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Eksell, Britt Saga. "Creativity as a Means to Expression of Emotions by Older Adults." ScholarWorks, 2015. http://scholarworks.waldenu.edu/dissertations/1677.
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Numerous researchers have explored the benefit of creative activities for the aging population diagnosed with dementia. However, there is a lack of data available to community administrators and organizers of senior residences about how successful aging may be enhanced, in the relatively healthy older adults, through their participation in creative art-making. Activities that provide mental stimulation, facilitate expression of emotions, and that are related to overall psychological well-being can provide a foundation for healthy aging. Accordingly, the purpose of this study was to explore older adults' subjective experience of engaging in creative artwork. The conceptual framework that guided this phenomenological study was based on Lazarus's cognitive-emotional-relational theory of emotions. The focus of the research questions was on the subjective experience of 10 older adults who participated in 7 weekly art sessions offered at a senior residence. Audiotaped interviews that were held after the last art-making session, together with participants' artwork and field notes, were analyzed, coded, and then categorized into themes. Results indicated the participants learned they can be creative, and that their images became a visual inroad to meaningful expression of emotions, insight, and motivation. The results point to evident social change when community organizers and administrators of senior residences increase activities for residents, especially meaningful activities designed to facilitate expression of emotions and insight during later life. Creative image-making activities can lead to continued learning, heightened social interactions, increased mental fitness, reduced depression, and enhanced healthy aging.
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Eksell, Britt-Marie Saga. "Creativity as a Means of Expression of Emotions by Older Adults." Thesis, Walden University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3733483.
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Numerous researchers have explored the benefit of creative activities for the aging population diagnosed with dementia. However, there is a lack of data available to community administrators and organizers of senior residences about how successful aging may be enhanced, in the relatively healthy older adults, through their participation in creative art-making. Activities that provide mental stimulation, facilitate expression of emotions, and that are related to overall psychological well-being can provide a foundation for healthy aging. Accordingly, the purpose of this study was to explore older adults’ subjective experience of engaging in creative artwork. The conceptual framework that guided this phenomenological study was based on Lazarus’s cognitive-emotional-relational theory of emotions. The focus of the research questions was on the subjective experience of 10 older adults who participated in 7 weekly art sessions offered at a senior residence. Audiotaped interviews that were held after the last art-making session, together with participants’ artwork and field notes, were analyzed, coded, and then categorized into themes. Results indicated the participants learned they can be creative, and that their images became a visual inroad to meaningful expression of emotions, insight, and motivation. The results point to evident social change when community organizers and administrators of senior residences increase activities for residents, especially meaningful activities designed to facilitate expression of emotions and insight during later life. Creative image-making activities can lead to continued learning, heightened social interactions, increased mental fitness, reduced depression, and enhanced healthy aging.
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Graham, Alyce. "The Creativity Loophole: Needlework, Social Conventions, and the Permissibility of Creative Expression for Early American Women." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/141.
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This thesis investigates creative expression through needlework by wealthy or elite women in the eighteenth- and early nineteenth-century, focusing on women in the United States South. This inquiry begins in broad terms and proceeds to the close examination of one particular needlework sampler held in the collection of the Valentine Richmond History Center. The first chapter uses prescriptive literature popular in the eighteenth century to establish the restrictive, obedient, and subservient expectations for women’s behavior. The second chapter explores the reasons that the same books that prohibited many forms of pleasure promoted needlework as an acceptable activity for women. This chapter addresses the practical aspect of needlework, the presence and significance of textiles in the home, and the ways needlework expressed creativity. The final chapter analyzes a needlework sampler stitched in 1812, connecting it both with the themes introduced in the first two chapters and a wider range of issues.
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Tiba, Eman. "Arab Americans: The Power of Creative Expression to Combat Discrimination." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524072265195156.
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Bucho, João Luís Saporiti Machado Cruz. "As terapias expressivas e o barro: veículo de auto-conhecimento, criatividade e expressão." Master's thesis, [s.n.], 2011. http://hdl.handle.net/10284/2260.
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Dissertação apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Criatividade e Inovação.Este trabalho consiste num estudo que tem como principal objectivo descrever como o material barro poderá funcionar como veiculo que promove o desenvolvimento do auto-conhecimento, da criatividade e da expressão no sujeito. A fundamentação teórica assenta em autores e referências no campo da psicologia do desenvolvimento, como Freud, Piaget, Vygotsky, Erikson - no que diz respeito ao desenvolvimento da aprendizagem e da pedagogia nos sujeitos; Bachelard, Winnicott e Vygotsky - em relação à importância da imaginação e do simbólico e como instrumento de observação usado nesta abordagem utilizou-se o Continuum das Terapias Expressivas, ECT, defendido por Kagin e Lusebrink (1978) e as Versões de Sentido, VS (Amatuzzi, 1996). Na elaboração do estudo empírico, foi utilizado um modelo de investigação aplicada ou investigação - acção participativa, efectuada em diversos ateliers e workshops desenvolvidos, com adultos, nos dois últimos anos, dos quais foram descritos apenas dois. Como resultado do estudo foi possível observar as múltiplas potencialidades do barro como elemento objecto facilitador no estimular do pleno desenvolvimento do potencial criativo dos sujeitos, promovendo o conhecimento e ampliando o campo expressivo. Sendo uma investigação qualitativa e de carácter exploratório, esta dissertação apresenta algumas restrições, já que os resultados obtidos não podem ser generalizados, mas permitem retirar conclusões que poderão ser aplicadas à realidade próxima da apresentada neste trabalho. This work involves a study that have as a main subject to describe as the material clay will be able work as a vehicle that promote the development of the autoknowledge, creativity and the expression in the subject. The grounds theory draw heavily on authors and references in the field of the development psychology, as Freud, Piaget, Vygotsky, Erikson - in what it says regarding to development of the learning process and the pedagogy on the subjects; Bachelard, Winnicott e Vygotsky – in relation to the importance of the imagination and the symbolic as a observation instrument used in this approach, we used the Continuum of the Expressive Therapies, ECT, defended by Kagin and Lusebrink (1978) and the Versions of Sense, VS (Amatuzzi, 1996). In the preparation of the empiric study, it was used a diligent investigation model or investigation – participating action, made in several ateliers (studious) and Workshops development with adults in the last two years, which were describes just two. As result of this study, it was possible to observe the multiple potentialities of the clay as enabler in stimulate the full development from the creative potential from the subjects, promoting the knowledge and extend the expressive field. Being a qualitative investigation with exploratory character, this dissertation presents same restrictions, because the results cannot be generalize, but they allow to take conclusions that will be able to be apply to the next reality presented in this work.
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DuVernet, Louise Frances, and l. vernet@mary acu edu au. "The factors that shape the valuing of textile education in secondary schools." RMIT University. Fashion and Textiles, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080208.162750.
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Views on the valuing and revitalization of textiles education in secondary schools in New South Wales (NSW) vary widely. NSW is unique in that it is the only state in Australia to have a discrete textiles related subject offered for their senior secondary qualifications. The introduction of a new syllabus for the upper secondary schools in 1999 saw the Higher School Certificate (HSC) subject of Textiles and Design become the fastest growing HSC subject from 2000 - 2004. The fact that the subject survived the review of the New HSC was a testimony to the support it received from all sectors of textiles education from secondary to tertiary level and from the professional associations representing the textiles industry. The main concern expressed by the teachers in the secondary schools was the ageing of the current teaching population and the inadequacy of the training institutions to train teachers in sufficient quantity and quality to replace those who are antici pated to retire over the next five years. The study aimed to identify the perceived value of textiles education as a means of supporting the promotion of the subject and to uncover any negative perceptions of the subject and its future so strategies could be developed to overcome any barriers to the revival and maintenance of the subject beyond 2010. Of particular interest was the value of textiles education in bridging a cultural divide between migrant students and the schools and its importance to students of all abilities for its development and expression of creativity. The negative aspects of the cost of resources and perception of low status as an academic subject in schools are addressed. The significance of the study is based in the inclusive nature of the participants represented in the study that include head teachers, secondary textiles teachers, student teachers and secondary textiles students. The diversity of perspectives gave richness to the data and provides some wonderful insights into the dynamic relationships that affect the effective presentation of textiles curriculum in secondary schools. Using models to analyse the historical influences on current perceptions of textiles, the study found evidence of the resilience and drive of new young teachers who are often not given the encouragement to develop their skills in preparation to support the future of textiles education in NSW.
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Liu, Qian. "Creative translation and creativity via translation : the transformation of emotional expression in early modern Chinese fiction (1900-1925)." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:1056d20f-45ae-4f48-8bba-e7f43705551d.
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This thesis makes an inquiry into the literary translation and creation in the early twentieth-century China, particularly between the years 1900 and 1925. I combine the theoretical approaches of both translation studies and intertextuality studies to form the overall methodological framework that informs the discussions in the thesis. Although the modern transformation of Chinese literature has long been discussed and debated in various scholarly works, which often attribute the transformation to foreign influences and reconstruction of indigenous literary tradition, a theoretical language is urgently required to articulate the exact process of literary adaptation and appropriation. Rather than taking the concept of “influence” at face value, I probe the intricate process of influence by examining the way Chinese writers and translators creatively translated and intertextualized foreign literary works to construct new literary texts. The two modalities of literary production – translation and intertextuality – call for the approaches of translation studies and intertextuality studies, and only when both approaches are taken into account can a fuller understanding of the literary scene in the early years of twentieth-century China be obtained. I apply my methodology to the study of the transformation of emotional expressions which are most frequently found in love fiction. By combining translation and intertextuality, some Chinese writer-translators such as Bao Tianxiao and Zhou Shoujuan creatively translated foreign fiction, conveying emotions different from those intended by the original texts while at the same time introducing new modes of emotional expression to Chinese literature. Others, such as Su Manshu and Yu Dafu, borrowed foreign literary texts to construct their own literary creations, appropriating the emotions conveyed by the foreign texts. As a result of the vigorous adaptation and appropriation of Chinese writer-translators, new modes of emotional expression emerged in modern Chinese literature.
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Bargo, Julia Robinson. "FOSTERING IMAGINATIVE EXPRESSION IN ELEMENTARY ART STUDENTS: A DESCRIPTIVE STUDY OF TEACHER STRATEGIES." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1627.
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Ramos, Bruno Amaral. "As artes circenses na educação física escolar enquanto conteúdo da cultura corporal: suas contribuições para desenvolvimento da expressão corporal e criatividade." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6724.
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This study was constructed from a field research, qualitative, conducted with students belonging to the 3rd year of computer integrated technical course for internet Federal Institute of Goiás - Formosa. The problem that prompted this study was: how the circus arts can contribute to the development of body expression and creativity of students in physical education classes. The overall objective of the research is to identify how the circus arts can contribute to the development of creativity and body language of the students in the classes of Physical Education. The specific objectives are: to deepen the knowledge about the history and definitions of Physical Education and circus arts; present the possibilities of using circus arts on the different pedagogical approaches in Physical Education; show the contributions of the circus arts to the development of creativity and body language and deepen their knowledge of teaching methodologies, seeking those that can contribute to the development of body expression and creativity of basic education students. Studied in this work from the history of circus arts, circus and physical education, making relationships of these contents with the main pedagogical approaches this discipline, passing by the concepts of body expression and creativity to reach the field of research, where we develop an educational intervention for one academic quarter and work the following contents: juggling balls and flower stick, roll-roll and ropes. The instruments for data collection were structured observation, school reports and questionnaire. We can say from this study that a good planning combined with the historical aspects of these arts, which have in essence freedom of movement, creativity, body expression and a good mediation process, based on the actionreflection- movement action will allow the development of a physical education more expressive, creative, critical and human. In this way we will be contributing to the formation of questioning people with objective conditions to position themselves in favor of the lower social classes, not to reproduce the values of capitalist society: competition, exploitation, domination and exploitation of the best, among others.
O presente estudo foi construído a partir de uma pesquisa de campo, de natureza qualitativa, realizada com alunos pertencentes ao 3° ano do curso técnico integrado de informática para internet do Instituto Federal de Goiás – Formosa. O problema que instigou esse trabalho foi: de que forma as artes circenses podem contribuir para o desenvolvimento da expressão corporal e da criatividade dos alunos nas aulas de Educação Física? O objetivo geral da pesquisa é identificar de que forma as artes circenses podem contribuir para o desenvolvimento da criatividade e da expressão corporal dos alunos nas aulas de Educação Física escolar. Os objetivos específicos são: aprofundar os conhecimentos sobre o histórico e as definições da Educação Física e das artes circenses; apresentar as possibilidades de utilização das artes circenses diante das diferentes abordagens pedagógicas da Educação Física; apresentar as contribuições das artes circenses para o desenvolvimento da criatividade e da expressão corporal e aprofundar os conhecimentos sobre metodologias de ensino, buscando aquelas que possam contribuir para o desenvolvimento da expressão corporal e da criatividade dos alunos da educação básica. Estudamos nesse trabalho, desde o histórico das artes circenses, do circo e da Educação Física, fazendo relações desses conteúdos com as principais abordagens pedagógicas dessa disciplina, perpassando os conceitos de expressão corporal e criatividade até chegar à pesquisa de campo, onde desenvolvemos uma intervenção pedagógica durante um bimestre letivo e trabalhamos os seguintes conteúdos: malabarismo com bolinhas e flower stick, rola-rola e cordas. Os instrumentos para coleta de dados foram a observação estruturada, os relatórios das aulas e o questionário. Podemos afirmar, a partir desse estudo, que um bom planejamento, aliado aos aspectos históricos dessas artes, que possuem na sua essência a liberdade de movimentos, a criatividade, a expressão corporal, bem como um bom processo de mediação, pautado no movimento de ação-reflexão-ação, possibilitará o desenvolvimento de uma Educação Física mais expressiva, criativa, crítica e humana. Desse modo, estaremos contribuindo para a formação de pessoas questionadoras com condições objetivas para se posicionarem a favor das classes sociais menos favorecidas, ao não reproduzirem os valores da sociedade capitalista: competição, exploração, dominação, valorização dos melhores, entre outros aspectos.
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Žukauskienė, Lina. "Vizualinės raiškos įvairovės svarba 5–8 klasių mokinių meniniam ugdymui." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090629_143440-27425.
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Paauglystėje asmens brandos raida tarytum pagauna pagreitį, pagauna ir ilgam užtvirtina pagrindinius brandos aspektus, kurie savo pastovumo prasme daugeliui žmonių jau lieka nepakitę visą jų tolesnį gyvenimą. Įvairi vizualinė raiška padeda asmeniui mokytis dailės kalbos. Anot J. Kievišo (2007, 6 p.) „veikdamas asmens dvasinių vertybių sistemą, intelektines, emocines, fizines galias menas skatina individualios kultūros bei sociokultūrinės integracijos raidą ir taip įsilieja į bendrą asmenybės brandos procesą.“ Vizualinės raiškos įvairovė – kelias, kuriuo menas pasiekia ugdytinio suvokimą, veikia jį ir ugdo pilnavertę asmenybę. 5–8 klasių mokinių amžiaus tarpsnis ypatingas. Vaikai tampa paaugliais, kinta jų mąstymas, suvokimas, norai, požiūris. Dažnai vaikai praranda motyvaciją mokytis, „nebemoka“ piešti, protestuoja prieš juos supančią aplinką. Šiame amžiaus tarpsnyje pastebimas kūrybiškumo lūžis. Tam, kad ugdytinių kūrybiškumas toliau laipsniškai augtų, jau reikalingi papildomi svertai. Manoma, kad vizualinės raiškos įvairovė gali būti raktas, sprendžiant kūrybiškumo ugdymo problemas.
Nagrinėjamas darbo objektas – vizualinės raiškos įvairovės svarba dailės pamokose, jos vaidmuo 5–8 klasių mokinių meniniam ugdymui.
Darbo tikslas – atskleisti vizualinės raiškos įvairovės svarbą 5–8 klasių mokinių meniniam ugdymui. Iškelta hipotezė – dailės technikų ir vizualinės raiškos būdų įvairovė teigiamai veikia, skatina kūrybiškumą, atskleidžia individualius gebėjimus, daro pastebimą... [toliau žr. visą tekstą]In adolescence, the development of personal maturity gains acceleration and consolidates the basic maturity aspects, which in the sense of their stability do not change for many people throughout their lives. Different visual expression helps a person to learn the language of art. According to J. Kievišas (2007, p. 6) “by acting on a person’s system of spiritual values, intellectual, emotional and physical capacities, the art stimulates the development of individual culture and socio-cultural integration and in such way adds to the general personal maturity process.” The variety of visual expression is a way through which the art can reach a person’s perception, act upon it and educate a versatile personality. The age of 5th –8th graders is a very special stage of personal development. Children become adolescents with changes in their thinking, reasoning, wishes and attitudes. Often children lose motivation to learn, “do not know how” to draw, express protest against surrounding environment. This stage of development is a turning point in a person’s creativity. In order to develop children’s further creativity, additional stimuli are necessary. The variety of visual expression is supposed to be a key in solving various creativity education problems. The subject of this work is the importance of the variety of visual expression during art lessons, and the role of such variety for the creative education of 5th –8th graders. The purpose of this work is to reveal the importance... [to full text]
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Kelly, Fiona. "Well-being and expression of self in dementia : interactions in long-term wards and creative sessions." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/207.
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This is a multi-method ethnographic study, grounded in symbolic interactionism and social constructionism, which seeks to explore the social worlds of people with dementia in institutional long-term care. Carried out over six months, it uses non-participant observation, Dementia Care Mapping, video-recording, focused conversations and extensive fieldnotes to document types of interactions that fourteen people with dementia received in everyday ward life and during weekly creative sessions facilitated by occupational therapy (OT) staff. Using Kitwood’s (1997) work on person-centred care and Sabat’s (2001) work on selfhood (Selfs 1-3) it identifies their responses to such interactions in terms of their well or ill-being and expressions of Self. The study shows that everyday staff interactions with participants, while sometimes positive, were more often limited in their potential for maintaining or increasing well-being. Sometimes staff interactions were abusive; causing participant ill-being. Participants expressed Selfs 1-3 verbally and visually, although some of these expressions were subtle, fleeting and fragile. During creative sessions, OT staff engaged in sustained positive interactions, raising participant well-being and facilitating Self-expression; a fragile expression of Self could become a robust expression of Self, a past Self could be reclaimed and a desired Self co-constructed. My findings suggest that, in their interactions during creative sessions, OT staff generally recognised and supported Self of participants, raising well-being. However, ward staff did not fully recognise and therefore could not support Self in their interactions with participants, resulting in participant ill-being. This is a crucial finding, which could partially explain the differences in interaction types I observed, and the corresponding differences in participant well-being and Self-expression. This thesis argues for integrating the selfhood and person-centred approaches into an innovative staff-training programme, in order to bring about transformational change in practice. This might encourage care staff to reach out, recognise and respond to aspects of Self as they carry out care; promoting more positive ways of interacting with their patients, increasing patient well-being and fostering staff satisfaction.
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Falkenhem, Helena. "Bildskapande : Redskapet för bättre självuppfattning?" Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1428.
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Abstract
The purpose of this investigation is to find out how the pupils can discover and to feel joy in their creative art activity and also to believe in their own ability. The aim is to figure out if creative art activity is able to raise the pupil’s self-image. By literature, pedagogue interviews, and interviews with pupils at the age of ten years old and by action research is the way that I have searched for an answer for my question. The main result is that fantasy, creativity, courage and lust are important parts to develop in the job of raising the self-image. The literature and the result of the interviews are unit and points at the feeling to succeed are decisive. As a pedagogue you have to create an allowing environment, give the pupil praise that is concrete and to have an attitude that means to be confident in the subject to teach. Through joint discussion about the creative art activity is also contributing to raise the pupil’s self-image. My conclusion is that the pedagogue has a big responsibility in the job of raising the pupil’s self-image through creating the correct conditions.
Keywords: self-image, creative art activity, creativity, expressio
Sammanfattning
Syftet med denna undersökning är att utforska hur eleverna kan upptäcka och känna glädje i sitt bildskapande, och även tro på sin förmåga. Meningen är att ta reda på om bildskapande kan vara ett redskap för att stärka elevens självuppfattning. Genom utvald litteratur och intervju med pedagoger, intervju med elever i år 4 samt aktionsforskning i samband med elevintervjuerna har jag sökt svar på min frågeställning. Huvudresultatet i min undersökning är att fantasi, kreativitet, mod och lust är viktiga delar att locka fram, för att stärka elevers självuppfattning. Litteraturen och intervjuerna påtalar också enigt att känslan av att lyckas är avgörande. Som pedagog ska man skapa en tillåtande miljö, ge konkret uppmuntran och att ha en attityd som innebär bland annat att vara bekväm med det medium man undervisar i. Gemensam bearbetning av elevernas skapande stärker elevernas självuppfattning ytterligare. Slutsats är att pedagogen har ett stort ansvar i arbetet med att stärka elevernas självuppfattning, i att skapa rätt förutsättningar. Då kan redskapet absolut vara bildskapande.
Nyckelord: Självuppfattning, bildskapande, kreativitet, uttryck
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Ladopoulos, Nalbantis Perikles. "Improvisera mera! : Improvisation som krydda eller som kitt i musikundervisningen." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2034.
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Syftet med studien är att undersöka i hur stor utsträckning undervisning i improvisation är ett bra verktyg för att uppnå syfte och mål för ämnesplanen i Musik i gymnasieskolan, hur lärare tolkar begreppet improvisation och hur de arbetar med det i klassrummet. Intresset för ämnet ligger i möjligheterna med improvisation som verktyg för att utveckla ett konstnärligt och personligt uttryck. I rollen som lärare upplevs att improvisation som verktyg inte används i den utsträckning som det kanske borde. Tre verksamma gymnasielärare i musik har ur ett hermeneutiskt perspektiv med kvalitativ intervju som metod intervjuats om deras definition av och arbete med improvisation. Resultaten visar att elevers musikaliska utveckling främjas av improvisationsundervisning. Resultaten visar också att lärare har en bred förståelse för begreppet improvisation, att de har insikt i hur det främjar elevernas musikaliska utveckling men att de inte helt och hållet utnyttjar improvisationsundervisningens potential. De vill införa sådan undervisning tidigare i elevernas utbildning men de vet kanske inte riktigt hur de ska gå tillväga. Slutligen diskuteras om improvisationsundervisning bör användas mer, hur undervisningen kan utformas samt när det är lämpligt att börja med improvisationsundervisning. Kopplingen i Skolverkets styrdokument mellan improvisationsundervisning och måluppfyllelse i ämnet diskuteras också.This study aims to examine to what extent teaching of music improvisation is a good tool for achieving the purpose and objectives of the syllabus of Music in upper secondary school, how teachers interpret the concept of music improvisation and how they apply it in the classroom. The interest in the subject lies in the possibilities of improvisation when being a tool for developing an artistic and personal musical expression. In the role as a teacher improvisation as a tool is perhaps not used to that extent it should. Three music teachers have, from a hermeneutic perspective using qualitative interview as a method, been interviewed on their definition and application of improvisation. The results show that students' musical development is promoted by the teaching of music improvisation. Furthermore, the results show that teachers have a broad understanding of music improvisation and that they have an insight into how it fosters students' musical development. However, they do not fully utilize the potential of improvisation teaching. They want to introduce it earlier in students' education, but they may not quite know how to. Lastly why the teaching of music improvisation should be used more is discussed as well as how it can be designed and when it is suitable to start with. The link between improvisation teaching and attainment in the subject of music in Skolverket's policy documents is also discussed.
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Masters, Jane. "An investigation into the nature of musical creativity and some of the factors that affect its expression and perception in musically trained and untrained individuals." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20259/.
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Creativity and its expression in music are central to the essence of what it means to be human (Hodder, 1998; Blacking, 1995), but are characterised by an elusiveness and multifaceted complexity that seem to both defy definition (Torrance, 1988; Netti, 2000) and hinder investigation (Hargreaves, 1986). Their function depends on powerful cognitive mechanisms which enable the individual to hold, shape, refine and reflect on ideas, for the most part unconsciously (e.g. Fauconnier & Turner, 2001; Boden, 1998; Pressing, 1988). This study has sought to appropriate such processes in order to access the individual's most fundamental capacity to be musically creative, employing the essentially intuitive, unmediated and universally accessible medium of vocal improvisation. Thus, 40 musically 'trained' and 'untrained' participants vocally improvised a melody based on a given chord scheme referent. These were transcribed, rerecorded instrumentally and randomly ordered on a CD from which seven expert and three non-expert judges could aurally evaluate their creative value (Amabile, 1982). The total scores of the expert and non-expert evaluation groups were separated and subjected to statistical analysis, in relation to the experience of formal instrumental (FIMT, Seddon & O'Neil, e.g. 2001) and singing (FST) tuition, highest and lowest ranking, repeated improvisational attempts, gender and age. The highest and lowest ranked improvisations were identified and subjected to musical analysis from their transcriptions. In relation to the musical content of the improvisations, the results demonstrated that the vast majority of musically untrained and trained participants were able generate essentially coherent melodies, many possessing quite detailed melodic, rhythmic and structural elements. There was also clear evidence of a propensitya climax and place it at, or just after, 'two-thirds' of the way through a melodie. In relation to the evaluations, both expert and non-expert evaluator groups produced some significant results although the often marked differences between them indicated that differing perceptual capacities and conceptual understandings were in operation. Thus the non-expert evaluations possessed a different kind of validity to those of the experts, based on more global and emotional criteria than the experts' more cognitive and specific focus. Both experts and non-experts agreed that age, and thus experience in a culture, was a significant factor in the ability to be musically creative. The effect of training was addressed by correlating the mean total ratings of the improvisations of participants with and without FIMT and FST, for which the expert and non-expert evaluation results showed different patterns. Thus while the non-expert results indicated a significant interaction between instrumental and singing training, those of the experts suggested that neither form of training had an effect on the production of creativity, as all four measures were remarkably similar.
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Pereira, Ana Lúcia Correia da Cruz. "Relatório da prática de ensino supervisionada em ensino de artes visuais no 3º ciclo do ensino básico e no ensino secundário "A influência da arte na sociedade - A utilização das artes visuais na comunicação de valores"." Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16335.
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No atual contexto do ensino, as artes são relegadas para segundo plano no currículo escolar, surgindo a necessidade de refletir sobre a consequência desse ato no futuro. Este texto pretende sensibilizar para a importância da arte na cultura. Questões como “Porquê ensinar artes?”, “Qual a sua importância no contexto educativo das escolas de hoje?”, “Será a arte fundamental no processo ensino-aprendizagem?”, “Poderá a arte comunicar valores à sociedade?” devem ser colocadas para melhor perceção dos valores em causa ao abdicar do ensino escolar a arte.
Serão abordados temas que ajudarão a refletir e a defender este ponto de vista, bem como a esclarecer algumas questões, tais como: o ensino da arte e sua influência no sucesso escolar; a sua importância no desenvolvimento cognitivo; a cultura visual; a autoexpressão; o papel da arte na inclusão social; a função social da arte; o papel da arte na comunicação de valores na sociedade; e finalmente, o trabalho realizado na prática de ensino supervisionada; ABSTRACT: Considering the contemporary situation of education, where arts tend to be relegated to second plan in schools curriculums, arises the necessity to reflect upon the future of society due to the consequence of this act. This text aims to sensitize the importance of art practices in culture. Questions such as: “Why teach arts?”, “What is its importance in the educational context of our schools today?”, “Is art fundamental in the teaching/learning process?”, “Can art communicate values to society?” should be asked for better perception of what is put at stake when setting a side art teaching in schools.
Various themes will be approached to help reflect and defend this point of view, as well as clear up any doubt regarding to: teaching art and its influence in school success; its importance in cognitive development; visual culture; auto-expression; arts role in social inclusion; the social role of art; the role art plays in communicating values to society; and finally, all work prepared during the supervised teaching practice.
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Álvarez, Font Mónica. "Estructuras mandálicas. Diagramas del saber y su aplicación en las pedagogías y procesos de la creación." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/376699.
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Esta investigación es consecuencia de dos intereses complementarios; el ejercicio de la creatividad a través de la práctica artística y la sensibilización con la urgente necesidad del desarrollo integral del ser humano. Todo ello confluye en el mándala; una imagen surgida de la creación y para la creación, una imagen estética a la vez totalizadora la cual organiza un determinado saber en torno a un núcleo fundamental.
El mándala en su uso actual no tradicional puede tener, en primera instancia, fines lúdicos así como de procurar estados de introspección y relajación, lo que favorece a otro nivel, el autoconocimiento, con la consecuente concienciación transpersonal, ya que la operatividad mandálica puede ofrecer un lugar de encuentro y aumento de la dimensión espiritual imprescindible en el enfoque holístico.
La investigación toma las estructuras mandálicas como objeto de estudio, indagando el origen y la fenomenología derivadas del mándala cultural indo tibetano. Se atiende también a las manifestaciones mandálicas de otras tradiciones como imagen portadora de orden y consecuente saber, poniendo en evidencia la naturaleza transcultural y atemporal del mándala.
También se exploran inevitablemente las estructuras y patrones mandálicos tan presentes en la naturaleza en los cuales podemos encontrar el mismo modelo de orden que sostiene la gran variedad de mándalas culturales.
Por otra parte se aborda el uso contemporáneo de las estructuras mandálicas con funciones psicoanalíticas al tratarse de una imagen integradora de los diferentes fragmentos de la interioridad humana; ya sea de tipo emocional, intelectual y espiritual, con su consecuente función sanadora.
Finalmente se contemplan diferentes manifestaciones mandálicas significativas dentro del ámbito de la creación artística. Todo ello con la finalidad de reevaluar la operatividad de estas estructuras, dilucidando sus principios activos implicados tanto a nivel geométrico como simbólico, con la intención de extraer conclusiones de sentido para su aplicación en las diferentes pedagogías, especialmente la de los procesos creativos, la cual estimo a su vez un medio de autoconocimiento y terapia.
La investigación está respaldada avivadamente por el trabajo de campo, el cual llevo a cabo cotidianamente en el ámbito de la pedagogía de las artes plásticas, por extensión pedagogía de la interioridad del educando, aplicando la versatilidad de la estructura y operatividad mandálica para facilitar los procesos creativos. Las aplicaciones pedagógicas con estructura mandálica que presento surgen dentro del ámbito de las Bellas Artes pero son adaptables y extensibles a otras disciplinas, puesto que la creatividad y el autoconocimiento son componentes transversales a todas ellas.
Estas propuestas didácticas son fruto del estudio de la estructura mandálica en sus diferentes ámbitos; indo budista, psicoanalítico, natural, diagramas del saber proto-científico, con la finalidad de promover la integración y la armonía del individuo desde su temprana infancia hasta la vida adulta, activando el reconocimiento de su propia interioridad a través de la práctica de la pintura mandálica, la cual considero un valioso recurso dentro del marco de la pedagogía holística ya que su versatilidad alcanza todas las áreas de la constitución humana.
En todo este trabajo subyace la convicción de; que el cambio y mejora de una sociedad primero pasa por el individuo, que las pedagogías y la educación son factores transformadores que moldean la sociedad, según el enfoque de éstas se obtendrán un tipo de sociedad más escindida o más íntegra, que en la estructura y operatividad mandálica encontramos un modelo de orden valioso para vehiculizar la pedagogía holística o integral.This research is the result of two complementary interests; The exercise of creativity through artistic practice and awareness of the urgent need of comprehensive development of the human being. All this comes together in the mandala; a picture emerged from creation and to create a totalizing aesthetic image which organizes a certain knowledge around a fundamental nucleus. The mandala in its nontraditional contemporary use may, in the first instance, have,ludic states as well as introspection and relaxation purposes, which favors in another level the self-knowledge, with the consequent transpersonal awareness, since the mandalic operability can offer a meeting point and an increase in the essential spiritual dimension in the holistic approach. The research takes mandalic structures as objects of study, investigating the origin and phenomenology derived from cultural Indo-Tibetan mandala. It also serves the mandalic manifestations of other traditions as image conveyor of order and consistent knowledge, highlighting the transcultural and timeless nature of the mandala. Inevitably they explore mandalic patterns and structures so present in nature in which we can find the same model of order that holds many cultural mandalas. Moreover, the contemporary use of psychoanalytic structures with mandalic functions to be an inclusive picture of the different fragments of human interiority is delt with, either emotional, intellectual and spiritual type, with its consequent healing function. Finally different mandalic significant events within the field of artistic creation are considered. All this in order to assess the operation of these structures, elucidating its active ingredients involved both at geometric and symbolic level, with the intention of drawing meaningful conclusions for application in different pedagogies, especially that of the creative process, which in turn I consider a means of self therapy. The research is supported by the fieldwork, which I carry out every day in the field of visual arts education, by extension pedagogy of interiority of the student, using the versatility of the structure and mandalic operatinal capacity to facilitate creative processes. Pedagogical applications with mandalic structures that I present, arise within the scope of the Fine Arts but are adaptable and extensible to other disciplines, since creativity and self-knowledge are transversal to all components. These educational proposals are the result of the study of the mandalic structure in different areas; Buddhist, psychoanalytic, natural, diagrams proto-scientific knowledge, in order to promote integration and harmony of the individual from early childhood to adulthood, enabling the recognition of their own interiority through the practice of mandalic painting, which I consider a valuable resource within the framework of holistic education as their versatility reaches all areas of the human constitution. The underlying conviction in all this work that change and improvement of a society come first through the individual, that pedagogies and education are transforming factors that shape society , according to such an approach a more divided or more close kind of society will be reached,then in the structure and mandalic operation we find a valuable model to convey a holistic pedagogy or an integral education.
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Wright, David George. "Creativity and embodied learning : a reflection upon and a synthesis of the learning that arises in creative expression, with particular reference to writing and drama, through the perspective of the participant and self organising systems theory /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030807.134153/index.html.
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Schultz, Lucy. "Creative Climate: East-West Perspectives on Art, Nature, and the Expressive Body." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18371.
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This dissertation defends the need for a renewed conception of nature as seen through the lens of an artist. By exploring how the relationship between art and nature has been conceived by 19th and 20th century European and Japanese philosophers (including Kant, Hegel, Schelling, Heidegger, Merleau-Ponty, Nishida, and Watsuji), I offer a way of thinking about artistic expression that recognizes the active, expressive character of artistic media and, more broadly, nature itself. Through an analysis of the embodied foundations of artistic creation, I develop a non-subjectivist account of expression that incorporates the climatic milieu. I maintain that the continuity between the embodied self and its life-world implies that the origin of creativity exceeds the will of the individual. This, in turn, implies that nature and the material on which art draws are expressive. According to this view, nature is not an indifferent realm of "mere" material and chemical processes distinct from the domain of culture and meaning. Rather, it is a creative climate from which the artist draws and to which the artist contributes. In conclusion, I maintain that this view has the potential to inform a more sustainable and ethically sound attitude towards the natural world.
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Touzzelti, Rim. "The Politics of Iranian and Palestinian Cinema: Expressing Dissent Through Creativity." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39262.
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The aim of this thesis is to challenge the common assumption that politics alone, as conventionally understood, are what governs societies. To put it differently, the goal is to argue that the cultural arena can also be political. The idea here is to look at how under certain political contexts, cinema becomes political, so obviously so that there is a “need” to censor it. Under such a constraining environment, cinema finds itself in need of finding its own language in order to counter this censorship. This marks the beginning of the creative process. Ultimately, this project makes the rather bold statement that cinema is not a simple entertainment, or else a propaganda tool, but can also be appropriated by the people, as a tool for resistance and opposition, through which dissident demands can be expressed in the face of hegemonic dominant powers using creativity and symbolism as the main processes.
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Jones, Glenda Claire. "An exploration of experiences and expressions of artistic creativity during adversity and resilient recovery." Thesis, Saybrook Graduate School and Research Center, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3594258.
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What is the experience of being artistically creative, undergoing a major interruption in creativity and, finally, transitioning through that interruption to return to being creative? There is important literature on resilience, yet little mention of creativity.
This qualitative multiple case study explored the roles creativity played in resilient coping, wellness, and actualizing human potential by revealing experiences and life changes preceding, during, and following adversity. An intentional sampling yielded six adults, two males and four females, who experienced prolonged disruption lasting at least six months that impeded ordinary creative activity. Possible factors pertaining to people, conditions, and events were assessed.
Research data included: (a) participant essay response to specific questions about experiences before/during/after disruption; (b) a semi-structured qualitative interview expanding on the essay; (c) artwork relating to the three periods examined, and (d) a follow-up phone interview. Artistic expressions included poetry, writing, paintings, music, and design. Tape-recorded interviews were transcribed for thematic content analysis to identify major themes for the individual participants for the three periods that were investigated, as well as a cross-case comparison.
Seventeen major areas of importance, found in one or more of the three periods, involved: 1) creative environment; 2) creative output; 3) emotions; 4) financial status; 5) healing modalities; 6) insight/self-discovery; 7) loss; 8) perception; 9) perseverance; 10) productivity; 11) renewed passion for creativity; 12) self-esteem; 13) skill/training/talent; 14) "something higher"; 15) support; 16) time/space; and 17) utilizing creativity. Five themes, reflecting an overall pattern for participants' process, were: 1) support; 2) self-esteem; 3) perception; 4) perseverance, and 5) insight and self-discovery.
Results showed that using one's creativity was not only vital for overcoming adversity, but that creative activity itself evolved to meet the circumstances. As they persevered, the participants reported finding more universal meaning in their creations. They also gained greater self-confidence, renewed optimism, and found increased compassion and respect for self and others. Unfortunately, not everyone with adversity will recover, and by studying survivors such as these, we can learn what nurtures resilient responses.
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Metcalfe, Jessica RheAnn. "Native Designers of High Fashion: Expressing Identity, Creativity, and Tradition in Contemporary Customary Clothing Design." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194057.
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American Indian traditional art forms have been reincarnated by contemporary Native designers and placed on human bodies in the form of haute couture. This project examines culture and identity through a historical and sociocultural analysis of contemporary Native American clothing design. This project focuses on the use of clothing design and adornment to promote cultural traditions and maintain a `Native' identity. I equate this communicative use of design with the traditional role of storytelling: it allows Native designers to express, interrogate and subvert notions of Indianness; to create and perpetuate cultural traditions; to enhance aesthetic aspects of dress design; and to build and maintain community.This project explores the world of Native high fashion, and provides a cultural contextualization and analysis pertaining to identity, creativity, and tradition. I hypothesize that these contemporary designers continue the long practice of incorporating the new with the old, and, in effect, creatively carry on their cultural traditions. Whether they update Native clothing styles of the 1800s, or Indianize contemporary fashion, these designers explore how modern cuts and materials can be blended with traditional cultural design concepts and symbols to create unique, expertly constructed, artistic, and highly valued garments. These artists have taken up new materials to display their traditional art forms in innovative ways to uphold and maintain their unique cultures, and to celebrate their heritage by educating a non-Indian buying public.Using an interdisciplinary approach, I attempt to gain an insider's understanding of Native fashion by interviewing principle actors in the industry, by observing and participating in cultural and trade events, and by researching its history in archived records, stories and garments. The goal of this research is to add to the sparse literature on Native clothing, art, creativity, and identity by providing the only comprehensive critical scholarship on contemporary Native American fashion design.
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Silva, Maria da Anunciação Branco da. "Prática de ensino supervisionada em educação pré-escolar." Master's thesis, Instituto Politécnico de Bragança, Escola Superior de Educação, 2011. http://hdl.handle.net/10198/5922.
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O relatório que se apresenta evidencia a expressão plástica como forma de criatividade em contexto do jardim-de-infância. Pretende-se relatar um trabalho, desenvolvido no âmbito da prática de ensino supervisionado, em contexto de jardim-de-infância, a apresentar à Escola Superior de Educação de Bragança, tendo como finalidade a obtenção do grau de mestre em educação pré-escolar. Neste sentido, descrevem-se algumas actividades realizadas ao longo do estágio e apresentam-se os resultados obtidos tendo presente que o objectivo final era aferir da importância da expressão plástica como factor criativo e alicerce para desenvolver outros saberes. Neste pressuposto, recorremos à revisão bibliográfica sobre a temática referida e procurámos avaliar as práticas educativas através de alguns instrumentos de recolha de dados. Neste caso, salienta-se nomeadamente a observação das crianças, utilizando o PIP, as fotografias e as suas produções gráficas com a intencionalidade de despertar e estimular nas crianças a vontade de se exprimirem de forma artística, livre e espontânea, respeitando, inteiramente o seu olhar sobre a realidade (s). Por outro lado este trabalho evidencia uma reflexão sobre a nossa prática pedagógica e, por conseguinte, permitiu repensar os modos de fazer, de agir e de avaliar no sentido de proporcionar às crianças aprendizagens com significado indo de encontro aos seus interesses considerando-se, na maioria das vezes, as suas ideias prévias.The report to be presented gives evidence on plastic expression as a form of creativity within a preschool environment. It is intended to present a project, developed in the framework of supervised teaching practice within the preschool context ,this to be presented to the School of Higher Education of Bragança, with the purpose of obtaining a master's degree in preschool education. In this sense, it describes some activities held throughout the training and presents the results gained, bearing in mind the ultimate objective was to assess the importance of artistic expression as a creative factor and foundation for developing other skills. On this assumption, we reviewed the literature on the subject and that we tried to evaluate the educational practices through a number of ways to collect the needed data. In this case, it is noted in particular the observation of children, using the PIP, the photographs and their graphic productions with the intention of alerting and stimulating in children the desire to express themselves artistically, free and spontaneous, respecting fully their look on reality. Moreover this work shows a reflection of our teaching practice and therefore allows us to rethink ways of doing, acting and to assess the effect of providing children with meaningful learning going towards their interests considering, in most times their own previous ideas.
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Fraser, Henry. "Copyright and culture : a qualitative theory." Thesis, University of Oxford, 2018. https://ora.ox.ac.uk/objects/uuid:cd4e645a-7e45-4309-bc68-e115e1fa306d.
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Copyright is conventionally justified as an incentive to produce and disseminate works of authorship. We can justify and theorise copyright more richly, not least because empirical evidence does not support the incentive narrative. Rather than focussing on quantitative matters such as the number of works incentivised and produced, we should consider copyright's qualitative influence on culture. A threshold objection to such an approach is the risk of cultural paternalism. This objection can be overcome. Rather than specifying paternalistic standards of merit for works, we can target the conditions under which their creation and consumption takes place. I argue, firstly, that we should adopt the following high-level principles: (i) that the conditions of creation and consumption of works should be conducive to democratic deliberation (democracy) and (ii) that they should facilitate the development of human capabilities (autonomy). Secondly, I propose that we pursue three mid-level objectives, which are helpful indicia of democracy and autonomy: - a fair and wide distribution of communicative and cultural power (inclusiveness); - diversity in the content and perspectives available to the public (diversity); and - conditions that permit authors and users of works to engage rigorously with the conventions of the media in which they operate (rigour). It is often said that copyright obstructs important qualitative objectives, like freedom of expression, and that we could better pursue these goals by weakening copyright and relying on non-proprietary alternatives. My approach produces a more optimistic, but also more complicated, view of copyright. While copyright's qualitative influence is not optimal, reductions in the strength and scope of copyright sometimes produces conditions and incentive structures that are worse for inclusiveness, diversity and rigour than stronger copyright. For example, both attention and wealth are highly concentrated in networked information economies driven by free sharing of content, and this is bad for diversity or inclusiveness. Online business models, based on surveillance of users' consumption of free works, are corrosive of autonomy and democracy. Merely removing copyright-based restrictions on the sharing of works is not a panacea for copyright's ills. A qualitative theory such as mine equips us to better understand and calibrate more richly the trade-offs involved in copyright policy decisions, and encourages us to treat copyright as part of a broader, qualitatively-oriented information and cultural policy.
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Carter, Fincha. "Expressive arts: Integrating Mind, Body and Soul - A way to creativity and wellbeing? : En kvalitativ intervjustudie med uttryckande konstterapeuter." Thesis, Mittuniversitetet, Institutionen för psykologi och socialt arbete, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42351.
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Peiffer, Christine-France. "De la créativité et de ses expressions chez les étudiants en grandes écoles." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCB209.
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Cette recherche en psychanalyse et psychologie projective questionne, sous l'angle de la créativité, le système des grandes écoles en France et celui des classes préparatoires, mode de formation le plus courant pour intégrer ces écoles (établissements élitistes, principalement de commerce et d'ingénieurs). Elle s'intéresse aussi au processus adolescent activement à l'œuvre chez les élèves qui, pour la plupart, trouvent en classe prépa, manière à traiter leurs conflits. Si l'adolescence pousse à la créativité, le passage en prépa favorise la sublimation, destin pulsionnel privilégié qui peut ouvrir aux plus belles créations. A partir de ces réflexions, étayées par l'analyse métapsychologique de la créativité et de son rapprochement avec la sublimation, nous conjecturons que les étudiants en grandes écoles, issus des classes prépas, pourraient s'avérer particulièrement créatifs. Concourraient à cette disposition une pugnacité au travail, mue par le désir inextinguible d'apprendre, ainsi qu'une certaine forme de nostalgie, relative à l'enfance envolée. Notre rencontre avec vingt étudiants - qui ont accepté de se prêter aux méthodes projectives - vient vérifier cette hypothèse : la distinction entre deux groupes d'étudiants, issus des classes prépas ou bien admis par d'autres voies, confirme l'expression plus aisée du potentiel créateur chez ceux du premier groupe. La recherche s'interroge ensuite sur l'exercice de la créativité après les diplômes, notamment lorsqu'elle se déploie dans le domaine des mathématiquesThis research in psychoanalysis and projective psychology examines the French « Grandes Ecoles » and preparatory class system, from the angle of creativity. These intensive courses called « prepa classes » are the most common way to enter the « Grandes Ecoles » (French Elite Establishments, mainly Business and Engineering Schools). This research also explores how the Teen prepa students, who are going through the adolescence process at work, can find way to resolve their conflicts through the prepa way of life. If adolescence impulses creativity, the prepa class system enhances sublimation, this pulsionnal conversion leading to the most beautiful productions. These considerations, supported by a metapsychological analysis about creativity and its link with sublimation, lead us to make the assumption that the "Grandes Ecoles" students, after the prepa classes, should be particularly creative. A strong dedication to work, moved by the very utmost desire of learning, as well as a touch of nostalgia, due to the loss of childhood, could reinforce this ability. We interviewed and tested - with projective methods - twenty « Grandes Ecoles » students, belonging to two groups : the first one had joined the Engineering or Business Schools after preparatory classes, the second one had joined them by other ways. Our results confirm that students from prepa classes show more easily their creative potential than the others . The research goes on to question how creativity is expressed after graduation and in particular, among top-level mathematicians
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Nemeth-Sauselen, Annette Kimberly. "Expressive and Traditional Group Counseling Approaches: Treatment Outcomes and Patient Satisfaction in a Combined Partial Hospitalization and Intensive Outpatient Program." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1610563382276869.
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Wiater, Aleksander Piotr. "Stimuler la parole à travers la peinture. L’entraînement à la créativité dans la perspective du développement de l’expression orale en langue étrangère." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015PA030006.
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Ce travail se donne pour objectif d’étudier le potentiel que présente le support pictural pour ce qui de développer l’expression orale en FLE. Les oeuvres d’art sont censées constituer, dans ce cadre, un déclencheur de la créativité et de l’imagination incitant les apprenants à s’exprimer de façon authentique, spontanée et, plus généralement, individuelle.Afin d’appréhender cette problématique, l’auteur analyse d’abord les valeurs éducatives de la peinture, relatives à la créativité et à l’imagination. Ensuite, il se concentre sur l’importance de l’intention personnelle dans la communication, d’un côté, dans le processus de l’élocution, et de l’autre, dans les échanges communicatifs. Enfin, la dernière partie des considérations théoriques embrasse une perspective résolument didactique, en analysant de manière critique les pratiques pédagogiques actuelles, en ce qui concerne l’exploitation du support pictural.La partie empirique comprend un compte rendu d’une recherche action, menée auprès d’un groupe d’étudiants polonais de FLE, afin de vérifier les conclusions théoriques. Le projet pédagogique, sous forme d’un entraînement à la créativité, recourt largement au support pictural, en visant à rendre les étudiants plus autonomes et plus authentiques dans leur manière de penser et de s’exprimer en FLE. Le projet permet de recueillir de riches données, analysées ensuite sous l’angle du potentiel didactique de la démarche appliquée.En somme, tant les considérations théoriques que l’étude empirique semblent confirmer la thèse que les tâches basées sur l’interprétation des oeuvres picturales stimulent le développement d’une compétence orale réellement personnalisée, tout en accroissant la créativité des apprenantsThis PhD dissertation aimed at examining stimulating aspects of painting in thedevelopment of the speaking skill in French as a foreign language. Following the assumed thesis, the author believes that a personalized contact with works of art activates in learners deposits of creativity and imagination, making them conducive to expressing their thoughts and beliefs in an authentic and spontaneous way, and in a broader perspective – personally.The theoretical part of the dissertation explores educational values of painting in its impact on creativity and imagination. It also discusses the role of personal communicative intention, analyzed from the perspective of speaking and communication. The final remarks in this part focus on the practical applications of works of art in the classroom and on a critical analysis of various techniques which resort to paintings.The empirical part of the dissertation documents a comprehensive action research carried out among a group of Polish students studying French philology. A research project designed by the author in the form of creativity training refers to paintings, and is supposed to foster students’ autonomy and authenticity in thinking and self-expression. The study provided an extensive collection of data, which have been analyzed for their applicability in the classroom.Concluding, both the theoretical considerations and the empirical research seem to justify the thesis that tasks based on interpreting paintings not only stimulate the development of students’ personal communicative competence, but also support their creativity
Celem niniejszej pracy doktorskiej było zbadanie stymulacyjnych walorów malarstwaw zakresie kształtowania sprawności wypowiadania się w języku francuskim jako obcym. Zgodnie z przyjętą tezą, osobisty kontakt z dziełami sztuki wyzwala u uczących się pokłady kreatywności i wyobraźni, skłaniając ich do wyrażania odnośnych myśli i sądów w sposób autentyczny i spontaniczny, a mówiąc ogólniej – osobisty.Teoretyczna część pracy rozpatruje walory edukacyjne malarstwa w aspekcie jego oddziaływania na kreatywność i wyobraźnię, a dalej zajmuje się rolą osobistej intencji komunikacyjnej analizowanej z perspektywy wypowiadania się i komunikacji. Końcowe refleksje tej części rozprawy skupiają się na dydaktycznym wykorzystaniu dzieł oraz na krytycznej analizie różnorodnych praktyk dydaktycznych opartych na obrazie.Z kolei część empiryczna referuje obszerne badanie w działaniu przeprowadzone wśród grupy polskojęzycznych studentów filologii romańskiej. Zaproponowany przez autora pracy projekt dydaktyczny w formie treningu kreatywności odwołuje się do malarstwa, co ma sprzyjać rozwojowi autonomii i autentyczności w myśleniu i wypowiadaniu się studentów. Badanie pozwoliło na zebranie bogatych danych, które zostały przeanalizowane pod kątem dydaktycznego potencjału zastosowanego podejścia.Podsumowując, zarówno rozważania teoretyczne, jak i badania empiryczne, wydają się potwierdzać tezę, iż zadania oparte na interpretacji dzieł malarskich nie tylko stymulują rozwój osobistej kompetencji komunikacyjnej uczniów, lecz również wspomagają ich kreatywność
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Hugosson, Therese. "Musikaliska uttryck – redskap, hinder och möjligheter : En kvalitativ studie om instrumentallärares syn på hantering av elevers internalisering av musikaliska uttryck." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31790.
Full textAbstract:
Syftet är att studera instrumentallärares syn på hantering av elevers internalisering av musikaliska uttryck. Det sociokulturella perspektivet med fokus på hur redskap påverkar internaliseringen är utgångspunkt för studien. Metoden utgörs av semistrukturerad intervju där fyra formellt och reellt utbildade instrumentallärare som arbetar på musik- eller kulturskola har intervjuats om vilka musikaliska uttryck de har i fokus i undervisningen och deras syn på hur elever lär sig musikaliska uttryck. Resultatet visar att det finns flertalet olika redskap för att nå musikaliska uttryck, bland annat eleven själv, musiken som sådan och den sociala omgivningen. Det viktigaste musikaliska uttrycksmedlet är rytm i förhållande till tempo. Resultatdiskussionen fokuserar på redskapens möjligheter och hinder för att internalisera musikaliska uttryck. Det sociala samspelet på lektionstid och i orkester samt fantasi, kreativitet och bilder framhålls som möjligheter för att internalisera musikaliska uttryck. Notläsning och musikaliska uttryck som sekundärt mål framhålls som hinder för att internalisera musikaliska uttryck. Det finns också varierande metoder att ta sig förbi hindren.The purpose of the study is to gain an understanding of instrumental teachers’ view on the management of internalization of musical expressions by pupils. The theoretical starting point of the study is the sociocultural perspective, with a focus on how tools influence the internalization. The method used was semi-structured interview. Four formally educated and experienced instrumental teachers who work in music or culture schools were interviewed about which expressions they focused on in teaching, and their view on how pupils internalize musical expressions. The results indicate that there are many tools to learn musical expressions; the pupil, the music itself and the social interaction, among others. The most important expression is rhythm related to tempo. The discussion focus on the possibilities and obstacles of tools to internalize musical expressions. The social interaction during the music lesson and in the orchestra, and fantasy, creativity and images are emphasized as possibilities to internalize musical expressions. Reading music and musical expressions as a secondary goal are emphasized as obstacles which can avert internalization of musical expressions. However, there are also a variety of methods to get pupils past such obstacles.
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Tsai, Brenda Yu-Hsin, and Annie Dabley. "KONSTNÄRLIGA OCH KREATIVA UTTRYCKSFORMER SOM ARBETSMETOD I OMSORGSARBETET." Thesis, Malmö universitet, Malmö högskola, Institutionen för socialt arbete (SA), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-42259.
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Psykisk ohälsa är en långvarig sjukdom som inte kan botas med enbart medicin (Bundensen m.fl. 2020). Tidigare forskningar menar de att det är ett alternativ att behandlas med olika konstnärliga och kreativa aktiviteter, som till exempel kreativt skrivande, musik, livsberättelse, dans, teatereller poesiför att individen ska få tillbaka sin självkänsla (Bundensen m.fl. 2020; Slattery m.fl. 2020). Syftet med denna studie är att undersöka vilka konstnärliga och kreativa metoder som finns och hur yrkesverksamheter inom psykisk ohälsa använder sig utav dessa metoder för att hjälpa personer med psykisk ohälsa. En kvalitativ metod har använtsi denna studie för att besvara studiens frågeställningar. Datainsamlingen skedde genom semistrukturerade intervjuer och ett målinriktat urval användes för att rekrytera intervjupersonerna. Vi intervjuade sex personer som verksamma inom psykisk ohälsa. Dessa personer har en akademisk utbildning inom teater, uttryckande konst och pedagogik. De insamlade materialen analyserades med innehållsanalys.Resultatet blev sex olika teman: Empowerment, gemenskap,KASAM, kompetens och metod, samverkan och känslouttryck. Samt att personalen på verksamheterna arbetar med olika konstnärliga och kreativa metoder för återhämtningsprocessen för personer som drabbats av psykisk ohälsa. Personer med psykisk ohälsa behöver gemenskapen för att utveckla KASAM. Konstnärliga och kreativa metoder ökar individens välmående, självkänslan och självförtroende (Bundensen m.fl. 2020; Slattery m.fl. 2020)
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Balit, Etienne. "Vers des robots animés : outils et méthodes pour l'intégration d'artistes animateurs dans la conception de robots sociaux expressifs." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAM056.
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Autrefois seulement objets de laboratoire, les robots sociaux commencent à arriver dans les foyers, les écoles, les hôpitaux et les maisons de retraite, et deviennent les compagnons de notre éducation, de notre santé et de notre bien-être. Ces premières commercialisations de robots sociaux confirment l'importance de l'interaction homme-robot anticipée par les chercheurs. En effet, la communication non verbale formant une part majeure de la communication chez l'Homme, celui-ci ne peut s’empêcher d'interpréter les mouvements et les comportements des robots comme l'expression d'états mentaux. Cet impact de l'expressivité des robots sociaux implique que leur conception se doit d’être soignée pour ne pas perturber l’interaction.Les domaines du jeu vidéo et des films d'animation se sont intéressés depuis longtemps à la création de tels mouvements expressifs. De nombreux outils et méthodes ont ainsi été développées afin de faciliter la création de mouvements de personnages virtuels. Ces outils ont permis de combiner les avancées technologiques aux talents d'artistes animateurs passés maîtres dans l'art de donner vie à des personnages. Partant de ce constat, l'objet de cette thèse est la conception d'outils et de méthodes permettant d'intégrer des artistes animateurs dans le processus de conception des robots sociaux. Nous explorons en particulier les adaptations minimales du processus créatif des artistes animateurs rendues nécessaires par les spécificités du medium robotique.Les contributions de cette thèse sont les suivantes :- Un framework pour le prototypage de robots sociaux animés, fondé sur la mise en correspondance et la synchronisation du robot physique avec un robot virtuel animé dans un outil d'animation de personnage 3D.- Un second outil d'animation robotique intégrant la manipulation directe dans le processus d'animation par poses clés.- Une méthodologie pour la création d'animation paramétrique au travers de la collaboration d'un artiste animateur et d'un développeur, ainsi que les outils et interface logiciel facilitant cette collaboration.- L'évaluation par des artistes animateurs de l'outil d'animation de robot par manipulation directe et de la méthode de généralisation d'une animation à des nouvelles contraintes géométriquesOnce only experimental devices, social robots are beginning to arrive in homes, schools, hospitals and nursing homes. They are becoming companions of our education, health and well-being. These first commercial launches of social robots confirm the importance of the human-robot interaction anticipated by researchers. Indeed, since non-verbal communication forms a major part of communication in humans, we cannot help but interpret the movements and behaviours of robots as the expression of mental states. This effect of the expressiveness of social robots implies that they must be carefully designed to avoid disrupting the interaction.The fields of video games and animated movies have long been interested in the design of such expressive movements. Many tools and methods have been developed to support the creation of virtual character movements. They have made possible the combination of the latest technological advances with the talents of animation artists who are masters in the art of bringing life into characters. From this observation, the focus of this thesis is the design of tools and methods to integrate animation artists into the design process of social robots. In particular, we investigate the minimal adaptations of the creative process of animation artists made necessary by the specific characteristics of the robotic medium.The contributions of this thesis are as follows:- A framework for prototyping animated social robots, based on mapping and synchronizing the physical robot with an animated virtual robot in a 3D character animation tool.- A second robotic animation tool integrating direct manipulation into the keyframing animation process.- A methodology for designing parametric animation through the collaboration of an animation artist and a developer, as well as the tools and software interface to support this collaboration.- The evaluation by animation artists of the robotic animation tool by direct manipulation and of the method of generalization of an animation to new geometric constraints
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Kuo, Ming-Tsai, and 郭明采. "Multiple Solution Tasks Observations from Math Gifted in Geometry Creativity Expression." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/5g53de.
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碩士國立臺北教育大學
數學暨資訊教育學系(含數學教育碩士班)
102
This dissertation mainly discusses (compares) that the differences of the strategies in geometry between talented students and average students. It regards that in mathematics courses teachers could inspire students to explore various ideas, when they ask the students to solve problems in lots of different ways. The research is a case study and focus on paper tests, videos and interviews to compare two cases. It shows that the relationship between students’ creativities, various strategies influences how the students solve problems, when they try to answer non-routine math problems. The cases are from two groups: one is the competitors of the Asia-Pacific Mathematical Olympiad for Primary Schools (APMOPS) in Hwa Chong Institution, the other is sixth graders in a elementary school in Taipei City. In the result, it points out the talented students perform well on correctness and variety of strategies, when they are using various ways to solve problems. Besides, it helps them to develop the connection between different knowledge patterns. There is a huge difference between talented students and average students who are separated into three levels; the talented students perform better than average students, especially on correctness and problems solving strategies. In addition, in average student group, higher-level ones could do it better than lower ones. Probably, the reason of students’ failures is without enough patterns and incorrect strategies. Moreover, it is hard to double check correctness through various strategies for average ones; it means that the lower-level students perform worse then others. Therefore, this dissertation suggests that teachers increase knowledge patterns for low-level students during various problems solving teaching process.
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Flores, Edgar. "Roboscope : a rebotic input : output device for enhancing computer aimators creativity and expression." Thesis, 2004. http://hdl.handle.net/2429/15420.
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We describe a novel three dimensional (3D) bi-directional modular input/output device
for choreographing and animating computer creatures called Roboscope. Our system
consists of small, one degree of freedom robotic modules that can be assembled to create
1, 2 and 3 degree of freedom joints that are assembled into moveable and moving figures.
As an input device, movement of the physical figure makes the computer figure move.
As an output device, movement of the computer figure makes the physical figure move.
Roboscope keeps the input and output workspace together and provides true multi-degree
of freedom joints that enables animators to keep their attention focused on one task space
rather than dividing it between screen and physical space. Roboscope also provides
physical playback of stored movements and "undo" abilities for motion editing. These
features support the animators' creative and expressive process better than current inputonly
devices.
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Henderson, Patti Gail. "Creativity, expression, and healing: an empirical study using mandalas within the written disclosure paradigm." Thesis, 2007. http://hdl.handle.net/1969.1/ETD-TAMU-1604.
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Empirical research regarding the therapeutic value of creative artistic expression in dealing with symptoms from traumatic events is lacking. James Pennebaker has studied the efficacy of written expression regarding traumatic events in promoting mental well-being. Individuals who have difficulties with cognitive processing (e.g., learning disorders) often lack the faculties necessary to form a cohesive written narrative. There are also individuals who lack a strong enough command of written language to engage in a written disclosure task, such as children and those who are illiterate or undereducated. These populations are unlikely to benefit from written disclosure simply because they lack the capacity to write at such a sophisticated level. Disclosure of trauma by such individuals might be better accomplished symbolically through a creative artistic task rather than through written or verbal channels. Furthermore, because the task is symbolic in nature, it may be a safer and more comfortable means of disclosing trauma for individuals who are reluctant to divulge such information out of fear or shame surrounding the event. The primary purpose of this study was to examine the healing aspects of creativity; specifically the usefulness of creating a mandala. It was theorized that mandala drawing may provide the cognitive integration and organization to complex emotional experiences that yield a sense of personal meaning as well as serving as a mechanism of therapeutic exposure, as does the written disclosure task. By reviewing research in this field and attempting to duplicate previous research, this study used undergraduate college students as participants who met the criteria for Post Traumatic Stress Disorder (PTSD). The benefits were measured in terms of changes in PTSD symptom severity, depression, anxiety, spiritual meaning, affect, and the frequency of occurrence of physical symptoms and illness. Contrary to expectation, the current study failed to replicate previous results revealing statistically significant outcome differences for the mandala group. In fact, the finding was reversed in that the control group (drawing three objects or a kind of art therapy) showed a significant drop in PTSD symptoms at one-month follow up. Explanations for these differences are explored and future avenues of research outlined.
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"Dance as a Vehicle for Expression in Children with Autism Spectrum Disorder: Discovering Personal Expression for Their Creative, Physical Being." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.29611.
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abstract: ABSTRACT
This study intended to provide people diagnosed with autism spectrum disorder a creative outlet to experience dance and other art forms as a way of expressing themselves. Other potential benefits were observed throughout the exploration, including social interaction, coordination, and confidence. An interpretive phenomenological research model analyzed participant and parent verbal reflections, written feedback, and video recorded movement sessions to understand and interpret the participant's experience and the potential value of creative movement. The study was conducted over a seven-week period, which included 13, 30-minute movement sessions held biweekly along with interviews, discussions, surveys, and journaling. The research revealed dance empowered each participant to explore his/her creativity and exercise personal expression. The feedback received from the participants and parents through interviews and reflections revealed the participants did exercise and discover social, physical, emotional, and creative expression throughout the study.Dissertation/Thesis
Masters Thesis Dance 2015
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Burns, Natasha A. "Female creativity, expression and desire in Virginia Woolf's "Night and Day" and Leonard Woolf's "The Wise Virgins"." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1463945.
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"Teachers’ Perspectives on Media Educational Practices in Elementary School Classrooms." Thesis, 2015. http://hdl.handle.net/10388/ETD-2015-01-1912.
Full textAbstract:
This thesis reports on a qualitative case study that explores the perceptions of seven elementary school teachers on the concept of media educational practices in the classroom. This study explores the opinions of selected elementary school teachers concerning media educational practices in the elementary classrooms. These perspectives may assist learners to explore their self-identities, develop critical thinking, express and practice creativity, represent their social position, and foster critical consciousness. The study participants included seven elementary school teachers who have adopted various modes of media educational practices in their teaching praxis utilizing technology and their conceptualizations of media education. One primary research question was addressed: What are elementary school teachers’ understandings of critical media education in the classroom? Three sub-questions have been used to inform the primary research question in three categories of contexts, processes, and outcomes. Through data collected by a semi-structured interviewing method, this study describes and analyzes personal teaching experiences of elementary teachers to provide a deeper understanding of the context of media education, the instructional process for developing critical thinking and creative expression, and the criteria for measuring competencies in media education outcomes. This research highlights teachers’ perspectives on the successes and challenges associated with their efforts to implement media literacy into school curricula; and on the importance of cross-curricular integration of media educational practices in elementary classrooms. The findings of this study provide insights into the importance of cross-curricular integration of media educational practices associated with critical thinking and creative expressions in elementary classrooms. These practices play a significant role for both students and teachers in becoming change agents in a dynamic teaching and learning environment that promotes critical thinking, creativity, and positive transformation for self and community.
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Wang, Chung-Yuan, and 王中元. "The Mediating role of Negative Emotion and Feedback-Seeking on The Relationship Between Supervisor’s Negative Emotional Expression and Subordinate’s Creativity." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/60967295696696649212.
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博士中國文化大學
國際企業管理學系
103
This study aims to explore the relationships between supervisor’s negative emotional expression toward different targets and subordinates’ creativities. Based on Van Kleff’s (2009) Emotion as a Social Information Model (i.e. EASI), this study makes subordinates’ negative emotion and feedback-seeking as mediators to explore whether supervisor’s negative emotional expression toward different targets (subordinate self-focus or other-focus) will impact on subordinates’ creativities through mediating mechanism of subordinates’ negative emotion and feedback-seeking. 300 employees of service industries were our research samples through convince sampling. Findings of this study were as follows: (1) Supervisor’s negative emotional expression toward subordinate (self-focus) would be related positively to subordinates’ negative emotions. (2) Subordinates’ negative emotions would be related negatively to their creativities. (3) Subordinates’ negative emotion as a mediator between supervisor’s negative emotional expression toward subordinate self-focus and subordinates’ creativities. (4) Supervisor’s negative emotional expression toward other subordinate (other-focus) would be related positively to subordinates’ feedback-seeking. (5) Subordinates’ feedback-seeking would be related positively to their creativities. (6) Subordinates’ feedback-seeking as a mediator between supervisor’s negative emotional expression toward other subordinate’s and subordinates’ creativities. (7) Supervisor’s negative emotional expression toward other subordinate (other-focus) would be related negatively to subordinates’ negative emotions. (8) Subordinates’ negative emotion would be related negatively to subordinates’ feedback-seeking. Finally, discussions and future suggestions will be found in this study.
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Conceição, Raquel Sofia Guerreiro da. "A arte na educação infantil. A importância para o desenvolvimento infantil." Master's thesis, 2015. http://hdl.handle.net/10400.26/21565.
Full textAbstract:
O presente relatório dá conta de um estudo de caráter descritivo com o intuito de analisar o papel que a arte tem no desenvolvimento infantil. Com este objetivo cen-tral, definiu-se como questão de investigação «Qual a importância das expressões na arte para o desenvolvimento da criança?», tendo esta servido como fio condutor para este estudo. Partindo desta questão principal, identificou-se um conjunto de questões de pesquisa, a saber: a) qual o contributo das expressões/ Educação pela arte no desen-volvimento das crianças? Como é que são implementadas as expressões nas salas de pré-escolar? E quais as representações por parte das educadoras sobre a utilidade das expressões no desenvolvimento global das crianças?
Para dar resposta a estas questões, bem como aos objetivos inicialmente defini-dos: a) conhecer e analisar o modo como são implementadas as expressões em salas de pré-escolar e b) reconhecer a importância das expressões no desenvolvimento global das crianças, desenvolveu-se um trabalho empírico que procurava a descrição das conceções de um grupo de profissionais (educadoras e especialista na área das expressões) sobre o papel da arte nas suas práticas e no desenvolvimento da criança.
Neste sentido, o desenho metodológico baseou-se num estudo de caráter qualitativo, tendo-se optado pela técnica de entrevista como instrumento principal de recolha de dados. Estas entrevistas de caráter semiestruturado foram feitas com base num guião de entrevista e foram posteriormente analisadas.
Os resultados obtidos com as entrevistas permitem tecer algumas considerações finais, a saber: na opinião das várias profissionais, a arte é fundamental e tem um papel fulcral no desenvolvimento da criança; as expressões são consideradas pelos vários participantes como promotoras e estimuladoras dos domínios sensorial, cognitivo, emocional e social e do desenvolvimento global da criança.This report gives an account of a descriptive study in order to examine the role that art has on child development. With this central goal, it was defined as research question "What is the importance of expressions in the art for the development of the child? ', question that served as a guide for this study. From this main issue, we have identified a set of research questions, namely: a) that the contribution of expressions / Education for art in the development of children? How are they implemented the expressions on pre-school rooms? And what representations by the educators about the usefulness of the expressions in the overall development of children? To address these issues, as well as the goals initially set: a) understand and analyze the way they expressions are implemented on preschool and b) recognize the importance of expressions in the overall development of children, and it was developed an empirical study that sought description of conceptions of a group of professionals (teachers and expert in the art field) about the role of art in their practices and child development. In this sense, the methodological design was based on a qualitative study, having opted for the interview technique as the main instrument of data collection. These semi-structured interviews were made based on an interview guide and were later analyzed. The results obtained from the interviews allow us to make some final considerations, namely: in the opinion of many professionals, art is important and plays a central role in the development of the child; expressions are considered by many participants as pro-moting and stimulating the sensory, cognitive, emotional and social domains and the child's overall development.
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Carvalho, Joana Filipa Peixeiro De. "A importância da expressão plástica no pré-escolar: como promover o interesse da criança para a expressão plástica?" Master's thesis, 2020. http://hdl.handle.net/10400.26/33003.
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O mundo que nos rodeia está envolvido em arte, e como tal, esta faz parte do dia-a-dia das crianças.
As atividades que são realizadas em sala de pré-escolar submetem a criança para a sua criatividade e imaginação, como tal podemos dizer que ao realizarem uma atividade, as crianças estão a envolver a arte na sua realização.
O que constatei no estágio, foi que na sua maioria, as crianças da sala de pré-escolar exploravam todas as áreas da mesma, mas apenas utilizavam a área da expressão plástica quando eram incentivadas a tal pela realização de alguma atividade proposta pela educadora. Sendo assim, quis com este relatório compreender como é que pudemos estimular a criança para a expressão plástica.
Para a realização da questão-investigação, “Como promover o interesse da criança para a expressão plástica?», foi utilizada a metodologia de investigação-ação. Propus então na sala de pré-escolar, a sala de atividades 1, que o grupo alterasse a área da expressão plástica para poder melhor usufruir da mesma e realizar um trabalho em conjunto para identificar os materiais disponíveis na área.
Esta metodologia presume que todo o seu processo e desenvolvimento, seja centrado quer na ação, quer na investigação. Pretende, fundamentalmente, ser uma metodologia que ajude a melhorar a prática onde a ação está a ser desenvolvida.
Usando a metodologia de investigação-ação, foi indispensável, não só realizar a observação no contexto, mas também intervir de forma a poder atingir os objetivos subentendidos a este trabalho.
Contudo, cheguei a algumas conclusões que irão facilitar o meu percurso como educadora, em relação à disposição dos materiais na área da expressão plástica. No entanto tenho consciência que estas conclusões poderiam ser diferentes se fossem realizadas em diferentes contextos, com diferentes grupos de crianças, podendo assim ter uma maior diversidade de observações e conclusões.The surrounded world is involved in art, it belongs to the child daily routine. The activities done in kindergarten rooms submits the child to be more creative and to have more imagination. So, we can say that when children are involved in any activity they are doing it with art. I realized during the observation period, that most of the children were exploring all the different activity areas in the kindergarten room, but they only used the area of plastic expression when the teacher promoted an activity. So, I would like to understand how we can encourage them to enrol in plastic expression activities, autonomously. To answer the research question, “How to promote the child int erest in plastic expression”, was used a methodology of action-research. I suggested that in the kindergarten, in the activities room 1, that the group could change the artistic expression area, like this they can enjoy it better. This methodology presumed that all the process and development has a focus in action and research. It intends, fundamentally, to be a methodology that helps getting a better practice where action is being developed. Using this methodology, was useful, not only for data gathering from observing but also to achieve the objectives of this project. The investigation was made in a kindergarten room. However, I took some results that, I believe, will make my way as a teacher, concerned the place where the artistic expression area is. I know these conclusions could be different, if they were done in distinct contexts with distinct groups of children. So, we could have a diversity of observations and conclusions.
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Marinho, Ana Isabel Neto Gonçalves. "A expressão musical e as suas múltiplas funções no jardim de infância e na creche." Master's thesis, 2013. http://hdl.handle.net/1822/28870.
Full textAbstract:
Relatório de estágio de mestrado em Educação Pré-EscolarO presente relatório de estágio tem por base o estágio curricular realizado nas valências do préescolar e da creche, incluído no plano de estudos do Mestrado em Educação Pré-Escolar. O título “A expressão musical e as suas múltiplas funções no jardim de infância e na creche” resulta de inúmeras observações realizadas nos contextos onde foi desenvolvida a prática pedagógica. Estas dão conta das funções atribuídas pelas crianças a esta componente, que integra a área da expressão e comunicação das Orientações Curriculares para a Educação Pré-Escolar, usada para relaxar, para antecipar momentos da rotina, para transitar de atividades, para socializar, para interagir e até mesmo para “mudar de assunto”. Também a consulta dos documentos orientadores da prática profissional, como o Projeto Pedagógico e o Projeto de Sala, foi uma mais-valia, na medida em que ajudou a clarificar algumas propostas de intervenção, tornando possível o desenvolvimento de um trabalho mais contextualizado e sistemático com aquilo que era o trabalho das educadoras ao nível da expressão musical. Assim, o tema trata, essencialmente, a importância da expressão musical na educação de infância, sendo inquestionável os seus contributos para as capacidades de expressão e de comunicação, de conhecimento emocional e relacional, para além das influências na inserção da criança na sua própria cultura, na criação de suportes que permitam desenvolver a criatividade e a imaginação e no desenvolvimento do sentido estético. Também se aborda o som e a música, a escuta sonora e musical, a voz e o canto, os instrumentos e o movimento, elementos essenciais para o desenvolvimento musical da criança. Estas componentes são olhadas a partir de referenciais teóricos com vista a uma compreensão mais aprofundada das mesmas. Portanto, o objetivo primordial do projeto de intervenção foi o de criar oportunidades que permitissem às crianças, por um lado, contactar com contextos musicais, ricos e significativos, e, por outro lado, explorar a música e desenvolver esta linguagem expressiva.
This internship report is based on the curricular internship accomplished in the presschool and nursery areas, included in the study plan of the presschool education Master’s degree. The title “The musical expression and its multiple functions in the kindergarten and nursery” results from numerous observations performed on the contexts where the pedagogical practice was developed. These allow the understanding of the functions the children associate to this component, which constitute the expression and communication areas of the Curricular Orientation to Presschool Education, used to relax, to anticipate the daily routines, to transit from activities, to socialize, to interact and even to “change the subject”. Also the consultation of guiding documents of the professional practice, such as the Pedagogic Project and the Classroom Project, were an asset as it helped to clarify some proposals for intervention, making possible the development of a more contextualized and systematic approach with what was the educator’s engagement to the musical expression level. Therefore this paper treats, essentially, the significance of the musical expression in education, being unquestionable its contributes to the expression capabilities and communication of the relational and emotional knowledge, beyond the influences of the child insertion in its own culture, in the creation of supports to enable the development of the creativity and imagination and in the development of the aesthetic sense. It also approaches the sound and the music, the sound and musical comprehension, the voice and the singing, the instruments and the movement, essential elements to the musical development of the child. These components are looked from the theoretical references in order to have a more profound understanding of them. Consequently, the primordial purpose of the intervention project was to create opportunities to allow children, on one side to contact with more rich and significant musical contexts and on the other hand to explore the music and develop expressive language.
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Moreira, Cláudio Rocha. "Relatório da prática profissional e projeto de intervenção : o papel da criatividade em exercícios composicionais com regras estritas." Master's thesis, 2017. http://hdl.handle.net/10400.14/23829.
Full textAbstract:
O relatório da prática profissional aqui descrito evidencia uma ação interventiva numa
turma de primeiro ano da disciplina de Análise e Técnicas de Composição. Esta intervenção
teve como objetivo fundamental promover a criatividade em exercícios composicionais com
regras estritas características de diferentes técnicas de épocas da história da música. O que
motivou a intervenção foi a identificação, a partir da análise em aula, da falta de criatividade
dos alunos da turma mencionada. A par do objetivo fundamental desta intervenção, também se
tornou importante a intenção de conferir uma valorização da expressão pessoal aos exercícios
compostos pelos alunos, retirando o peso da avaliação quantitativa, tornando os resultados
produtos finais de uma expressão artística do aluno.The report of the professional practice described here evidences an intervention action in a class that attends to the first year of the discipline of Analysis and Techniques of Composition. This intervention had as fundamental goal promote the creativity in compositional exercises with strict rules characteristic of different techniques of eras of the music history. What motivated the intervention was the recognition, from the analysis in class, of the lack of creativity in students of the mentioned class. In addition to the fundamental goal of this intervention, there was also an intention to value a personal expression to the students’ exercises, removing the significance of quantitative evaluation, there so making the results into a final product of an artistic expression of the student.
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Fang, Ya-wei, and 方雅薇. "The Study of the Expression of Creativity in Paintings by Sixth Grade Students after Watching Fantasy Animations: A Case Study of a Class in Min Tsu Elementary School of Kaohsiung City." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/33820986058448024258.
Full textAbstract:
碩士國立屏東教育大學
視覺藝術教育學系
100
This study investigates the expression of creativity in paintings by 34 sixth grade students who have finished watching fantasy animations. This study applies qualitative research methods, including group discussions, participant observation, interviews, artwork analysis, plus questionnaire method. Based on Torrance’s “creative strengths”— 17 criterion-referenced measures, and Williams’ Creativity Assessment, I designed the "Student’s Creativity in Painting Assessment Chart". The chart measures 20 dimensions of creativity and allows me to do painting evaluations and impact studies. Finally, I discuss using work-sharing as an appreciation strategy and see if it can enhance students'' appreciative creativity. My research objectives are: 1) to study the impact of fantasy animations on the creative visual interpretation of sixth grade students; 2) to see the differences in the amount of creativity by comparing students'' paintings done before and after watching fantasy animation; and 3) to explore the effectiveness of work-sharing as an appreciation strategy, and to understand how it inspires students’ visual appreciation creativity. My research findings are as follows: 1. Watching fantasy animations does affect students’ creative visual interpretation. 2. Watching fantasy animations can effectively improve expression of creativity in paintings. 3. Using work-sharing as an appreciation strategy can encourage students’ appreciation creativity. Based on the findings, I have drawn the following conclusions and would to like to offer some suggestions for future research. This research has provided a framework on using animations for implementing creativity education, and hopefully it can also serve as an inspiration for teaching and future research. In the meantime, the researcher should continue to improve his or her ability to use multi-media for diverse teaching purposes.
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Pažoutová, Renata. "Domov není jen slovo." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-304085.
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Art provides the possibility of specific and multilateral influences on the personality development of preschool children. This work aims to instruct, through creative development techniques, ways to achieve the pre-defined pages of childrens' personalities in kindergarten during one school year. There have been positive changes in cognitive and emotional levels concerning the development of social relations, and also the deepening sense of personal feelings and ability to express both verbal and artistic creation.
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Khanna, Mukti. "A Phenomenological Investigation of Creativity in Person Centered Expressive Therapy." 1989. http://trace.tennessee.edu/utk_graddiss/937.
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The field of creative or expressive arts therapies seeks to harness the power for'creative expression to the process of psychotherapy. Although expressive arts therapies are increasingly being used with a variety of populations, including the elderly, the disabled, intergenerational, and cross-cultural groups, a comprehensive theory of expressive arts therapies has yet to emerge. In addition, there is a paucity of research of what works in such therapies. A comprehensive theory of expressive arts therapies, however, can only emerge from the expressive arts themselves, reflecting the uniqueness of the creative process that is at their foundation. Qualitative research focusing on the experience of creativity in expressive therapy settings may be an essential step toward the development of a theory of expressive therapies.
Using phenomenological research methods, this study explores the experience of creativity in relation to training programs conducted at the Person Centered Expressive Therapy Institute (PCETI). Coparticipants were eighteen adults, ages 27 through 65, involved in the institute from a variety of national and international locations. A dialogical research interview was chosen to study the experience of creativity in the context of PCETI. Written transcripts were made from the audiotapes of interviews and used to develop themes that described coparticipants' experiences of feeling creative. A structure of the experience of creativity in relation to PCETI emerged consisting of seven themes: experiencing the creative connection, universality, sharing, trusting, allowing, freeing, and empowering. Methodological checks were incorporated into the data analysis to ensure rigor. The use of a scoring manual and fidelity checks of the themes to coparticipants' experience and the researcher's colleagues' understanding of the phenomenon are described in the context of a qualitative research paradigm.
Results are discussed in relation to PCETI, the person centered approach, expressive therapies, and transpersonal paradigms. The results of this study have implications for the development of a theory of expressive arts therapies and for expanding applications of the person-centered approach. Results also suggest phenomenology provides a rigorous, yet compatible, methodology to research expanding applications of the person-centered approach as well as other realms of humanistic psychology.
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Fernandes, Liliana Raquel Dória. "Atividades expressivas na educação pré-escolar." Master's thesis, 2016. http://hdl.handle.net/10400.26/20629.
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O presente estudo tem como propósito analisar a ação educativa no âmbito das Expressões Artísticas na Educação Pré-Escolar, recorrendo à opinião de Educadoras de Infância de dois tipos de estabelecimentos de ensino, um público e um privado.
Este estudo pretende defender a importância de sessões artísticas no desenvolvimento e comportamento das crianças. Pretende-se ainda demonstrar a importância de cada uma das expressões artísticas e como cada uma delas contribui para o desenvolvimento individual e coletivo de cada criança.
Sendo as Expressões um dos domínios trabalhados na Educação Pré-Escolar e tendo este domínio um papel primordial na aquisição de competências e aprendizagens da criança e assumindo cada uma das expressões um papel fundamental no desenvolvimento das crianças, é importante que se promova de forma precoce atividades deste âmbito em salas do jardim-de-infância.
Este estudo contou com a participação de seis Educadoras que gentilmente cederam o seu testemunho, partilhando o seu saber e experiências e algumas das suas preocupações face ao tema em questão. A recolha de dados teve como principal instrumento a entrevista dirigida às profissionais de Educação. Do processo investigativo, concluiu-se que as educadoras conferem bastante importância à implementação de atividades artísticas e consideram estas como benéficas para o desenvolvimento intelectual, social e motor de cada criança. Por outro lado, constatou-se que as atividades expressivas mais frequentes são as atividades de expressão plástica. Conclui-se, ainda, que é necessário apostar na formação complementar nas áreas de expressões, principalmente na área de expressão dramática e musical.Artistic Expression is the core as far as acquiring skills and abilities by young children is concerned. In fact, when we regard youngster’s development as a whole, we become aware that artistic activities must be set down in kindergarten. The purpose of this study is to analyse the role played by the Artistic Expressions within Preschool Education. Therefore, in the theoretic conceptual framework we research on the importance of well-planned artistic sessions towards the infants enhacement and behavioral construct both as an individual and as a citizen to be. This research was focused on the point of view on this subject born in mind by six Educators, from two types of schools, one Public and one Private, who shared their knowledge, experiences and concerns on this subject. By the analysis of the data obtained through the interviews and supported by theoretical consultation, we found that Educators do give importance to the Artistic activities and consider them as essential to the intellectual, social and physical development of children. Since the most common activities area is Arts, we believe that it is necessary to direct efforts towards the formation of Educators in fields such as Drama and Music, as an answer to the children’s needs and in order to develop youngsters as a whole
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Hsu, Chia-Ju, and 徐佳如. "The Influence of Communication Barriers on Team Creativity: Leadership, Knowledge Sharing, Expressive Ties, and Learning." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/03906487986785254604.
Full textAbstract:
碩士國立中興大學
科技管理研究所
104
Due to the rapidly changing economy, creativity is becoming more and more critical for the success and survival of many organizations. Creativity enables teams to solve problems through the integration of divergent thoughts and perspectives. Although several factors shaping creativity (e.g., strategy, climate, conflict, etc.) have been examined in the literature, communication barriers have received relatively less attention. Therefore, this research tested the influence of communication barriers on team creativity via several intervening variables. Two hundred and forty questionnaires were collected from eight entrepreneurial student teams within three months, and structural equation modeling was used to test the hypothesized model. We found that, communication barriers negatively affected both knowledge sharing and expressive ties. However, when leadership acted as a moderator, the relationship between communication barriers and both knowledge sharing and expressive ties was found to be positive. Going further, we then studied team learning and found that these two variables of communication barrier and knowledge sharing also had a positive influence on team learning. Furthermore, team learning had a positive influence on team creativity. The study findings suggest that the leader of an entrepreneurial team should endeavor to improve team’s communication by developing shared knowledge and building strong expressive ties, which would alleviate the dysfunctional parts of team’s communication barriers. This paper aims to investigate the influence of communication barriers on team creativity of entrepreneurial teams in predicting new venture’s success and highlights the importance of leadership to manage their communication barriers.
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Puc, Jan. "Funkce řeči u Husserla a Merleau-Pontyho." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-357966.
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The Function of Speech in Husserl and Merleau-Ponty The submitted doctoral thesis is an attempt to describe the development of the intentional function of speech in Husserl and Merleau-Ponty. The intentional function is defined as the change of expressed meaning that is engendered by the expression itself. We trace Husserl's position from the Logical Investigations and the first book of his Ideas pertaining to a pure phenomenology and to a phenomenological philosophy, where he describes speech as the non- productive mirroring of other kinds of intentionality, to the late text The Origin of Geometry, where he discerns two functions of speech: it provides thought its ideality, which is different from the ideality of species; and it provides thought its objectivity, i.e. the form of object that lasts in history as identical. In The Phenomenology of Perception, Merleau-Ponty adopts Husserl's late position with several profound modifications. The starting-point ceases to be the linguistic sign, and speech becomes a kind of gesture. As a consequence, the difference between linguistic and non-linguistic ideality disappears. Furthermore, Merleau-Ponty holds that the expression accomplishes the meaning of what it expresses. In this way, speech becomes creative and ceases to be just an empty intention of...
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Abdel, Kader Shereen. "Enhancing creative behavioral expressions in school systems the need for educational reform and a center for creativity /." 2008. http://www.etda.libraries.psu.edu/theses/approved/WorldWideIndex/ETD-2658/index.html.
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Brito, Ana Maria Carrusca Pimenta de. "A importância da criatividade no desenvolvimento da autoestima da criança." Master's thesis, 2015. http://hdl.handle.net/10400.26/21570.
Full textAbstract:
O presente estudo debruça-se sobre a importância da criatividade no desenvolvimento da autoestima da criança. Este tema surgiu após um período de observação do grupo de crianças no meu local de estágio onde esta capacidade parecia ser, muitas vezes, inibida. Apesar de não ser possível a realização da intervenção e de um estudo com base numa intervenção, fruto dos condicionalismos do local de estágio, optei por realizar um estudo que fizesse emergir perspetivas sobre a criatividade e a forma como esta se desenvolve e, ainda, as estratégias que impulsionam e promovem a criatividade e, consequentemente, a autoestima na criança. Assim, o presente estudo insere-se num paradigma Interpretativo e tem como objetivo principal conhecer e compreender as perspetivas centrais sobre a criatividade bem como a implicação desta no desenvolvimento da autoestima da criança e quais as estratégias para que esta capacidade se desenvolva. Para me auxiliar na realização deste estudo qualitativo, utilizei como instrumento de recolha de dados a entrevista que me permitiu complementar a informação que fui condensando no decorrer do trabalho, realizando a sua respetiva análise de conteúdo. Por último, uma reflexão da teoria e das representações dos entrevistados orientaram-se no sentido de me auxiliar na compreensão do objetivo inicial. É necessário que o sistema de ensino atual se debruce cada vez mais no desenvolvimento da criatividade e que propicie condições físicas e humanas para que tal aconteça. É através do desenvolvimento do potencial criativo que a criança também vai criar uma maior confiança e autoestima pois conforme esta capacidade se desenvolve maior será o seu sentimento de cumprimento de tarefas e de evolução.
Assim, a criatividade é uma capacidade inata ao ser humano mas o modo como se desenvolverá vai depender do estímulo que este receber dos diversos intervenientes, ao longo do seu processo educativo. Para isso, é fundamental que se diversifiquem as formas de expressão que servirão de meios para a criança atingir a sua conceção e criação da sua realidade e do que apreende, desenvolvendo assim o seu potencial criativo.The present study focuses on the importance of creativity in the development of children’s self-esteem. This theme emerged after a period of observation of the children in my group stage where this ability appeared to be often inhibited. Although not possible to perform the intervention and a study based on an intervention, as a result of the stage of site constraints, I decided to conduct a study that did emerge perspectives on creativity and consequently self-esteem in children. The present study is part of a paradigm interpretive and aims to know and understand the central perspectives on creativity and the implication of this on the development of children’s self-esteem and what strategies so that this ability develops. To assist me in carrying out this exploratory study, I used the interview as data collection tool that allowed me to supplement the information that was condensing in the course of work, performing their respective content analysis. Finally, a reflection on the theory and representations of respondents, are geared towards considered to have been fulfilled the initial goal. It is necessary that the current education system lean increasingly on the development of creativity and that provides physical and human conditions for this to happen. It is by developing the creative potential that the child will also create greater confidence and self-esteem because as this capacity develops the greater their sense of fulfillment of tasks and progress. Thus, creativity is an innate ability to the human being but how will develop will depend on the stimulus that it receives from various stakeholders throughout their educational process. Therefore, it is essential to diversity the forms of expression that will serve as a means for the child reaches its design and create their reality and seizing, thereby developing their creative potential.
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Bucho, João Luís Saporiti Machado da Cruz. "O jogo de areia como instrumento pedagógico na formação do psicólogo: criatividade e subjectividade." Doctoral thesis, 2015. http://hdl.handle.net/10284/5852.
Full textAbstract:
Esta investigação tem como principal objectivo avaliar a importância do jogo de areia como instrumento pedagógico na formação do psicólogo. Graças às suas inúmeras potencialidades acreditamos poder estimular a criatividade, contribuir para a dimensão subjectiva e para a construção identitária. Trata-se de um estudo exploratório, sendo utilizada uma metodologia quantitativa e qualitativa. Através de um modelo de investigação-acção, o objecto de estudo incidiu num grupo de oito psicólogas, que participaram no programa de intervenção “Grupo Vivencial: Introdução ao Jogo de areia”, constituído por catorze sessões, num total de trinta horas, onde foram fornecidas informações teóricas-práticas-vivenciais sobre o jogo de areia. Na análise quantitativa, foi efectuada a avaliação pré e pós-teste, através do Teste de Pensamento Criativo de Urbam e Jellen (1996; Ibérico Nogueira & Almeida, 2007) e da Escala de Estilos de Pensar e Criar, de Wechsler (1999; versão portuguesa de Garcês, 2011). Para a análise qualitativa, recorreu-se à epistemologia qualitativa de González Rey (2000, 2003), que enfatiza o aspecto construtivo-interpretativo-dialógico na construção do conhecimento, tendo sido utilizados dois instrumentos construídos para o efeito, a grelha de observação e a folha de registo sobre o jogo de areia, que foram aplicados durante as várias sessões, assim como foi efectuada a análise dos cenários construídos, através da integração das filmagens/fotografias, com as narrativas e comentários dos autores das cenas. Para se poder efectuar a análise sobre o estado actual dos profissionais de psicologia que conhecem e utilizam o jogo de areia, assim como em que contextos o utilizam, foi construído o questionário “Diagnóstico sobre o jogo de Areia” que foi enviado via on-line através do Lime Survey, ao qual responderam 124 psicólogos. Apesar das limitações e restrições deste estudo, os resultados obtidos indicam que o jogo de areia como instrumento pedagógico utilizado na formação do psicólogo, contribui para a estimulação da criatividade, facilitando a configuração de diversos sentidos subjectivos e ajudando na construção da sua identidade pessoal e profissional. Por outro lado, os resultados do questionário ilustram o desconhecimento que os psicólogos têm sobre o jogo de areia e que é reflexo da escassez ou mesmo ausência de bibliografia nacional sobre o tema.This research aims to assess the importance of sandplay as a pedagogical tool in the training of psychologists. Thanks to its countless potential, we believe it can stimulate creativity, contribute towards subjective dimension and help build identities. It is an exploratory study, which uses a quantitative and qualitative methodology. Through an action research model, the study object focused on a group of eight female psychologists, who participated in the intervention program "Experiential Group: Introduction to Sandplay", which comprised fourteen sessions, in a total of thirty hours, where theoretical, practical and experiential information about the sandplay. In the quantitative analysis we carried out a before and after test using the Urbam and Jellen Creative Thinking Test (1996; Ibérico Nogueira & Almeida, 2007) and Wechsler's Scale of Thinking and Creating Styles (1999, Portuguese version by Garcês, 2011). For the qualitative analysis, we used the qualitative epistemology by González Rey (2000, 2003), which emphasizes on the constructive, interpretative and dialogic aspect of building knowledge, having for the sandplay used two building instruments to this effect - the observation chart and record sheet, which were applied during the various sessions, as well as carrying out an analysis of the scenarios built, through the integration of film and photography, with narrative and comments of the authors of the scenes. In order to carry out the analysis of the current state of the psychology professionals who are familiar with and use sandplay, as well as in which contexts they use it, a questionnaire was put together "Diagnosis of sandplay" which was sent via internet using the Lime Survey, to which 124 psychologists responded.Despite the limitations and restrictions of this study, the results obtained indicate that sandplay, as a pedagogical instrument used in the training of psychologists, contributes towards stimulating creativity, facilitating the configuration of various subjective senses and helping in building their personal and professional identity. On the other hand, the survey results show that psychologists do not have any knowledge of sandplay, which reflects the lack or even absence of national bibliography on the subject.
Cette recherche a pour principal objectif d'évaluer l'importance du jeu de sable comme outil pédagogique dans la formation du psychologue. Grâce à son vaste potentiel, nous pensons pouvoir stimuler la créativité, contribuer à la dimension subjective et à la construction de l'identité. Il s'agit d'une étude exploratoire qui a utilisé une méthodologie quantitative et qualitative. À travers un modèle de recherche-action, l'objet d'étude a porté sur un groupe de huit psychologues qui ont participé au programme d'intervention "Groupe expérientiel: Introduction au jeu de sable " comprenant quatorze séances, un total de trente heures, où ont été fourni des informations théoriques et pratiques expérientielles sur le jeu de sable. L'analyse quantitative a été réalisée avant et après le test à travers le Test de la Pensée Créative de Urbam et Jellen (1996; Ibérico Nogueira & Almeida, 2007) et de l'Echelle des façons de penser et de créer, de Wechsler (1999; version portugaise de Garcês, 2011). Pour l'analyse qualitative, nous avons utilisé l'épistémologie qualitative de González Rey (2000, 2003), qui met l'accent sur l'aspect constructif-interprétatif-dialogique dans la construction de la connaissance, après avoir utilisé deux instruments construits à cet effet, la grille d'observation et la feuille d'enregistrement sur le jeu de sable, qui ont été appliqués au cours des différentes sessions et a également été fait l'analyse des scénarios construits, par l'intégration de tournages/photographies, avec les histoires et les commentaires des auteurs des scènes. Afin d'effectuer l'analyse sur l'état actuel des professionnels de la psychologie qui connaissent et utilisent le jeu de sable, ainsi que les contextes où ils l'utilisent, un questionnaire a été créé "Diagnostic sur le jeu de sable" qui a été envoyé en ligne grâce à Lime Survey, auquel ont répondu 124 psychologues. Malgré les limitations et restrictions de cette étude, les résultats obtenus indiquent que le jeu de sable comme outil pédagogique utilisé dans la formation des psychologues contribue à stimuler la créativité, facilitant la configuration de différents sens subjectifs et en aidant à la construction de leur identité personnelle et professionnelle. D'autre part, les résultats du questionnaire illustrent la méconnaissance que les psychologues ont du jeu de sable, ce qui reflète le manque, voire l'absence de bibliographie nationale sur le sujet.