Journal articles: '7 Arts'

1

Minois, Georges. "Les 7 arts libéraux au Moyen Âge." Les Grands Dossiers des Sciences Humaines N° 45, no. 12 (March 8, 2017): 4. http://dx.doi.org/10.3917/gdsh.045.0004.

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2

Cote, Julia. "CHAPTER 7: Arts-Based Education and Creativity." Action in Teacher Education 32, no. 5-6 (December 31, 2010): 126–43. http://dx.doi.org/10.1080/01626620.2011.10519478.

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3

van den Akker, Robin, Liesbeth Noordegraaf-Eelens, Bregje F. van Eekelen, and Roger Teeuwen. "Delta Studies: 7 Propositions for Arts/Sciences Education." European Journal of STEM Education 6, no. 1 (December 2, 2021): 18. http://dx.doi.org/10.20897/ejsteme/11394.

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4

Wallis, Roy. "Fergus Delargy, Diarmuid Delargy, Arts Council Gallery Belfast 7 Oct - 7 Nov 1987." Circa, no. 37 (1987): 36. http://dx.doi.org/10.2307/25557264.

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5

Nishio, Kumiko. "Chapter 7. The Women's Vocational Schools for the Arts." Japanese Economy 37, no. 4 (December 2010): 90–102. http://dx.doi.org/10.2753/jes1097-203x370407.

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6

Vida, Judith E. "On the Arts." American Journal of Psychoanalysis 66, no. 3 (September 9, 2006): 261–62. http://dx.doi.org/10.1007/s11231-006-9021-7.

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7

Seifert, Tricia A., Kathleen M. Goodman, Nathan Lindsay, James D. Jorgensen, Gregory C. Wolniak, Ernest T. Pascarella, and Charles Blaich. "The Effects of Liberal Arts Experiences on Liberal Arts Outcomes." Research in Higher Education 49, no. 2 (October 30, 2007): 107–25. http://dx.doi.org/10.1007/s11162-007-9070-7.

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8

Green, Deborah. "Enduring Liminality: Creative Arts Therapy When Nature Disrupts." Creative Arts in Education and Therapy 7, no. 1 (August 19, 2021): 71–91. http://dx.doi.org/10.15212/caet/2021/7/7.

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9

Fardon, David. "Arts and Spine." Spine Journal 1, no. 2 (March 2001): 151. http://dx.doi.org/10.1016/s1529-9430(01)00071-7.

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10

Malley, Sandra. "Family arts psychotherapy." Journal of Psychosomatic Research 32, no. 3 (January 1988): 341. http://dx.doi.org/10.1016/0022-3999(88)90079-7.

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11

le Maire, Judith, and Iwan Strauven. "Les « Carnets d’un citadin » des frères Bourgeois dans 7 Arts." Textyles, no. 47 (November 15, 2015): 83–93. http://dx.doi.org/10.4000/textyles.2632.

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12

Duddy, Tom. "Kathleen Furey, Arts Centre Galway 7 Sept - 2 Oct 1987." Circa, no. 37 (1987): 35. http://dx.doi.org/10.2307/25557263.

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13

Kelly, Liam. "Edge, Arts Council Gallery, Belfast 7 Jan - 6 Feb 1988." Circa, no. 38 (1988): 43. http://dx.doi.org/10.2307/25557285.

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14

Ewart, Mark. "Marcella Reardon, Triskel Arts Centre, Cork, December - January 1996-7." Circa, no. 79 (1997): 57. http://dx.doi.org/10.2307/25563109.

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15

Morrison, Angeline. "Jeanette Doyle, City Arts Centre, Dublin, December - February 1996-7." Circa, no. 79 (1997): 58. http://dx.doi.org/10.2307/25563110.

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16

Broekmans, Trix. "Conny van Ravenswaaij-Arts." Skipr 12, no. 11 (October 17, 2019): 25. http://dx.doi.org/10.1007/s12654-019-0102-7.

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17

van Amersfoort, Hans. "Advancing Multiculturalism, Post 7/7." Journal of Ethnic and Migration Studies 36, no. 1 (October 20, 2009): 166–67. http://dx.doi.org/10.1080/13691830903189568.

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18

Wick, G. "Culture=(Arts+Science)SF." Experimental Gerontology 36, no. 1 (January 2001): 1–2. http://dx.doi.org/10.1016/s0531-5565(00)00204-7.

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19

Rózsa, Erzsébet. "Symmetry in Muslim arts." Computers & Mathematics with Applications 12, no. 3-4 (May 1986): 725–50. http://dx.doi.org/10.1016/0898-1221(86)90420-7.

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20

Ware, Syrus Marcus. "Activist Wallpaper Series 7." Art Journal 80, no. 4 (October 2, 2021): 91–99. http://dx.doi.org/10.1080/00043249.2021.1947709.

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21

LARIONOV, ALEXANDER. "WRITTEN SIGNS 7." Experiment 3, no. 1 (1997): 269–73. http://dx.doi.org/10.1163/2211730x97x00341.

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22

Zakharov, Vadim. "Icons of Hell 7 Dictators, 700 Portraits, 7 Pages." ARTMargins 9, no. 2 (June 2020): 85–97. http://dx.doi.org/10.1162/artm_a_00265.

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Without an encounter with the unknown, creativity is impossible. In this encounter, there is no possibility for understanding anything, neither in terms of culture nor psychology. This is no dead end. Quite on the contrary: by finding your way out of the dead end, you can attain total freedom. Encounters with the unknown are extremely rare. The unknown is something you need to search out, overcoming the stereotypes of your thinking, the attitudes of your life and the dummies of your emotions. Our (creative) paths need to strike up against the unknown, no matter how thoroughly we build them and no matter which goal we pursue. The edges of my activity are always in some extreme, liminal state. My face is turned toward the unknown, while my masks address that which can be recognized by culture.

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23

Wallis, Roy. "Mary P. O'Connor, Arts Council Gallery, Belfast 7 - 29 May 1987." Circa, no. 35 (1987): 34. http://dx.doi.org/10.2307/25557222.

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24

Walker, Gerry. "Michael Cummins, Project Arts Centre, Dublin 20 July - 7 August 1987." Circa, no. 36 (1987): 44. http://dx.doi.org/10.2307/25557244.

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25

Jordan, Peter. "Austin McQuinn, Triskel Arts Centre, Cork 7 February-2 March 91." Circa, no. 57 (1991): 48. http://dx.doi.org/10.2307/25557630.

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26

Robinson, Mark, and Fionna Barber. "John Keane, Arts Council Gallery, Belfast 7 February-2 March 91." Circa, no. 58 (1991): 40. http://dx.doi.org/10.2307/25557646.

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27

Barber, Fionna. "Gerhard Richter, the Arts Council Gallery, Belfast 7 - 30 November 91." Circa, no. 61 (1992): 46. http://dx.doi.org/10.2307/25557701.

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28

Holliday, Christopher. "London, the Post-7/7 Bond Films, and Mourning Work." Journal of Popular Film and Television 46, no. 1 (January 2, 2018): 56–63. http://dx.doi.org/10.1080/01956051.2018.1423210.

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29

Widyanti, Tyas, and Irdhan Epria Darma Putra. "PELAKSANAAN PEMBELAJARAN DARING SENI BUDAYA DI KELAS VII SMP NEGERI 7 PADANG." Jurnal Sendratasik 9, no. 3 (September 1, 2020): 15. http://dx.doi.org/10.24036/jsu.v9i1.109379.

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Abstract This study discusses the Implementation of Online Learning in SMP Negeri 7 Padang. This research is a qualitative research and it uses the descriptive analytic approach which tends to use theoretical basis analysis used to guide the focus to be in accordance with the facts in the field. The research data were collected through interviews done to informants. Based on the results of the research implemented in two meetings, the author concludes that the implementation of online learning of Cultural Arts in music ensemble material to class VII.1 SMP Negeri 7 Padang is the use of WhatsApp Group media recommended by the assistant principle of Curriculum of SMP Negeri 7 Padang to deal with online learning so that learning activities still can be constructed even in a remote condition. The planning of online learning of music ensemble material is not optimal because the teachers do not create lesson plans specifically for the online learning process. The implementation of online learning in Cultural Arts in class VII is in accordance with the lesson plans implemented during face-to-face learning in the classroom. The online learning of Cultural Arts of the ensemble music material continues to run smoothly despite the simple learning. The learning outcomes of Cultural Arts of music ensemble of class VII are less than optimal because the learning activities are constructed without paying attention to the standards related to the preparation of online learning materials.Key words: Online Learning, Music Ensembless

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30

Hermida, Tania, Florence Jaugey, Julia Murat, Marcela Said, Tana Schémbori, Alicia Scherson, and Natalia Smirnoff. "7 realizadoras contestan 3 preguntas..." Cinémas d’Amérique latine, no. 22 (October 1, 2014): 7–11. http://dx.doi.org/10.4000/cinelatino.680.

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31

McLaughlin, Dorothy. "Educating the creative arts therapist." Arts in Psychotherapy 13, no. 4 (December 1986): 348–49. http://dx.doi.org/10.1016/0197-4556(86)90037-7.

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32

Gibson, Gwen L. "Reflections: Beyond creative arts therapies." Arts in Psychotherapy 16, no. 3 (September 1989): 219–21. http://dx.doi.org/10.1016/0197-4556(89)90025-7.

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33

De Canck, Manu. "Impressies van een Vlaamse adviserend arts." TBV – Tijdschrift voor Bedrijfs- en Verzekeringsgeneeskunde 29, no. 3 (March 2021): 22–24. http://dx.doi.org/10.1007/s12498-020-1333-7.

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34

Healy, C. "AIDS and the Arts of Conversation." Public Culture 7, no. 2 (January 1, 1995): 465–72. http://dx.doi.org/10.1215/08992363-7-2-465.

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35

Hartle, Lynn C., Patricia Pinciotti, and Rebecca L. Gorton. "ArtsIN: Arts Integration and Infusion Framework." Early Childhood Education Journal 43, no. 4 (June 11, 2014): 289–98. http://dx.doi.org/10.1007/s10643-014-0636-7.

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36

Ploeger, Dana. "FaceTalk brengt arts bij kinderen thuis." Skipr 7, no. 5 (April 6, 2014): 32–34. http://dx.doi.org/10.1007/s12654-014-0081-7.

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37

Hanselaar, Ton. "KI stelt diagnose beter dan arts." Skipr 12, no. 2-3 (February 2019): 21. http://dx.doi.org/10.1007/s12654-019-0013-7.

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38

Gómez-Peña, Guillermo. "Philosophical Tantrum #7." TDR/The Drama Review 56, no. 3 (September 2012): 7–8. http://dx.doi.org/10.1162/dram_a_00184.

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39

Tousignant, Wayne, Darren Stanley, Geri Salinitri, and Kara Smith. "7. Negotiating Shared Understandings of Our Work Through a Collaborative Curriculum: Exploring the Experience of Creativity in Cross Discipline Visual Arts Projects." Collected Essays on Learning and Teaching 1 (July 1, 2011): 40. http://dx.doi.org/10.22329/celt.v1i0.3176.

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In 1994, the National Arts Education Association created a research agenda to address major research issues in the field of visual arts education for the purpose of examining, negotiating, and modifying commonly held beliefs in the field of art education. Research by arts educators has done much to inform visual arts education theory and practice, but largely through studies by individuals with few collaborative efforts. In 1991, Neil Owen Houser proposed a collaborative processing model for arts education, which reflects the experiential or constructivist nature of instruction. In this paper, we present our reflections on our shared work where we explored the benefits of interdisciplinary collaboration, the role of play in the process of problem solving, and how experiential learning strategies and techniques could be applied to the teaching of various subjects through visually-mediated arts projects.

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40

Bularga, Tatiana. "7. Innovative Visions over the Formation of the Teacher in the Arts." Review of Artistic Education 12, no. 2 (March 1, 2016): 263–67. http://dx.doi.org/10.1515/rae-2016-0031.

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Abstract The present article describes purposes, learning content and requirements of an educational academic and postgraduate (internships for teachers) process, focused on teacher training in respect of the most subtle and valuable framework for education, the achievement of the individual potential of each pupil, qualified as a unique personality. Therefore, it is proposed a synthesis on the formative program geared towards the assimilation of the future and current teachers of artistic disciplines (music, choreography, painting) of the action and behavioral models appropriate to the domain, to the effectively organization of individualized educational process.

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41

B. Jennings, Wayne. "Liberal arts in a new era." On the Horizon 22, no. 1 (February 4, 2014): 19–22. http://dx.doi.org/10.1108/oth-09-2013-0035.

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Purpose – The purpose of this paper is to examine the effectiveness and outcomes of liberal arts in preparing people for adult roles. Design/methodology/approach – Review of research and opinions about the liberal arts. Findings – Liberal-arts outcomes results have fallen short of expectations though this may be a short coming of higher education generally. A new era of the knowledge society will shrink liberal-arts departments in humanities, literature and philosophy. Research limitations/implications – Liberal arts need definition and clarity of expected outcomes. Practical implications – Jobs in liberal arts colleges will decrease given its weak effectiveness. Online education for liberal-arts areas will grow explosively. Originality/value – Liberal-arts critics have been active for decades. What is different today is world wide access to all information 24/7 and massive open online courses (MOOCs).

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42

Hermida, Tania, Florence Jaugey, Julia Murat, Marcela Said, Tana Schémbori, Alicia Scherson, and Natalia Smirnoff. "7 réalisatrices répondent à 3 questions..." Cinémas d’Amérique latine, no. 22 (October 1, 2014): 4–11. http://dx.doi.org/10.4000/cinelatino.690.

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43

Lashmar, Paul. "7/7: A reflexive re-evaluation of journalistic practice." Journalism 20, no. 10 (September 3, 2018): 1307–22. http://dx.doi.org/10.1177/1464884918797210.

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The suicide bombings of 7 July 2005 remain the most serious terror attacks in the United Kingdom to date in the so-called ‘war on terror’. Much has been published on the war on terror but few journalists have reflected on their practice post 9/11 and none on their domestic coverage of the 7/7 attacks. This article is written by a journalist who covered the London bombings for a UK national newspaper and more recently is a practitioner-academic. Using academic texts focusing on the domestic reporting of the war on terror as stimuli for scholarly reflection, this article reviews the author’s own coverage using reflexive practice and content analysis. This article places 7/7 in the continuum of reporting subsequent to 11 September 2001 (9/11) and issues discussed. Some 63 authored articles were considered from the period. Scholarly texts have proposed a range of concepts to analyse coverage from including political ritual, trauma, national wound and hegemony. This article concludes by noting that while many academic texts see coverage of terrorism as an elite discourse, dominated by political economy drivers and responding to events in a homogeneous reactivity, in practice, news organisations can have complex responses and journalists, agency in their coverage of major terrorism events.

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44

Peacock, Alan. "The “Manifest Destiny” of the Performing Arts." Journal of Cultural Economics 20, no. 3 (September 1996): 215–24. http://dx.doi.org/10.1007/s10824-005-5224-7.

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45

Jackson, Robert L. "Retooling Education: Testing and the Liberal Arts." Academic Questions 20, no. 4 (December 2007): 332–46. http://dx.doi.org/10.1007/s12129-007-9033-7.

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46

Rowan-Robinson, Michael. "Building bridges between arts and science." Physics World 7, no. 6 (June 1994): 55–58. http://dx.doi.org/10.1088/2058-7058/7/6/33.

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47

García, Beatriz. "Enhancing Sport Marketing through Cultural and Arts Programs: Lessons from the Sydney 2000 Olympic Arts Festivals." Sport Management Review 4, no. 2 (November 2001): 193–219. http://dx.doi.org/10.1016/s1441-3523(01)70075-7.

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48

Bazgan, Nicoleta. "Cléo de 5 à 7." Historical Journal of Film, Radio and Television 30, no. 1 (March 2010): 135–37. http://dx.doi.org/10.1080/01439680903577458.

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49

Rengganis, Ira. "ANALISIS GAMBAR KARYA ANAK SEKOLAH DASAR (KARAKTERISTIK GAMBAR ANAK USIA 7 – 9 TAHUN)." PEDAGOGIA 15, no. 1 (April 1, 2017): 48. http://dx.doi.org/10.17509/pedagogia.v15i1.6562.

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The writing is motivated by the author's interest in the work of drawings made by children. In this paper, the image being analyzed is the work of drawings made by children aged 7 to 9 years of age or elementary school students grades 1 to 3. This research aims to know the functions and characteristics of the child in learning colleges Arts. In this study used methods of art criticism. Art criticism method consists of several stages, namely the stages of description, formal analysis, interpretation and final stage of assessment. Through the process of analysis methods of art, criticism can be concluded that the draw for children is as a medium to develop a proper sense, expression, imagination and visual communication. Arts education; Arts in children's education has an important role as an introduction and training efforts the power of expression, imagination, creativity, and artistic taste esthetics in an atmosphere of creative play. Stock images of children aged 7 to 9 have the unique characteristics of various types and properties of different images. In order to achieve the purpose of art education in elementary schools, in addition to the necessary active learning, innovative, creative, effective and fun, in the learning activities of art is in need of a teacher who understands its function in performing the procedure of learning and understanding the characteristics of children's drawings.

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50

De Laet, Sigfried J. "Archaeological retrospect 7." Antiquity 59, no. 225 (March 1985): 7–12. http://dx.doi.org/10.1017/s0003598x00056519.

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Pure luck played an important part in determining my scientific career. As far as I can remember, when a schoolboy I never seriously considered devoting myself to historical studies, let alone to archaeology arid prehistory. In fact, I then had no clear predilection for any particular, well-defined field. 1 was a rather good pupil in most subjects; only physics inspired a profound dislike in me and this barred the road to the exact sciences. My father made his living as a teacher and probably without realizing it, I wanted to follow in his footsteps. The influence of a few exccllcnt teachers eventually made me decide to read classics at the University of Ghent. Soon however, I grew strongly disappointed by my chosen subject and niy professors could not kindle in me any fervent lovc for the endless rehashing of antique texts or for critical texteditions. Luckily I was attracted almost immediately by a remarkable man, Hubert \.’an de IVeerd, whose extensive courses included riot only the whole range of ancient history but also the archaeology and art history of that same period. His personal interest, however, was in Gallo-Kornan archaeology, and precisely at the time when I first met hini he had just finished the first large-scale operation undertaken in Belgium, to wit the excavation of the townwall of ‘I’ongeren, the antique Aturrtucu Tungrotmi. I xi the course of his academic career, Van de 12’eerd spent the best part of his time and efforts on the training of his students; he thus created a solid school of historians and archaeologists, the best of whom were to occupy important positions in Flemish intellectual life.

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Journal articles on the topic '7 Arts'

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