Dissertations / Theses on the topic 'Constructivism (Art)'
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Taylor, B. D. "After constructivism." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:a09edf30-cdad-40a1-aa3e-03ce482a478c.
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This thesis examines the legacy and consequences of Constructivism in art, from the early days of the Russian avant-garde to recent times and today. The Introduction explains how the concept of faktura, first theorised around 1912 by David Burliuk and others, came to designate the material qualities rather than the subject-matter of art. Chapter 1: Towards A Constructive Ideal, traces the progress of faktura in the reliefs of V.Tatlin from 1913. The ancestry of faktura in the Eastern icon tradition is emphasised, where a close relation between sight and touch already suggested a new type of encounter between the viewer and the object of art. The chapter further examines the importance of faktura to Suprematism, and examines A.Rodchenko’s appeal to line as a rational element of construction and as a weapon against ‘composition’ in art. Chapter 2: Time and the Viewer presents evidence of the importance to artists in the period 1940-70 of the real-time encounter between viewer and the art-object, first in American and British ‘Constructionism’, and then in the Minimal art of Judd, Morris and others. The chapter ends with a discussion of temporality in relation to abstract paintings of Rothko and de Kooning. Chapter 3: Irregular Curves: Science and ‘The Organic’ reprises the minority Constructivism of Mikhail Matyushin and Pyotr Miturich that claimed organic structures were superior to technicist ones. Evidence is presented that the rectilinear grid was always subject to challenge, initially in the art of Emma Kunz, Jean Arp and other pre-war modernists but latterly among those for whom ‘field’ and ‘curvature’ became relevant formats after 1945. Particularly with the development of computing from the 1970s, new geometries based on iteration and scale-invariancy assumed major relevance to constructed art. Chapter 4: Constructivism Now presents evidence of the application of Constructivist principles in recent art, initially in Dan Flavin’s ‘monuments’ to Tatlin and others and subsequently in so-called Neo-Geo and Op art of the 1970s and 1980s. From that period on, albeit often in a register of irony and ‘serious play’, faktura in a Constructivist sense continued, and continues today, to define the relation between viewer and object of art.
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Gubbins, Pete. "Constructivism to minimal art : from revolution via evolution." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38056/.
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Modern art owes a debt to Constructivism. In particular, Minimal art owes a debt to Russian Constructivism. In something akin to the suspension of Lenin’s embalmed body, Constructivism has been suspended since its demise. In this thesis I propose that the short-lived phenomenon of Russian Constructivism was revisited and further explored with the Minimal art moment in the West. Minimal artists in the United States were influenced by the works of the Constructivists, but due to the cold war this influence was suppressed. Constructivism in its original form ceased before the ideas and ideological urges of the Russian Constructivists were fulfilled. This form of art, that had a strong connection with a utopian social ideal, by 1932 was replaced by the officially decreed art of the Stalin era; Socialist Realism. The Constructivist moment did not lead into an artistic cul-de-sac because of the death of Lenin in 1924. The Constructivists have had an influence far beyond the years in which they first flourished and I intend to show that Constructivism has been unfairly misrepresented. From my research there is no question that Minimal art in the United States used Constructivist ideas. But the correlation between Minimal art and Constructivism was obscured by cold war politics, by many of the texts which have discussed Constructivism since, as well as by unconvincing curatorial decisions. This situation has led to an unacceptable degree of misrepresentation of the influence that Constructivism has had on Minimal art. Russian and Soviet Constructivism, rather than being seen as a cultural dead-end, should be viewed as a means by which the freedom to follow a non-representational path for abstract art was secured. Constructivism’s influence on Minimal art has been undervalued. This thesis aims to settle the debt.
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Busbea, Stephanie Dickson. "The Effect of Constructivist Learning Environments on Student Learning in an Undergraduate Art Appreciation Course." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5385/.
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The purpose of this study was to determine the effects of constructivist methods on student learning in an undergraduate art appreciation class. Three constructivist learning activities were designed and implemented in an undergraduate art appreciation course for non-art majors at Mississippi College. Through these constructivist learning activities, students were involved in their learning throughout the semester in realistic art roles in which they worked as curators, Web page designers, and artists. Six subjects were selected to participate in this case study. Subject data was collected through three methods: interviews with subjects at three points during the semester, student documents produced during the three activities, and a field journal of observations made during the activities. The multiple data sources were triangulated to reveal nine patterns of learning. The data evidence that constructivism results in a deeper understanding of art and art processes than in a typical art appreciation course in which learners are merely passive recipients of knowledge. This was not only indicated by the nine patterns of learning which emerged from the data, but also in the students' awareness and regulating of their cognitive processes. Although the research provided an in-depth understanding of this case and should not represent or be generalized to the entire population of art appreciation students, the results of this study suggest that art appreciation instructors have an opportunity to facilitate high levels of student thinking and encourage metacognitive skills through constructivist methods such as the ones used in this study.
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Brenner, Gladys. "From Constructivism to Deconstructivism." VCU Scholars Compass, 1990. http://hdl.handle.net/10156/1334.
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Thesis (M.F.A.)--Virginia Commonwealth University, 1990.Title on page 6. Two folded displays. Prepared for: Dept. of Communication Arts and Design. Includes bibliographical references. Also available online.
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Fink, Anastasia. "The Nature of my Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/92.
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In this arts-based thesis for a Masters degree in art education, I explored the meaning of my artwork through a constructivist investigation. During the process of artist research and making artwork, I was able to push boundaries for my art and myself and I was able to discover what kind of artist I was and what meaning was behind my artwork. This process of research,questioning, reflective documentation, and discovery has provided new tools and styles for teaching my students how to find their own personal voice in their artwork.
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Guagliumi, Arthur Robert. "Assemblage art: origins and sources /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10910244.
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Thesis (Ed.D)--Teachers College, Columbia University, 1990.Includes appendices. Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: David S. Nateman. Bibliography: leaves 162-186.
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Heard, John Marlon. "My Experiences Incorporating Constructivist Teaching Strategies within an Art Education Classroom." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/14.
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A reliance on a teacher-centered model of instruction presented the foundation for my research. I chose to investigate constructivist theory and to implement constructivist teaching practices within my art education classroom to determine if constructivist teaching practices would facilitate a shift to a more student-centered learning environment, and to determine if constructivist strategies positively impact student learning. I collected my raw data using autoethnographic recording, documenting my results over a two month period in January and February of 2007 from my experiences as an art educator at a public, Metro-Atlanta elementary school. A positive impact on student learning was observed and the constructivist teaching strategies did produce student-centered learning environments. Based on my experiences constructivist teaching strategies may be beneficial to the creation of student-centered learning environments and assist in broadening student inquiry and investment with lessons.
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Hui, King-man. "A study of computer support for collaborative learning in secondary art education /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25148503.
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Jardine, Boris Samuel. "Scientific moderns." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610691.
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Berchiche, Celine. "L'influence d'Auguste Herbin après 1945." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040171.
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Après 1945, Auguste Herbin (Quiévy 1882 - Paris 1960) devient le maître en France de l’abstraction géométrique, une référence pour la seconde génération d’artistes abstraits, à la fois en Europe et dans le reste du monde. Les peintures d’Herbin réalisées à partir de son alphabet plastique, c’est-à-dire de 1942 à 1960 posèrent les jalons d’expérimentations nouvelles dans le domaine de l’art optique, de l’art cinétique, de l’art concret et de l’hard edge. La plupart des travaux réalisés par les artistes présents dans le Paris de l’après seconde guerre mondiale, tels Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk etc., n’auraient pu se concevoir sans la connaissance et l’assimilation du vocabulaire herbinien. Avait-on véritablement pris la mesure du rôle d’Auguste Herbin dans l’histoire et l’évolution de l’art abstrait ?After 1945, Auguste Herbin (1882-1960) became the leading French abstract, geometric artist and an inspirational figure to abstract artists in both Europe and the Americas. Herbin’s Plastic Alphabet paintings are the forerunners of the wider experimentation in op’art, concrete art and hard edge painting. Much of the work by artists dominant in Paris in the 50’s and 60’s, such as Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk, is unimaginable without the advance wich Herbin represents
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Evjenth, Vilde. "The Art of Not Belonging – A Textual Analysis of Identity Construction in Contemporary Norwegian Literature." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21473.
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The aim of this thesis is to investigate how identity construction is expressed in contemporary Norwegian literature written by the offspring of migrants, and thus contribute to the existing body of research on identity construction in academic literature. This is done by exploring which processes are important in the process of identity construction and through the application of a theoretical framework. The framework both makes use of the concepts of ‘othering’, identity, ethnicity, and ‘culture’, as well as it raises a discussion of how intersectionality theory functions as a broader analytical frame in this study.The analysis examines how identity construction is seen in two anthology books, making use of textual analysis supported by the theoretical framework. What the analysis shows is that ‘othering’, the grouping of ‘us’ and ‘them’, as well as ethnicity play a large role in howidentities are constructed. The empirical material provides us with a representation of theseidentity constructions, and leads to a debate on whether the processes of ‘othering’ and social categorisation work in one way only, or if it is a more complex process – as well as what this ‘othering’ might lead to concerning the question of finding belonging or community in being ‘other’.
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Terada, Jaimie. "The effect of art education on affective and cognitive development." Online pdf file accessible through the World Wide Web, 2009. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Terada_JMITthesis2009.pdf.
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Kim, Sujin. "A Case Study of Pages at the Wexner Center for the Arts and Its Implications for Collaborative Art Museum-School Programs." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1530882425478519.
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Stanley, Denise Y. "Teaching Is My Art Now." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/2653.
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This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.
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Doctor of PhilosophyThis arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
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Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
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Master of PhilosophyGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
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Walworth, Catherine. "Making Do for the Masses: Imperial Debris and a New Russian Constructivism." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366044910.
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Imai, Hideaki. "The Role of Film-making in Nature-human Relationships." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1523999723625547.
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Hunt, Laura A. "From Performer to Petrushka: A Decade of Alexandra Exter's Work in Theater and Film." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/70.
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The subject of my thesis is Russian artist Alexandra Exter’s work in the performing arts, with a focus on her theatrical set and costume designs in the Kamerny Theater, her creations for Iakov
Protazanov’s 1924 science fiction film, Aelita, and finally her exquisitely fabricated set of approximately forty marionettes. Within these colorful wooden figures are reconciled conflicting notions of stasis and dynamism, sculpture and performer, human and object. Drawing upon Victor Shklovskiĭ’s formalist definition of “enstrangement,” I examine her introduction of the object in place of the human performer as a means of exposing the creative process, forcing the viewer to actively engage with the production. Thus, her manipulation and eventual replacement of the human performer not only exemplifies the interconnectivity and mutability of Russian avant-garde art, but impels the viewer to reconsider the familiar in terms of the strange, ultimately calling attention to the humanity of the dehumanized performer.
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Temple, Traci Lyn. "Influences of visual culture in the design of web-based art education instruction using content analysis for interpreting research and student opinions to (re)consider interactive design /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1109710908.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xvi, 327 p.; also includes graphics (some col.) Includes bibliographical references (p. 311-327). Available online via OhioLINK's ETD Center
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Massagardi, Fernanda Maria Macahiba 1977. "Percursos da literatura na educação : ensinar contando histórias." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253933.
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Orientador: Orly Zucatto Mantovani de AssisTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A literatura, oral ou escrita, é parte da história da humanidade. Registro de épocas, retratos de sociedades, espelho da realidade, dimensão de sonho e fantasias, esse gênero de arte é fundamental para a educação de nossas crianças e jovens. Linguagem que tem por basilar prática a leitura, tanto de mundo, como escrita, a literatura contribui para o desenvolvimento cognitivo e afetivo, na medida em que proporciona a formação de um sujeito crítico, que não apenas decodifica, mas interpreta e recria situações. Também possibilita a imersão num mundo de sensibilidades, porquanto é recebida primeiramente por meio dos sentidos e do corpo. A educação literária não se resume apenas ao conteúdo das narrativas. Um docente que pretenda levar tal prática aos alunos precisa conhecer aspectos fundamentais, tais como a criatividade, a representação do mundo na criança, o processo de aquisição de conhecimentos, a vida real e os sonhos dos educandos que têm sob sua tutela e quais fatores os animam a procurar na leitura da literatura momentos de prazer e de conhecimentos. A teoria piagetiana é aporte teórico no que tange ao entendimento do desenvolvimento infantil. No que refere-se à literatura, alguns autores, com agudeza de espírito, conseguiram e conseguem, de maneira atemporal, levar aos pequenos a educação revestida de fantasia. Considerando a educação essencial a um cidadão sensível e perspicaz, tais autores, utilizando recursos que serão abordados nessa investigação, transmitem aos leitores mensagens e situações que exigem reflexão. As obras de Monteiro Lobato e C. S. Lewis ultrapassaram sua época e emergiram no século XXI com aceitação plena das crianças e jovens. Dessa forma, as análises de suas vidas e de algumas de suas narrativas fazem parte desse trabalho, no intuito de apontar ao docente alguns caminhos que indiquem de que forma a literatura perpassa e auxilia a educação e quais os percursos foram percorridos por ela até o nosso século. Palavras-chave: arte, literatura, educação, construtivismo
Abstract: Literature, oral or written, is part of human history. Registration of times, portraits of societies, mirror of reality, dimension of dream and fantasy, this genre of art is essential to the education of our children and youth. Language that has as basic reading practice, either from the world, or written as well, literature contributes to cognitive and emotional development as it provides the formation of a critical subject that not only decodes, interprets, but recreates situations. Also enables immersion in a world of sensibilities, since it is primarily received through the senses and the body. Literary education is not just the content of the narratives. A teacher who wishes to take the practice of literature to the students need to know fundamental aspects such as creativity, representation of the world in the child, the process of acquiring knowledge, real life and dreams of students who are under his tutelage and the factors which animate the search for the reading in literature moments of pleasure and knowledge. Piaget's theory is the theoretical basis regarding the understanding of child development. When it comes to literature, some authors, with sharpness of mind, succeed, in a timeless way, to lead children to a fancy education. Considering an essential education to a sensitive and perceptive person, these authors, using resources that are addressed in this investigation, transmit messages to players and situations that require reflection. The works of Monteiro Lobato and C. S. Lewis surpassed their own time and emerged in the twenty-first century with full acceptance of children and youth. Thus, the analysis of their lives and some of their stories are part of this work, in order to highlight to the teacher some ways that indicate how the literature pervades and supports education and what routes were traveled by it until our century. Keywords: art, literature, education, constructivism
Doutorado
Psicologia Educacional
Doutora em Educação
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Vermooten, Elizabeth. "Fiction writing as symbolic constructivist inquiry in ego state therapy." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11262008-125922.
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Amaral, Raquel Domingues do. "A interpretação dos enunciados do art. 231 caput e parágrafos 1º, 2º, 6º e Art. 20, Inciso XI, todos da CF/88 à luz do constructivismo lógico semântico." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/6997.
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Previous issue date: 2016-02-18Based on the epistemological premise of the Logical Semantic Constructivism (CARVALHO, 2010), the present study proposes to reflect about the incidence of the constitutional rule which restrain the demarcation of indigenous lands. It seeks for the meaning of the signs: Indian, Indigenous Community and Indigenous Lands, in the statements of art. 231 caput, §§§ 1, 2 and 3 and art. 20, XI, from the Federal Constitution, considering the connotation of these signs in the social, cultural and historical context of Indians. The study also handles the matter of demarcation of indigenous lands in the current state of the art, being strongly influenced by the theory of John Mendes Jr. (1912) on indigenato, as well as making a counterpoint with Ferraz Jr. s (2007; 2012) discussion, which contemplates indigenato as a title that explains the Indians originating status of the right to permanent possession, although not limited to this. It discusses the relevance of the legal precedent of the Supreme Court, as a pragmatic dimension of linguistic semiosis on the fixed rules of the statements in art. 231 caput, §§§ 1, 2 and 3 and art. 20 XI, in the Federal Constitution, that is, as a text not written in the physical support of prescriptive statements, but that cannot have its meaning ignored as real technical legitimacy. From the perspective of the epistemology proposed by Paulo de Barros Carvalho (2010) on the incidence of general and abstract tax norm, it proposes a hermeneutics of the incidence of the rule, which is constructed through the interpretation of the statements of the art. 231 caput, §§§ 1, 2 and 3 and art. 20 XI, from the Federal Constitution. The demarcation of indigenous lands is denoted in the present research as a procedure and as a sole and specific rule that enables the incidence of general and abstract rule laid down in art. 231 caput, §§§ 1, 2 and 3 and art. 20 XI, from the Federal Constitution. One may conclude that the individual and solid rule that documents the demarcation has a legal effect on subjective and originating rights of the Indians of permanent possession of the lands they traditionally occupy. It has been defined The existence of two legal systems in relation to the land known as traditionally occupied by demarcation: the regulatory legal framework of the legal relationship between "non-Indians", which precedes the advent of sole and specific rule documented in the demarcation, and the legal regime subsequent to the formation of subjective originating rights of "Indians", in the subsequent individual and solid rule. Individual and solid rules that make up the property right of "non-Indians" are repealed before the advent of individual and solid rules documented in the demarcation, therefore, the extinction of these legal relations has ex nunc effects and shall be harmonized with the rules of items XXII, XXIV of art. 5 of the Federal Constitution. After the advent of individual and solid rule of demarcation, the legal framework is set out in § 6 of art. 231 of the Federal Constitution, as a means of protecting the Indians original right to possession
Propõe-se uma reflexão sobre a incidência da norma constitucional que disciplina a demarcação de terras indígenas, com base na premissa epistemológica do Constructivismo Lógico Semântico de Paulo de Barros Carvalho. Buscamos o sentido dos signos índio, comunidade indígena e terras indígenas nos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art. 20, XI, da CF, levando em consideração o sentido destes signos no contexto social, cultural e histórico do índio. Abordamos a problemática da demarcação de terras indígenas no estado atual da arte, fortemente influenciado pela teoria do indigenato de João Mendes Jr., fazendo um contraponto com o entendimento esposado por Tércio Sampaio Ferraz Jr., que compreende o indigenato como um título que explica o caráter originário do direito à posse permanente dos índios, mas que não se reduz a este. Discorremos sobre a relevância do precedente jurisprudencial do Supremo Tribunal Federal, como dimensão pragmática da semiose linguística da norma construída a partir dos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF, ou seja, como texto não escrito no suporte físico dos enunciados prescritivos, mas que não pode ser ignorado, na busca de sentido, como verdadeira técnica de legitimação. Propomos uma hermenêutica sobre a incidência da norma, que se constrói pela interpretação dos enunciados do art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF, sob a perspectiva da epistemologia proposta por Paulo de Barros Carvalho para a incidência da norma geral e abstrata tributária. Abordamos a demarcação de terras indígenas, como procedimento e como norma individual e concreta que viabiliza a incidência da norma geral e abstrata prevista no art. 231 caput, §§§ 1º, 2º e 3º e art. 20 XI da CF. Concluímos que a norma individual e concreta que documenta a demarcação tem o efeito constitutivo do direito subjetivo originário dos índios à posse permanente das terras que tradicionalmente ocupam. Delimitamos a existência de dois regimes jurídicos em relação às terras que são reconhecidas como ocupação tradicional pela demarcação: o regime jurídico regulador das relações jurídicas, entre não índios , anteriores ao advento da norma individual e concreta documentada na demarcação e o regime jurídico posterior à constituição do direito subjetivo originário dos índios no consequente da norma individual e concreta. Anteriormente ao advento da norma individual e concreta documentada na demarcação, as normas individuais e concretas que constituem o direito de propriedade de não índios são revogadas, de modo que a extinção dessas relações jurídicas tem efeitos ex nunc e devem ser harmonizadas com as normas dos incisos XXII, XXIV do art. 5º, da CF.Após o advento da norma individual e concreta da demarcação, o regime jurídico a incidir é o previsto no § 6º, do art. 231, da CF, como um meio de proteger o direito originário à posse dos índios
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許敬文 and King-man Hui. "A study of computer support for collaborative learning in secondary art education." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31256272.
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Reilly-Brown, Elizabeth. "Dialogue in the Galleries: Developing a Tour about Contemporary Art for the Virginia Museum of Fine Arts." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/198.
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This museum thesis project considers the challenges involved in developing engaging museum tours. The purpose of this project was to develop a fifty-minute, guided gallery tour that uses inquiry-based instruction to engage participants in dialogue and critical thinking about artworks. The tour was designed specifically for the Virginia Museum of Fine Arts (VMFA) in Richmond, Virginia, using artworks selected from the museum’s twenty-first-century art collection that relate to the theme hybridity. This project contributes to the museum studies field by exemplifying how gallery tours can stimulate active learning, encourage visitors to find meaning in artworks, and form their own conclusions about objects in the museum. The project provides a model for integrating inquiry-generated dialogue within the gallery tour structure. Finally, it demonstrates that dialogue-based teaching can be used with teens and adults, audiences that some educators perceive as more reticent than younger learners to engage with this style of education.
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Miguel, Jair Diniz. "Arte, ensino, utopia e revolução: os ateliês artísticos Vkhutemas/Vkhutein (Rússia/URSS, 1920-1930)." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-02022007-171251/.
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Em vinte anos de vanguarda russa, entre 1910 e 1930, seus artistas experimentaram diversas linguagens artísticas, do futurismo italiano ao mais vigoroso produtivismo (uma vertente radical de fusão da arte com a vida), em busca da expressão perfeita da modernidade, da realidade por eles vivida e da história em construção no período. Ao concentrar tantos caminhos e esforços em uma só instituição de ensino de artes, estava aberta a passagem para a inovação e a revolução que o VKhUTEMAS/VKhUTEIN operou dentro da história da arte soviética. A Seção de Base com suas disciplinas amplas e integradoras, a abertura pedagógica, as disputas teórico-conceituais, a extensa lista de professores vanguardistas e um ambiente acadêmico de pesquisa e novidades, são as principais conquistas da instituição que dominou a cena artística em Moscou e na União Soviética nos anos de 1920. Uma escola voltada para o futuro, para uma nova vida e um novo mundo.In a short period of twenty years, between 1910 and 1930, the russian avant-garde artists experiment different kinds of artistic languages, from Italian Futurism to the Productivism, a radical trend in the front of life and art fusion - in the very straight way -, searching for the perfect expression of the modernity, the reality of these times and the making of history in these context. Focusing various ways and efforts in a single institute to teaching arts established a passage to the innovation and revolution how VKhUTEMAS/VKhUTEIN was inside the soviet art history. The Basic Unit, with its extensive and integrative ensemble of classes, the pedagogical aperture, the theoretical conceptual controversies, the wide list of avant-garde teachers and the openly to researches and growth academic environment are the key acquisition of this institute which ruled over the Moscow and Soviet Union artistic scene at the 1920\'s. A school orientated to the future, to the new life and new world.
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Beach, Glenell McKinnon. "An Examination of Factors Contributing to Critical Thinking and Student Interest in an On-line College-level Art Criticism Course." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc4005/.
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This qualitative case study research examined how constructivist problem-based learning facilitated higher level thinking, increased interest in art, and affected attitude toward on-line courses in an undergraduate philosophical aesthetics and interpretation of art criticism course. The research conducted for this study suggests that constructivist problem-based learning does facilitate higher level thinking and increases student interest in art and in on-line classes. Active learning assignments, along with the constructivist collaborative class atmosphere, encouraged students to think more deeply about their personal values concerning art and to consider alternative views. Problem-based learning in this class acted as a scaffold to aid in understanding the material and then in applying the material to unique and real-life situations. Each subject came to the course with certain thinking skills and left with increased knowledge about art but also with increased critical thinking skills for critically examining and discussing art. Participants completed the course with more confidence in their critical thinking ability and in dealing with visual art images. Data was gathered from seven study participants in the form of highly-structured interviews, an early and final critical writing analysis, a major problem assignment and its reflection journal, a beginning survey, and two final surveys. The final major problem involved an individual proposal followed by a collaborative group proposal. Group collaboration constituted the most frustration and problem within the constructivist design of the class. This research took a relativistic viewpoint in gathering data and interpreting meaning.
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Menezes, Fernando Chui de. "Erro e errância na educação em arte." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-05022015-133440/.
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Ao se colocar em foco o papel do erro como tema relevante à educação em arte, descortinam-se possíveis novas compreensões do significado do erro nos diferentes contextos atuais de formação. Partindo do pensamento filosófico a respeito do termo e da observação da oposição histórica entre correntes ideológicas antípodas relativamente a sua concepção no ensino de arte, este texto, ao trazer o erro a um novo lugar conceitual, busca prover o educador de correspondente parâmetro didático-pedagógico. Entre os objetivos deste trabalho está apontar uma variedade de concepções sobre o erro nos fazeres de quem aprende e de quem ensina arte, como aquilo que é denunciado coercitivamente, aquilo que é corrigido construtivamente ou o que é acolhido criativamente. Respaldando-se nas obras de autores como Thierry de Duve e Jean Piaget, no diálogo com três educadores e na observação de propostas didáticas realizadas com turmas de ensino médio de uma escola particular, este trabalho pretende levantar a ideia da reincorporação do erro como elemento conceitual importante ao aprendizado das linguagens artísticas, assim como à discussão geral sobre o ensino contemporâneo da arte.When the role of error is focused as a relevant subject in art education, new other possible understandings of the meaning of error show themselves in different present educational contexts. Based on the philosophical thought about error and on the comparison between opposite ideological trends concerning this concept in art teaching, this work wants to provide educators with correlated didactic and pedagogical parameters, bringing error to a new conceptual place. Among the objectives of this work, there is the displaying a variety of errors in the activities of who learns and teaches art, both as what is coercively condemned, or what is constructively corrected, or even what is creatively accepted. Supported by ideas of authors as Thierry de Duve and Jean Piaget, inspired by dialogues with three educators and based in the observation of didactic proposals applied in high school classes at a private institution, this work intends to incorporate error as an important conceptual element to the learning of artistic languages, as well as to the general discussion of the contemporary teaching of art.
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Braga, Paula Priscila. "A trama da terra que treme: multiplicidade em Hélio Oiticica." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-05122007-145929/.
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As estratégias construtivistas na obra de Hélio Oiticica estão compreendidas na noção definida pelo artista de \"mundo erigindo mundo\". Esta estratégia é identificável tanto nos aspectos éticos e estéticos das proposições de Oiticica quanto na maneira como seu próprio pensamento é construído de blocos achados nas obras de filósofos, músicos e outros artistas. Este trabalho percorre manuscritos de Hélio Oiticica disponíveis em arquivos digitais para identificar os blocos de pensamento que embasam a produção de Hélio Oiticica, identificando a singularidade de sua obra frente a propostas de alguns de seus contemporâneos. Ainda que reconhecendo a importância do mito e da Mangueira na obra do inventor da Tropicália, o texto enfatiza que a \"síntese\" feita por Hélio Oiticica não se deixa fixar em um estereótipo cultural já que escapa dos espaços delimitados e do tempo cronológico, estabelecendo-se em um \"mundo-abrigo\" virtual, onde Oiticica acha fragmentos das produções de inventores de vários lugares e épocas para compor seu programa além-da-arte.The constructivist strategies within Hélio Oiticica´s oeuvre are comprehended in the notion of \"world building world\" articulated by the artist. This strategy is discernible both on the ethic and aesthetic aspects of Oiticica´s proposals and on the way his own thought is built out of blocks he found in works by philosophers, musicians and other artists. This text traverses manuscripts by Hélio Oiticica, available in digital archives, to identify the building blocks of the artist´s thought and its singularity in relation to proposals of some of his contemporaries. Although recognizing the importance of the myth and of the Mangueira samba school on the work of the inventor of Tropicalia, this text emphasizes that the \"synthesis\" produced by Hélio Oiticica defies cultural stereotypes since it escapes boundaries and the chronological time, establishing itself within a \"world-shelter\" where the artist finds fragments of the production of other inventors from different cultures and times, to compose his own beyond-the-art program.
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Farrar, Ruth. "Creating soundscapes : a creative, technological and theoretical investigation of binaural technology usage." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17557.
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Through its portfolio of practical case studies and its engagement with critical thinking from a range of disciplines, the PhD investigates the following key question: what are the technical, aesthetic and conceptual impacts of using binaural technology to create a soundscape? ‘Using binaural technology’ implies users and users are essentially at the heart of this impact because users mediate the technical and aesthetic aspects of binaural technology and also inherently shape the theoretical ideology of this technology. By analysing users’ interactions with binaural technology from a social constructivist perspective, this thesis gains rich insights into the impact of using binaural technology when creating soundscapes. Chapter One explores sound artists’ and field recordists’ work that use binaural technology for the shared purpose of documenting urban soundwalks. The first case study “Audio Postcards” is also informed by questions drawn from acoustic ecology, socio-political theories on the practices of everyday life and the challenges that arise in finding, recording and preserving ‘soundmarks’. Chapter Two outlines practitioners’ applications of binaural technology to create an intimate connection to an art piece such as theatre director David Rosenberg’s productions. Peter Salvatore Petralia’s concept of headspace is applied to the chapter’s case study: “From Austria To America” to further understand binaural technology’s psychoacoustic effects. Chapter Three studies the impact of social groups who use binaural technology to record classical music performances. Traditional stereo and binaural classical music recording conventions are shaped in a new direction in two case studies: “Point of Audition” and “From Page to Stage”. Questions of ‘fidelity’ also arise from this creative practice. The outcomes of this reflective binaural practice unearth deep layers of understanding. This thesis discovers the impact of binaural technology moves beyond the effect it has on a listener to realise this recording practice also impacts a recordist’s decisions in the field and a sound artist’s creative choices when crafting soundscapes. The beneficial impact of binaural technology including its inconspicuous nature, the ability to imprint an artist’s subjective signature on recordings and its lifelike immersive qualities in playback are revealed through practice and reflection. Representing the real, the role of artist and point of audition are also themes explored throughout each chapter. Ultimately, insights gained are woven together as a means of constructing an original theoretical framework for an under-theorised subject: understanding how social user groups shape the impact of using binaural technology when creating soundscapes.
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Quintero, Christian. "Creating Creators Cinema Project: Transforming Lives through the Arts." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/900.
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This work centered on the Creating Creators Cinema Project (CCCP), a for-profit organization that works with K-12 school districts in California to integrate student filmmaking into core subjects. The qualitative case study documented the experiences of CCCP’s founders, the teaching artists who mentor filmmaking youth, and the students participating in year-long projects, providing a “thick description” of the creation, implementation, and impact of the program in a high school setting. The research addressed the dearth of arts programs in urban schools and their connection to representation in arts fields, particularly filmmaking. The study utilized three frameworks: Critical Pedagogy, Constructivism, and Situated Learning Theory to analyze data about pedagogical approaches and impact in the personal and professional lives of those involved in the project. Findings revealed participants in CCCP challenge traditional schooling practices and create a professional identity for students in the program. This study affirmed the importance of arts education in student lives and identifies how arts is a transformative vehicle for students and educators.
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Korte, Laurie E. "Collaborative and Creative Thinking Skill Development Through the Design of Wearable Technologies." ScholarWorks, 2014. https://scholarworks.waldenu.edu/dissertations/65.
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Skills inherent in the creative thinking process such as reflecting and collaborating are needed for success in many careers. However, a focus on standardized testing in K-12 schools in the United States has resulted in the restructuring, reduction, and in some cases, elimination of arts in the curriculum to the detriment of students' creative thinking process. The purpose of this study was to discover whether creative thinking and collaborative skills were positive unintended consequences of a curriculum that includes the design of wearable technologies. Jonassen's modeling using Mindtools for conceptual change and Rosen's culture of collaboration provided the conceptual framework. This qualitative case study explored students' and teachers' perceptions of collaborative and creative thinking skill development while designing wearable technologies. The data analysis used interviews with 3 students and 1 teacher and an evaluation of participant wearable technology artifacts. Rich themes and patterns were determined through open coding. The themes identified to explain the perceived development of creative thinking skills were divergent thinking, stimulation of the imagination, generation of new knowledge, and creative climate. The themes identified to explain the perceived development of collaborative skills were diverse membership, culture of collaboration, and community building. The design of wearable technologies as a Mindtool showed promise as a new way to integrate art with science, technology, engineering, and math (STEM). This study may effect positive social change by informing educational policy and influencing school budgetary consideration toward including art as a value-added benefit to STEM curriculum.
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Fowler, Alan. "Constructivist art in Britain, 1913-2005." Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433954.
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Lima, Heloisa Espada Rodrigues. "Fotoformas: a máquina lúdica de Geraldo de Barros." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-13082009-154838/.
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Esta dissertação trata das Fotoformas, obra fotográfica produzida por Geraldo de Barros entre o final da década de 1940 e o início da seguinte. O conjunto é diversificado, pois possui imagens que podem ser vinculadas tanto ao Construtivismo, quanto a poéticas ligadas à revitalização do Expressionismo na arte internacional no segundo pós-guerra, ou a vanguardas da fotografia moderna como a Nova Visão, entre outros movimentos. Através da investigação dos grupos e ambientes artísticos freqüentados por Barros (Grupo XV, MAM/SP, Masp, Biblioteca Municipal de São Paulo, Grupo Ruptura, Setor de Terapia Ocupacional do Hospital Psiquiátrico Pedro II e Foto Cine Clube Bandeirante) percebe-se como ele conheceu algumas das referências identificadas em sua obra. Além disso, o trabalho analisa a relação das Fotoformas com as idéias de Mário Pedrosa, crítico considerado pelo artista como seu mentor intelectual. A partir desse mapeamento, a reflexão volta-se para o significado específico dessas referências no contexto cultural paulistano do período estudado. A concomitância de tradições, a princípio díspares, nas Fotoformas, encontra uma justificativa teórica no pensamento desenvolvido por Pedrosa: suas idéias sobre as origens da arte moderna, o conceito de arte virgem e a Teoria da Gestalt.This dissertation is about Fotoformas, the Geraldo de Barros photographic work made between the end of 1940s and the beginning of the 1950s. The set is diversified because it has pictures linked to the Constructivism, to neo-expressionists poetics arisen in the international art after 1945, or to modern photographic vanguards like the New Vision, among others movements. Through an investigation on the artistic groups and environments frequented by Barros (Group XV, MAM/SP, Municipal Library of São Paulo, Rupture Group, Occupational Therapy Section of the Psychiatric Hospital Pedro II, Bandeirante Photo Cine Club) we can discern how he had known some references identified in his work. Moreover, the research analyses the relation between the Fotoformas and the Mário Pedrosas ideas, art critic considered by the artist like his intellectual mentor. From this survey, the reflection turns about to the specific meaning of these references in the cultural context studied. The concomitancy of different artistic traditions in Fotoformas finds a theoretical explanation in the Pedrosas thoughts: his ideas on the modern art roots, the virgin art concept and the Gestalt Theory.
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Montfort-Tanguy, Anne. "Reconstitution d'une abstraction : genèse et définition d'une forme d'art constructif à Londres de 1927 à 1961." Thesis, Tours, 2012. http://theses.scd.univ-tours.fr/index.php?fichier=2012/anne.montfort_0000.pdf.
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Autour de 1950, des artistes londoniens – Kenneth Martin, Mary Martin, Adrian Heath, Anthony Hill – adoptent l’abstraction géométrique, suivant l’exemple de Victor Pasmore, célèbre jusqu’alors pour sa peinture figurative. Malgré une proximité formelle avec le néoplasticisme de Ben Nicholson, leurs œuvres appartiennent à une autre tradition déduite de l’École de Paris et nourrie de références anglaises. Ce groupe ne se définit pas contre les valeurs dominantes de son époque, mais participe pleinement à l’idéologie de la reconstruction. Il se distingue progressivement de l’école de Saint Ives qui lui avait été associée pour se rapprocher de l’Independent Group au milieu des années 1950. En 1957, le critique d’art Lawrence Alloway voit dans ce groupe l’avènement d’un nouveau constructivisme vierge des implications architecturales de son antécédent historique. C’est, en fait, dans l’importance accordée à l’expérience physique de l’œuvre dans l’espace que ces artistes manifestent leur contemporanéitéIn the 1950’s a group of London artists – Kenneth Martin, Mary Martin, Adrian Heath and Anthony Hill – adopted a geometric abstract art, following the example of Victor Pasmore, famous until then for his figurative painting. Despite some formal proximity with Ben Nicholson’s Neoplasticism, their works belong to another tradition derived from the “School of Paris” with specifically English references.The group is not defined as being against the dominant values of its era: it plays a fully-fledged part in the ideology of reconstruction. It strayed from the Saint-Ives School of painters to which it had been associated, and came closer to the Independent Group in the mid 1950’s.The art critic Lawrence Alloway described it in 1957 as marking the advent of a new Constructivism, free of the architectural implications of its historical antecedent. Yet it is in their focus on the physical experience of the work of art in space that their contemporaneity is obvious
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Welich, Dirk. "Hermann Glöckner – Ein Beitrag zum Konstruktivismus in Sachsen." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2006. http://nbn-resolving.de/urn:nbn:de:swb:14-1153401124994-83798.
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Die Dissertation beschäftigt sich mit dem Werk des Dresdner Künstlers Hermann Glöckner (1889-1987) entgegen der bisherigen biografisch geprägten Sicht mit einem kunsttheoretischen Ansatz. Methodisch wird dabei das Werk im ersten Teil einer strengen Deskription unterzogen und funktionslogisch analysiert, d. h., die Bearbeitung stellt eine Art gestalterische Grammatik auf. Vor dem historischen Hintergrund einer Selbstfindung der Malerei nach dem 1. Weltkrieg ausgebreitet, wird durch die Grammatik deutlich, dass der Künstler weit mehr als bisher angenommen, einen mathematisch geprägten Weltzugang besaß und dieser indirekt zu einer Suche nach Universalität geführt hat. Neuland wird insbesondere bei der Darlegung von künstlerischen Denkstrukturen betreten. So kann gezeigt werden, dass sich in allen künstlerischen Äußerungen ein vornehmlich plastisches Denken manifestiert. Obwohl einige Arbeiten eindeutig zweidimensional angelegt sind, reflektieren sie dreidimensionale Probleme und weisen damit über sich hinaus in ein naturfremdes Universum. Es wird deutlich, wie der Künstler aus der beobachtbaren Natur Anregung und Kraft bezieht, seine künstlerischen Arbeiten aber nicht diese Natur spiegeln, sondern ihre Transzendenz geometrisch ausdrücken. Die Erkenntnisse des Künstlers aus diesem epistemologischen Malprozess fließen unmittelbar in Werke ein, deren optische Erscheinungen scheinbar ein Äquivalent in der Außenwelt besitzen. Aber auch bei diesen handelt es sich um einen nachprüfbaren, allgemeinen (universalen) malerischen Versuch, das Wesen oder den inneren Klang der Natur in einer "Einheit der Gegensätze" zu fassen. Die Analyse endet mit der Feststellung, dass sich die künstlerische Haltung Glöckners von einer konstruktivistischen zu einer eher symbolischen wandelt. Im zweiten Teil hinterfragt die Dissertation den bestehenden Forschungsstand in Bezug auf die durch politische Isolation begründete Eigenständigkeit bei der Entwicklung des künstlerischen Weges, die auch für eine Bewertung des künstlerischen Werkes im internationalen Kontext ein Hauptargument stellt. Durch weit reichende Recherchen wird das künstlerische Umfeld des frühen 20. Jahrhunderts in Dresden beschrieben, in dem sich der Künstler entwickelt hat. Dabei werden signifikante Verbindungen zu entscheidenden Entwicklungsimpulsen im Werk geknüpft, sodass deren Besonderheiten vor einer historischen Folie an Transparenz gewinnen. Entscheidend sind dabei einzelne Kunstwerke in Dresdner Ausstellungen insbesondere der 1920er Jahre, die der Künstler Hermann Glöckner gesehen haben muss, da sie zu seinem eigenen Werk eine hohe Evidenz besitzen. Einen bisher ganz vernachlässigten Akzent setzt die Dissertation mit der Untersuchung zur Schulzeit des Künstlers. Trotz reformatorischer Bewegungen seit der Mitte des 19. Jahrhunderts ist der Zeichenunterricht in den Volksschulen kaum im modernen Sinne entwickelt. Gerade aber die strenge und reduzierte Form, die Lenkung der Wahrnehmung und Schulung der Hand auf elementare Formen und deren Übertragung auf die Natur, werden zu Katalysatoren der künstlerischen Entwicklung Glöckners. Ganz ungewöhnlich wird hier eine ansonsten als Beengung und Reglementierung empfundene Lehrmeinung affirmativ in eine künstlerische Haltung transformiert, die ihre Freiheit in der Beschränkung findet. Im dritten Teil stehen die kunsttheoretische Bestimmung Glöckners und deren Bewertung im internationalen Kontext im Mittelpunkt der Ausführungen. Wichtigste Erkenntnis ist, dass der Künstler zwar nicht öffentlich immer gesehen, aber im Werk begründet, an den wesentlichen kunsttheoretischen Zeugungsattacken der Moderne durch seine Werke sozusagen ideell mitgearbeitet hat. Seine Arbeiten besitzen den gleichen, an einzelnen Stellen sogar einen radikaleren Charakter, wie die Schlüsselwerke am Anfang des letzten Jahrhunderts. Bestechend ist die Authentizität der Werke Glöckners, weil er sein ganzes Leben an einem Spiegel der Welt gearbeitet hat, der er selber warThe dissertation explores the work of Dresden artist Hermann Glöckner (1889-1987). Contrary to existing studies which have been characterized by biographical approaches, this dissertation follows an approach based on theory of art. In the first part, the method is to strictly describe his work and analyze it according to functional logic; i. e. during this process a kind of artistic grammar is being produced. Set against the historical background of a search for a new identity by painters after World War One, the grammar shows clearly that the artist cherished – way more than hitherto assumed – a world view shaped by mathematic principles which, indirectly, led him on to a search for universality. The demonstration of the structures of the artist's way of thinking breaks new ground and shows that in all of his artistic expressions a primarily plastic way of thinking manifests itself. Although a few of his works are unequivocally arranged in a two-dimensional order, they reflect three-dimensional problems and thus point beyond themselves to a universe alien to nature. It becomes clear how the artist gains stimulus and energy by observing nature, while his works of art do not mirror this nature, but express their transcendence in a geometrical manner. The artist's insights gained during this epistemological painting process directly leave their mark on works which by their visual appearance seem to possess an equivalent in the outside world. However, these works also represent a verifiable, universal pictorial experiment to subsume the essence or inner sound of nature in a "unity of opposites". The analysis results in the conclusion that Glöckner's aesthetic position developed from a constructivist to a rather symbolic one. The second part of the thesis challenges the current state of research in relation to the autonomous artistic development due to political isolation, which also constitutes one of the main arguments for the assessment of Glöckner's works of art in the international context. Findings from extensive research describe the artistic environment of the early 20th century in Dresden in which the artist developed. At the same time significant connections to pivotal impulses in the development of his work are revealed so that their exceptional quality is demonstrated more clearly against a historic backdrop. Of key importance are individual works from art exhibitions in Dresden, especially from the 1920s, which Hermann Glöckner must have seen, since there are highly evident links to his own works. In studying the schooldays of the artist, the dissertation puts emphasis on a hitherto completely neglected aspect. Despite educational reforms starting in the middle of the 19th century, drawing lessons in elementary schools were hardly modernized. However, of all things the austere and reduced form, a controlled perception and the training in drawing elementary forms and assigning these to nature, turn out to be catalysts of Glöckner's artistic development. A doctrine otherwise perceived as restrictive and regularised as in an educational context is transformed in quite an extraordinary manner affirmatively into an aesthetic position which finds its artistic license in limitation. The focus of attention of the third part of the thesis is to determine Glöckner's position within theory of art and its evaluation in an international context. The main conclusion is that the artist as it were contributed with his ideas rooted in his oeuvre to the fundamental creative acts giving rise to modernist art theory, which has, however, not always been publicly acknowledged. His works possess the same character as the key works of art of the beginning of the last century and in some respects are even more radical than these. The authenticity of Glöckner's oeuvre is impressive, for all his life he had been working on a mirror of the world, which was he himself
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Sandes, Luis Fernando Silva. "Geração concretista em São Paulo: uma biografia coletiva." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21384.
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This master’s dissertation examines the action of a group of fifteen artists and poets linked to the concrete art movement in Sao Paulo starting on the 1950s. The research problem refers to the constitution of the concrete art group and to its role on the modernization of the Brazilian artistic field. The research’s general objective is to understand how the affirmation of the concrete art generation in the city of Sao Paulo during the 1950s took place. There are three important theoretical and methodological tools: collective biography’s method and the concepts of generation from Mannheim and field from Bourdieu. These tools, the situation of the artistic field from that time, and the relation of the Brazilian concrete art movement to the constructive movement are discussed in the introduction. In the second chapter, the dissertation limits itself to the period from 1947 to 1959. During such time span, cultural institutions relevant to the appearance of concrete art movement have arisen. The concrete art movement emerged officially in 1952. Active as a group until 1959, it held debates with other artistic streams and took over relevant positions in the artistic field. Focusing this period of twelve years, the collective biography’s method is used. Such method prescribes extracting relevant social information from defined populations. The resulting collective biography shows a variety of topics, artistic or not strongholds, and exhibits, all in common to the fifteen selected people. In the following two chapters, concrete art movement in Sao Paulo is studied in its unfoldings. In the third chapter factors that have collaborated for the recovery of concrete art after its peak during the 1950s are raised. Among those factors are art collections, art galleries, libraries and book anthologies. In the fourth chapter the echoes of concrete art movement in the contemporaneity are investigated. It is studied how concrete art movement is still nowadays present in the artistic field, considering its artistic proposals and beyond. As a conclusion a group portrait is shown, in which commonalities of the studied population are specified and a interpretative viewpoint is done. The examined material is composed of biographies, manifestoes, autobiographical pieces of writing, exhibition catalogues, monographic studies on artists, articles and critiques published in newspapers, interviews to the author, among others
Esta dissertação examina a atuação de um grupo de quinze artistas e poetas ligados ao concretismo paulista a partir dos anos 1950. O problema da pesquisa se refere à constituição do grupo concretista e à sua atuação na modernização do campo artístico brasileiro. O objetivo geral da pesquisa é compreender como se deu a afirmação da geração concretista na cidade de São Paulo desde a década de 1950. São importantes três ferramentas teóricometodológicas: o método da biografia coletiva e os conceitos de geração de Mannheim e de campo de Bourdieu. Essas ferramentas, a situação do campo artístico de então e a relação do concretismo brasileiro com o construtivismo são discutidos na introdução. No segundo capítulo, a dissertação se restringe ao período de 1947 até 1959. Nesse intervalo, surgiram instituições culturais importantes para que o concretismo se desenrolasse. O movimento concreto surgiu oficialmente em 1952. Ativo como grupo até 1959, entrou em debates com outras correntes artísticas e assumiu postos de relevo no meio artístico. Com foco nesse período de doze anos, é utilizado o método da biografia coletiva. Esse método prevê extrair informações sociais relevantes de populações definidas. A biografia coletiva resultante indica uma variedade de tópicos, redutos artísticos ou não e exposições em comum entre os quinze selecionados. Nos dois capítulos seguintes, o concretismo paulista é estudado em seus desdobramentos posteriores. No terceiro capítulo, são levantados fatores que colaboraram para a retomada do concretismo após seu auge na década de 1950. Entre eles, encontram-se exposições, coleções de arte, galerias, bibliotecas e antologias. No quarto capítulo, são investigados os ecos do movimento concreto na contemporaneidade. Ou seja, é pesquisado como o concretismo ainda se encontra presente atualmente no meio artístico, em suas propostas artísticas e além. Como conclusão, é apresentado um retrato de grupo, no qual explicitam-se aspectos em comum da população e realiza-se uma visada interpretativa. O material examinado é composto por biografias, manifestos, escritos autobiográficos, catálogos de exposições, estudos monográficos sobre artistas, matérias e críticas de arte publicadas em jornais, entrevistas ao autor, entre outros
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Welich, Dirk. "Hermann Glöckner – Ein Beitrag zum Konstruktivismus in Sachsen." Doctoral thesis, Technische Universität Dresden, 2004. https://tud.qucosa.de/id/qucosa%3A24842.
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Die Dissertation beschäftigt sich mit dem Werk des Dresdner Künstlers Hermann Glöckner (1889-1987) entgegen der bisherigen biografisch geprägten Sicht mit einem kunsttheoretischen Ansatz. Methodisch wird dabei das Werk im ersten Teil einer strengen Deskription unterzogen und funktionslogisch analysiert, d. h., die Bearbeitung stellt eine Art gestalterische Grammatik auf. Vor dem historischen Hintergrund einer Selbstfindung der Malerei nach dem 1. Weltkrieg ausgebreitet, wird durch die Grammatik deutlich, dass der Künstler weit mehr als bisher angenommen, einen mathematisch geprägten Weltzugang besaß und dieser indirekt zu einer Suche nach Universalität geführt hat. Neuland wird insbesondere bei der Darlegung von künstlerischen Denkstrukturen betreten. So kann gezeigt werden, dass sich in allen künstlerischen Äußerungen ein vornehmlich plastisches Denken manifestiert. Obwohl einige Arbeiten eindeutig zweidimensional angelegt sind, reflektieren sie dreidimensionale Probleme und weisen damit über sich hinaus in ein naturfremdes Universum. Es wird deutlich, wie der Künstler aus der beobachtbaren Natur Anregung und Kraft bezieht, seine künstlerischen Arbeiten aber nicht diese Natur spiegeln, sondern ihre Transzendenz geometrisch ausdrücken. Die Erkenntnisse des Künstlers aus diesem epistemologischen Malprozess fließen unmittelbar in Werke ein, deren optische Erscheinungen scheinbar ein Äquivalent in der Außenwelt besitzen. Aber auch bei diesen handelt es sich um einen nachprüfbaren, allgemeinen (universalen) malerischen Versuch, das Wesen oder den inneren Klang der Natur in einer "Einheit der Gegensätze" zu fassen. Die Analyse endet mit der Feststellung, dass sich die künstlerische Haltung Glöckners von einer konstruktivistischen zu einer eher symbolischen wandelt. Im zweiten Teil hinterfragt die Dissertation den bestehenden Forschungsstand in Bezug auf die durch politische Isolation begründete Eigenständigkeit bei der Entwicklung des künstlerischen Weges, die auch für eine Bewertung des künstlerischen Werkes im internationalen Kontext ein Hauptargument stellt. Durch weit reichende Recherchen wird das künstlerische Umfeld des frühen 20. Jahrhunderts in Dresden beschrieben, in dem sich der Künstler entwickelt hat. Dabei werden signifikante Verbindungen zu entscheidenden Entwicklungsimpulsen im Werk geknüpft, sodass deren Besonderheiten vor einer historischen Folie an Transparenz gewinnen. Entscheidend sind dabei einzelne Kunstwerke in Dresdner Ausstellungen insbesondere der 1920er Jahre, die der Künstler Hermann Glöckner gesehen haben muss, da sie zu seinem eigenen Werk eine hohe Evidenz besitzen. Einen bisher ganz vernachlässigten Akzent setzt die Dissertation mit der Untersuchung zur Schulzeit des Künstlers. Trotz reformatorischer Bewegungen seit der Mitte des 19. Jahrhunderts ist der Zeichenunterricht in den Volksschulen kaum im modernen Sinne entwickelt. Gerade aber die strenge und reduzierte Form, die Lenkung der Wahrnehmung und Schulung der Hand auf elementare Formen und deren Übertragung auf die Natur, werden zu Katalysatoren der künstlerischen Entwicklung Glöckners. Ganz ungewöhnlich wird hier eine ansonsten als Beengung und Reglementierung empfundene Lehrmeinung affirmativ in eine künstlerische Haltung transformiert, die ihre Freiheit in der Beschränkung findet. Im dritten Teil stehen die kunsttheoretische Bestimmung Glöckners und deren Bewertung im internationalen Kontext im Mittelpunkt der Ausführungen. Wichtigste Erkenntnis ist, dass der Künstler zwar nicht öffentlich immer gesehen, aber im Werk begründet, an den wesentlichen kunsttheoretischen Zeugungsattacken der Moderne durch seine Werke sozusagen ideell mitgearbeitet hat. Seine Arbeiten besitzen den gleichen, an einzelnen Stellen sogar einen radikaleren Charakter, wie die Schlüsselwerke am Anfang des letzten Jahrhunderts. Bestechend ist die Authentizität der Werke Glöckners, weil er sein ganzes Leben an einem Spiegel der Welt gearbeitet hat, der er selber war.The dissertation explores the work of Dresden artist Hermann Glöckner (1889-1987). Contrary to existing studies which have been characterized by biographical approaches, this dissertation follows an approach based on theory of art. In the first part, the method is to strictly describe his work and analyze it according to functional logic; i. e. during this process a kind of artistic grammar is being produced. Set against the historical background of a search for a new identity by painters after World War One, the grammar shows clearly that the artist cherished – way more than hitherto assumed – a world view shaped by mathematic principles which, indirectly, led him on to a search for universality. The demonstration of the structures of the artist's way of thinking breaks new ground and shows that in all of his artistic expressions a primarily plastic way of thinking manifests itself. Although a few of his works are unequivocally arranged in a two-dimensional order, they reflect three-dimensional problems and thus point beyond themselves to a universe alien to nature. It becomes clear how the artist gains stimulus and energy by observing nature, while his works of art do not mirror this nature, but express their transcendence in a geometrical manner. The artist's insights gained during this epistemological painting process directly leave their mark on works which by their visual appearance seem to possess an equivalent in the outside world. However, these works also represent a verifiable, universal pictorial experiment to subsume the essence or inner sound of nature in a "unity of opposites". The analysis results in the conclusion that Glöckner's aesthetic position developed from a constructivist to a rather symbolic one. The second part of the thesis challenges the current state of research in relation to the autonomous artistic development due to political isolation, which also constitutes one of the main arguments for the assessment of Glöckner's works of art in the international context. Findings from extensive research describe the artistic environment of the early 20th century in Dresden in which the artist developed. At the same time significant connections to pivotal impulses in the development of his work are revealed so that their exceptional quality is demonstrated more clearly against a historic backdrop. Of key importance are individual works from art exhibitions in Dresden, especially from the 1920s, which Hermann Glöckner must have seen, since there are highly evident links to his own works. In studying the schooldays of the artist, the dissertation puts emphasis on a hitherto completely neglected aspect. Despite educational reforms starting in the middle of the 19th century, drawing lessons in elementary schools were hardly modernized. However, of all things the austere and reduced form, a controlled perception and the training in drawing elementary forms and assigning these to nature, turn out to be catalysts of Glöckner's artistic development. A doctrine otherwise perceived as restrictive and regularised as in an educational context is transformed in quite an extraordinary manner affirmatively into an aesthetic position which finds its artistic license in limitation. The focus of attention of the third part of the thesis is to determine Glöckner's position within theory of art and its evaluation in an international context. The main conclusion is that the artist as it were contributed with his ideas rooted in his oeuvre to the fundamental creative acts giving rise to modernist art theory, which has, however, not always been publicly acknowledged. His works possess the same character as the key works of art of the beginning of the last century and in some respects are even more radical than these. The authenticity of Glöckner's oeuvre is impressive, for all his life he had been working on a mirror of the world, which was he himself.
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Pires, Carlos Eduardo de Barros Moreira. "Expressão e construção: Alfredo Volpi, João Cabral de Melo Neto e a arte moderna no país." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12112015-163453/.
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Esta tese interpreta, com foco nas obras de Alfredo Volpi e João Cabral de Melo Neto, o processo de modernização e rotinização da arte moderna no Brasil, Os poemas de Cabral e as pinturas de Volpi podem ser analisados como produtos de um novo contexto \"moderno\" para a arte no Brasil da década de 1950 e, ao mesmo tempo, produtores deste mesmo contexto, já que ambos estabelecem nexos importantes para a sua justificativa social, teórica e artística. A pesquisa teve como objetivo contribuir, por meio, principalmente, da leitura crítica de poemas e pinturas, para a reflexão sobre os rumos e contradições da arte moderna no Brasil.This thesis aims to investigate the process of modernization and routinization of modern art in Brazil, focusing on the works of Alfredo Volpi and João Cabral de Melo Neto. Cabral\'s poems and Volpi\'s paintings are seen as products of a new \"modern\" context for the art in Brazil in the 1950s and, at the same time, as producers of this same context, since both establish important nexus for its social, theoretical and artistic justification. This research aims to contribute, mainly by close critical readings of poems and paintings, to the reflection on the development and contradictions of modern art in Brazil.
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Sora, Tom. "Le constructivisme modulaire : espaces homogènes dans l'utopie et dans l'art répétitif." Paris 1, 2004. http://www.theses.fr/2004PA010719.
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Cette recherche met en relation l'utopie (Th. More) et l'art plastique et musical répétitif ou modulaire, en avançant l'hypothèse que le trait commun principal de ces deux domaines est la constitution d'espaces homogènes et unitaires. Nous présentons les principes génératifs des œuvres d'art spatial et temporel à structure modulaire, ou résultant de la répétition d'une unité quelconque, d'un module-prototype. Nous appelons l'ensemble de ces principes, constructivisme modulaire, et tout objet constitué d'après ces principes, construction modulaire. La justice de type égalitaire détermine la structure de la société et de l'urbanisme utopiques. A son niveau global cette structure de la société est homogène et indéfiniment extensible, car elle résulte de la répétition d'une unité socio-urbaine parfaite. L'état utopique a une structure modulaire. Nous retraçons la transposition de cette structure dans le langage de l'art et de l'urbanisme répétitifs (Mondrian, Le Corbusier).
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Ahn, Keum-Hee. "A study of mediating factors influencing an art teacher's instructional practices : a social constructivist perspective /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951214939594.
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Masunah, Juju. "A case study of the multicultural practices of two United States dance educators implications for Indonesian K-9 dance education /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211764897.
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Schick, Christine Suzanne. "Russian Constructivist Theory and Practice in the Visual and Verbal Forms of "Pro Eto"." Thesis, University of California, Berkeley, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3616250.
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This dissertation aims in part to redress the shortage of close readings of Vladimir Mayakovsky and Aleksandr Rodchenko's joint project, the book Pro Eto. It explores the relationship between the book's visual and verbal aspects, treating the book and its images as objects that repay attentive looking and careful analysis. By these means this dissertation finds that the images do not simply illustrate the text, but have an intertextual relationship with it: sometimes the images suggest their own, alternative narrative, offering scenes that do not exist in the poem; sometimes they act as literary criticism, suggesting interpretations, supplying biographical information, and highlighting with their own form aspects of the poem's.
This analysis reveals Pro Eto's strong links with distant forms of art and literature. The poem's intricate ties to the book of Genesis and Victor Shklovsky's novel Zoo, written while the former literary critic was in exile in Berlin, evince an ambivalence about the manifestations of socialism in early-1920s Russia that is missing from much of Mayakovsky's work. At the same time Rodchenko's images, with their repeated references to Byzantine icons and Dadaist photomontage, expand the poem's scope and its concerns far beyond NEP-era Moscow. Thus my analysis finds that although Pro Eto is considered to be an emblematic Constructivist work, many of the received ideas about Russian Constructivism—the unswerving zeal of its practitioners, the utility of its production, and in particular the ideology-driven, sui-generis nature of the movement itself—are not supported by the book. Pro Eto's deep connections with art and literature outside of Bolshevik Russia contradict the idea—first set out by the Constructivists themselves and widely accepted by subsequent scholars—of Constructivism as an autochthonous movement, born of theory, and indebted neither to historical art movements nor to contemporary western ones. My analysis suggests that reading Pro Eto through the lens of Constructivist theory denies the work the richness, ambivalence and humor it gains when that theory is understood as being in conversation with artistic practice, rather than defining it.
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Jones, John V. (John Victor). "A Constructivist Approach to the Thematic Apperception Test." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279008/.
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The purpose of this study is to explore the possibility of interpreting the Thematic Apperception Test (TAT) in constructivist terms. This research project involved a qualitative approach, focusing on abductive discovery and phenomenological critique. From constructivist theory, the core ordering processes of reality, identity, power, value, and relatedness were used to interpret a subject's TAT narratives. The author of the study chose one subject from the three with which he worked to present a case study. Chapter One of the research project reviews the literature of both TAT studies and constructivist theory. The author first discussed reliability and validity studies involving the TAT. Second, the author discussed constructivist theory, focusing on its philosophical antecedents and its theoretical framework. Chapter Two of the project establishes the methods and procedures utilized during the project. The core ordering processes as taken from constructivist theory are defined and discussed in detail. Chapter Three represents the bulk of the study, presenting the results and discussion of the results. Following a discussion of the results, the author critiqued the results, and based on the critique discussed procedural changes and implications for future research.
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Curlin, Caroline. "Prediction of Verbal Dominance Behaviors using Constructivist Theory." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc500956/.
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This study assessed how Constructivist theory accounts for verbal dominance. Conversations of rotating dyads were tape recorded, then coded for measures of dominance. Subjects completed a trait dominance scale and a constructivist personality test. Interpersonal rankings of dominance were found to be more consistent with observed behavior than trait dominance scores. Extreme trait dominance scores were associated with a constructivist measure indicating maladjustment. Dyads identified as more resistant to change were found to use fewer verbal control strategies; male/male dyads were characterized by direct, functional interactions. Dyads that were highly comfortable with one another utilized fewer verbal control methods. Lastly, interactions in which participants reported unfamiliar self-experiencing utilized higher levels of verbal control. Implications for group processing, assessment of dominance and sex differences are discussed.
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Park, Sook-Young. "Le cinétisme dans la sculpture des années 60 : prémisses-évolution." Paris 8, 1995. http://www.theses.fr/1995PA080998.
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Notre recherche a porte sur le cinetisme dans la sculpture des annees 60, a travers les quatres mediums qui expriment le mouvement : la technologie : l'utilisation de la technique electrique puis de l'electronique montre l'evolution de la conception du mouvement dans la sculpture, qui va de la rotation de la construction-meme au processus de transformation de la construction ; la force de la nature ; l'utilisation de ce medium a pour consequence d'obliger l'artiste a exposer son oeuvre en plein air, la ou il peut exploiter les forces de la nature ; la lumiere artificielle : grace a ses possibilites de dessiner des formes illimitees dans l'espace, la sculpture en mouvement s'ouvre sur le nouveau domaine de l'art de l'environnement ; la participation du spectateur : la sculpture se transforme d'oeuvre d'art, en proposition plastique qui sollicite la participation du spectateur. En conclusion, l'objet d'art comme une oeuvre materielle, achevee, independante et unique se transforme en oeuvre ephemere, dematerialisee, et multipleThis study treats kinetism in sculpture in the sixties through four mediums which express movement : technology : the use of electric then electronic techniques shows the evolution of the concept of movement in sculpture form the physical rotation of the sculpture itself, to its process of transformation ; force of nature : the result of using this medium is that the artist is compelled to exhibit out of doors where he can exploit nature's forces ; artificial light : due to the possibilties of frawing limitless forms in space, sculpture in movement opens into the new domain of enviromental art ; spectator participation : sculpture transforms from work of art to a plastic proposition which solicits spectator's participation. In conclusion, the "objet'art" as a material, self-contained, indepenent and unique work is transformes into one that is ephemeral, dematerialised et multiple
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Barthel, Margaret Gorjanc. "The relationship between beginning college chemistry achievement and prior knowledge, number of college mathematics courses completed, levels of Piagetian intellectual development, mathematics ACT score, science ACT score, and composite ACT score /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3025598.
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Otting, Tiffany L. "Human-Animal Relational Theory: A Constructivist-Grounded Theory Investigation." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955020/.
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Constructs of human-animal relational theory (HART) were investigated to determine how those constructs manifested in animal-assisted therapy in counseling (AAT-C) from the perspectives of 6 participants (2 counselors, females, ages 28 and 32, both non-Hispanic and White; 2 clients, male and female, ages 55 and 23, respectively, both non-Hispanic and White; and, 2 therapy animals, canines, Labrador retriever and spaniel mix, ages 4 and 5, respectively). Using constructivist-grounded theory, a research team analyzed qualitative data from observations, interviews, and field notes. From the iterative process of multiphasic coding and constant comparison, these findings emerged: (a) consistency between Chandler's (in press) constructs and participants' experiences of AAT-C, (b) more meaningful therapeutic impacts for clients from client-initiated human-animal relational processes (HARPs) than counselor-initiated HARPs, (c) development of rich definitions and descriptions of Chandler's constructs, and (d) descriptions of interactive experiences of AAT-C and client resistance in the context of HART. Clinicians and educators in the field of AAT can apply the processes, practices, and principles from this study in their work to enhance positive therapeutic impacts for clients. As Chandler's constructs were supported in this study, AAT authors and researchers can solve a glaring problem of inconsistent terminology in the AAT literature by using those constructs in future studies and publications as operationalized nomenclature for standardized AAT interventions.
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El-Danasouri, Andrea. "Kunststoff und Müll : das Material bei Naum Gabo und Kurt Schwitters /." München : Scaneg, 1992. http://catalogue.bnf.fr/ark:/12148/cb35614994x.
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