909 al 1932, e presso l’Università Cattolica, dal 1922 al 1926. In queste sedi, si sforzò di dare una risposta moderna – non modernista – all’ansia spirituale dell’uomo contemporaneo, attraverso un nuovo linguaggio religioso, capace di valorizzare la storia della Chiesa e, soprattutto, la sua liturgia. Particolare attenzione è stata dedicata: all’insegnamento seminariale, compreso il tentativo di promuovere un aggiornamento della ratio studiorum della Facoltà teologica in senso universitario, seguendo linee che anticipavano la Deus scientiarum Dominus; alla direzione della rivista “La Scuola Cattolica”, che tentò di trasformare in un periodico di scienze sacre nazionale, per riqualificare gli studi religiosi attraverso l’applicazione di una prospettiva storica e del metodo critico-filologico; alla partecipazione al movimento artistico-liturgico milanese, con la riscoperta, guardando all’insegnamento francese e all’abbazia di Maria Laach, del valore iniziatico dei riti; alla prevostura a S. Vittore al Corpo, laboratorio di una nuova “prassi liturgica”; alla sua partecipazione al dibattito sulla Questione Romana e sulla Conciliazione.
The research focuses the role played by Adriano Bernareggi, priest in Milan, then bishop of Bergamo since 1932, in the renewal movement of ecclesiastical studies during the first three decades of the twentieth century. Trained at the Gregorian and Lateran Universities, in a climate marked by modernism and vatican reaction, Bernareggi taught at the seminary of Milan, from 1909 to 1932, and at the Catholic University, from 1922 to 1926. In these sites, he strove to give a modern response - not modernist – to the spiritual anxiety of modern man, through a new religious language, able to enhance Church history and, especially, its liturgy. Particular attention has been paid to: the teaching, including the attempt to promote an update of the Ratio Studiorum of the Theological Faculty, following lines that anticipated Deus Scientiarum Dominus; the direction of the magazine “La Scuola Cattolica”, that he attempted to transform in a national periodic of sacred sciences, to regenerate religious studies through the application of an historical perspective and critical-philological research method; the participation in the liturgical and artistic movement in Milan, looking to french teachings and Maria Laach, especially to rediscovery the initiation value of rites; the prevostship at St. Vittore al Corpo, a laboratory of a new “liturgical practice”; the role in the debate on the Roman Question and Conciliation.

Thesis (Ph. D.)--New School University, 2006.
Typescript. Includes bibliographical references (leaves 230-238). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

碩士
臺北市立大學
視覺藝術學系碩士班
102
Abstract Keywords: art cram school, art attitude, Visual Arts Department in University The proactive participation of the art undergraduate students’ learning process, creating art projects and participating in artistic activities, reflects their attitude of art. The attitude of art can be affected by various factors. Hence, this study aimed at exploring the effects of visual art majors’ experiences of attending art cram school in the senior high school stage on their attitude of art during the university stage. The research subjects were visual art students in freshmen, sophomore and junior year in the University of Taipei. The “Art Attitude Questionnaire of the Students Majoring in Visual Arts”, edited by the researcher, was used in collecting the data. The purpose of the study was (1) to investigate visual art majors’ experience of attending art cram school in senior high school stage; (2) to investigate the art attitude of students majoring in visual arts; (3) to explore the impact of visual art majors’ experiences of attending art cram school in the senior high school stage on their attitude of art during the university stage. The results were shown as follows: (1) There were 69.4% of students attended art cram school in the senior high school stage. It shows that attending art cram school in the senior high school stage is popular among visual art majors. (2) The art attitude of visual art students tends to be active (M=3.77). Nevertheless, the older they are the negative they become. (3) The influence of attending art cram school was shown as follows: (a) The art attitude of students who had attended art cram school was more active than those who had not. (b) Students who went to art cram school have more active attitude because the schools implemented more instructional modules and requested students to magnify their own originality in art creation. (c) Students who are more cheerful while attending art cram school show more active attitude toward art. To conclude, this research provides data and suggestions for further research in art education at university, admission, curriculum planning as well as art cram school.

Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.
Graduate

How I am becoming a teacher? Searching for professional identity Is the development of a professional identity in students in the teacher training program at the PedF UK based on similar foundation as the professional identity of the students at the Detroit Teacher Program? How much is this professional identity influenced by the city and social situation in which those students are living and studying? Is the discourse that is used by both sides similar or different? A comparison of related narratives, concepts and metaphors will be done. What is the role attributed to art disciplines in the teacher training curriculum in both countries? A case study will explore all of these issues, and will be based on an analysis and reflecting on of videos which were created as part of the project, "How I Am Becoming a Teacher", as well as curriculum documents and other related documents. Key words Art, photography, visusal story, professional identity, teacher training, reflective practice, city, school, university faculty, artography

This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.