Dissertations / Theses on the topic 'Imaginative'
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Gallien, Marie-Pierre. "Vers une anticipation imaginative." Lyon 2, 1992. http://www.theses.fr/1992LYO20059.
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Nous avons mis à l'épreuve de l'expérience les propositions pédagogiques d 'A. De la Garanderie, auprès de sujets de 4 à 27 ans. L'entraînement à l'évocation du réel perçu conduit à des resultats performants. Cependant, dès lors que l'on quitte les activités d'attention et de mémorisation pour "entrer" dans la compréhension et la réflexion, des élèves rencontrent des difficultés pour s'investir dans la tâche. Pourquoi ? Qu'est-ce qui peut faire défaut à certains pour utiliser de manière positive les propositions méthodologiques qui leur sont faites ? Il apparaît que c'est l'imagination qui est à libérer pour permettre au sujet d'évoquer et que des structures spécifiques de l'imagination sont à dégager, pour permettre au sujet de pouvoir anticiper. Pour qu'un sujet puisse s'investir dans des opérations mentales complexes, il doit anticiper des utilisations ultérieures. Et c'est cette activité d'anticipation qui nécessite une imagination libéréeWe put the educational proposals of A. De la Garanderie to the experience test with subject aged between 4 and 27. Training towards the evocation of reality led to good achievements. However, when activites of attention and memorization are left, to "enter" comprehension and reflection, pupils tend to have difficulties in investing themselves in the task. Why? What do some people lack to be able positively to use methodological propositions which are made to them? It seems that the imagination must be freed in order for the subject to be able to evoke and that specific imagination structures must be released in order for the for the subject to be able to anticipate. For a subject to be able to invest himself in complex mental operations. He must anticipate their later use. This is the anticipation activite which requires a liberated imagination
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Altorf, Marije. "Iris Murdoch and the art of imagination : imaginative philosophy as response to secularism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1677/.
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This dissertation examines the work of the British philosopher and novelist Iris Murdoch. A centre concern of this work is a question Murdoch poses more than once: ‘How can we make ourselves morally better?” This question is understood to initiate a form of philosophy which is critical of much of its tradition and its understanding of reasoning and argument. It also recognises its dependence on other disciplines. Murdoch develops this form of philosophy in reply to the cultural phenomenon of secularisation. In the absence of God, she attributes tasks to philosophy formerly performed by religion. Most importantly, she advocates a concept of transcendent reality in philosophical discourse. This reality is the Good. She finds that in order to do so, she has to reconsider philosophy’s central faculty of reason. Drawing on literary, philosophical and theological sources, Murdoch develops an understanding of reason and argument in which images, imagery and imagination are central. This study has three objectives. It first aims to present Murdoch as an imaginative philosopher by exploring the role of literature in her philosophical writing. In doing so, it challenges various presuppositions about philosophy, held by both philosophers and non-philosophers. Its second aims is to reconsider these assumptions in general terms. This part draws significantly on the work of Le Doeuff. In particular, it considers the presence of imagery in philosophy as well as philosophy’s assumed neutrality, which has arisen from its long affiliation with science. Thirdly, the thesis presents a reconsideration of the notion of imagination. This notion is often involved in the interdisciplinary debate between theology, philosophy and the arts. Murdoch’s notion of imagination challenges two important assumptions. By releasing imagination from the limited corner of art, it first challenges a strict distinction between literary and systematic writing. By introducing fantasy as the bad opposite of good imagination, it secondly critically assesses unconditional ‘praises of imagination’.
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Terlektsi, Maria Emmanouela. "Imaginative writing of deaf children." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/876/.
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This thesis explores the issue of imaginative writing of deaf children. Thirty deaf children aged 9-11 years were recruited form Hearing Impaired Units and mainstream schools. Thirty hearing children were matched on academic performance (according to teachers) and chronological age and recruited from the same classes as the deaf children. Three sets of imaginative stories were collected from the above groups at three points during one academic year. A mixed methodology was employed in order to investigate imaginative writing of deaf children. For the evaluation of children’s stories an “Imagination Story Scale” was developed based both on the literature review and on the in-depth analyses of four children’s imaginative stories. The scale consists of four categorised divisions (story structure, story plot, linguistic imagination, originality) and one additional division (overall assessment). Assessments of both deaf and hearing children’s stories using the scale revealed little variation between deaf and hearing children’s scores in the scale, indicating that deaf children do have imagination and are able to express it in writing. However, differences were observed between the scores for the different topics (for both groups of children) suggesting that the topic of the stories influenced their scores. Imaginative writing of deaf children was not predicted by: age, gender, degree of hearing loss, type of communication used at home, or use of activities to promote children’s imagination either in the classroom or at home. Teachers’ opinions of deaf children’s imagination were explored through interviews. The Teachers of the Deaf tended to under-estimate deaf children’s ability to demonstrate imagination in their writing by comparison with the stories that the deaf children produced.
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Arcangeli, Margherita. "The imaginative realm and supposition." Paris 6, 2011. http://www.theses.fr/2011PA066616.
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L’imagination est considérée par les philosophes de l’esprit contemporains comme une faculté re-créatrice, capable de simuler d’autres états mentaux. Selon l’hypothèse forte, l’imagination est capable de recréer tous les états mentaux ‘autonomes’. Néanmoins, les philosophes ont principalement porté leur attention sur deux types d’imagination : l’imagination sensorielle (l’imagination similaire à la perception) et l’imagination cognitive (l’imagination similaire à la croyance). Il est frappant de constater que le terme ‘supposition’ émerge tantôt comme un synonyme de l’imagination cognitive, tantôt comme une étiquette pour un type d’état mental distinct de l’imagination. Je soutiens qu’il n’y a pas suffisamment d’arguments pour bannir la supposition du cercle de l’imagination. Dans ce travail, je me propose d’envisager d’une part les caractéristiques qui font d’un état mental un état imaginatif, et d’autre part celles qui font de chaque type d’état imaginatif la simulation d’un type d’état non-imaginatif. Je compte atteindre ce but par le biais d’une comparaison entre l’imagination sensorielle et cognitive et ses contreparties non-imaginatives (respectivement la perception et la croyance) selon quatre dimensions : volonté, vérité, contenu et limites de l’imaginabilité. De ce point de vue la supposition présente les caractéristiques de l’imagination, et pourtant elle se distingue de l’imagination cognitive. Ma thèse positive est que la supposition est une forme d’imagination similaire à l’acceptation. La distinction entre croyance et acceptation nous permet ainsi de séparer la supposition de l’imagination cognitive, sans pour autant l’exclure du domaine de l’imagination
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Drake, Stephen Douglas. "Imaginative Involvement and Hypnotic Susceptibility." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331851/.
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J. Hilgard (1970, 1972, 1974, 1979), utilizing an interview format, asserted that a personality variable, namely, an individual's capacity to become imaginatively involved in experiences outside of hypnosis, was significantly correlated with his or her hypnotic susceptibility. Tellegen and Atkinson (1974) operationalized the imaginative involvement variable in a 37-item questionnaire, the Tellegen Absorption Scale (TAS) that correlated significantly with hypnotic susceptibility (e.g., Crawford, 1982). However, Council, Kirsch, and Hafner (1986) suggested that the relationship between the TAS and hypnotic susceptibility is a context-mediated artifact in that the two correlate only when the TAS is administered within a context clearly identified as involving hypnosis. As the interviews conducted by J. Hilgard (1970, 1972, 1974, 1979) were done within a context clearly identified as involving hypnosis, the possibility exists that the relationship between imaginative involvement and hypnotic susceptibility is also a context-mediated artifact. In a test of this possibility, 86 subjects were interviewed concerning their imaginative involvements. Forty-three subjects were interviewed within a context defined as "research investigating hypnosis" and 43 subjects were interviewed within a context defined as "research investigating imagination." Hypnotic susceptibility was assessed in sessions separate from the interviews. In the present study, an individual's hypnotic susceptibility was not found to be significantly related to his or her imaginative involvement. It appears J. Hilgard's original finding may have been due to chance correlations compounded by subsequent experimenter expectancy effects. It is recommended that J. Hilgard's work be clarified through more extensive replications in which experimenter blindness is assured.
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Cazzato, Vanessa. "Imaginative worlds in Greek lyric poetry." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559804.
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The thesis examines the imagery of Archaic Greek lyric poetry and its relation to the 'here and now' and to the implied context of performance. Chapter One sets out the conceptual programme and establishes a critical vocabulary. Various theoretical notions are discussed which are drawn from linguistics (deixis and deictic field), philosophy (reference, language games, and possible worlds), and modern literary theory (fictional worlds and text worlds); some new critical tools are established (,imaginative worlds', visual analogies and 'representational planes', the idea of 'degrees of reference'). Chapter Two sets the scene by looking at specific examples drawn from sympotic imagery shared by pottery and poetry. The rest of the thesis exemplifies the theory set out initially through a series of close readings from a broad selection of Archaic Greek monody. The close readings start with smaller scale fragments which conjure up worlds corresponding to circumscribed situations, and progress to poems which conjure up more extensive worlds. Chapters Three, Four, and Five look at diverse kinds of erotic poetry drawn respectively from Anacreon, Ibycus, and Archilochus. Chapter Six takes as its subject- matter the martial elegy of Callinus, Tyrteus, and Mimnermus. Chapter Seven moves from poetry which conjures up a markedly heroic world to poetry which conjures a contrasting unheroic world: the iambic poetry of Hipponax. Chapter Eight turns to a political poem by Solon. Chapter Nine concludes the thesis in a ring composition by returning to erotic poetry (Sappho's) and to the theoretical considerations set out in Chapter One.
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Robert, David Yann. "Imaginative play with blended reality characters." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/67782.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 132-137).
The idea and formative design of a blended reality character, a new class of character able to maintain visual and kinetic continuity between the fully physical and fully virtual; the technical underpinnings of its unique blended physical and digital play context and the evaluation of its impact on children's play are the contents of this thesis. A play test study with thirty-four children aged three and a half to seven was conducted using non-reactive, unobtrusive observational methods and a validated evaluation instrument. Our claim is that young children have accepted the idea, persistence and continuity of blended reality characters. Furthermore, we found that children are more deeply engaged with blended reality characters and are more fully immersed in blended reality play as co-protagonists in the experience, in comparison to interactions with strictly screen-based representations. As substantiated through the use of quantitative and qualitative analysis of drawings and verbal utterances, the study showed that young children produce longer, detailed and more imaginative descriptions of their experiences following blended reality play. The desire to continue engaging in blended reality play as expressed by children's verbal requests to revisit and extend their play time with the character positively affirms the potential for the development of an informal learning platform with sustained appeal to young children.
by David Yann Robert.
S.M.
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Faccioli, Juliana Sarantopoulos. "Avaliação do pensamento contrafactual na depressão." Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/6042.
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Counterfactual thinking (CT) corresponds to the idea of mental constructions of alternatives for past event and serves an important function in an individual s adaptation and emotional coping. The aims of this study were to: (1) produce material to access and evaluate the counterfactual thinking of adults and (2) investigate the counterfactual thinking of depressed and non-depressed people, in order to determine if there are differences in how these two groups think about alternatives to reality. Five stories were prepared, using materials extracts from studies of counterfactual thinking, newspaper report and magazines articles. For each story, we formulated questions about thoughts related to the content read and about how these stories might have been different. The alternatives were formulated using aspects of reality most commonly modified by people, according to the literature: action or inaction, obligation, time and unusual events. Judges evaluated the texts and the questions, and ranked the alternatives provided according to aspects of reality that were modified. These materials were then used with 42 adults (85% female, mean age of 43 years). Subjects belonged one of two groups: depressed and non-depressed. Individual interviews were conducted. Initially, participants indicated their reactions to the stories then indicated modifications they would make, and then selected one of a pre-determined list of possible changes. The verbal responses of both groups were categorized using content analysis, and the frequency of responses, for each category, was compared using Student s t-Test. There were similarities in the CT for both groups. The majority of the CT was categorized as upward, subtractive, self-directed and refered to modifications in action or inactions. Few differences between the two groups were observed, mostly found through directed modifications.
O pensamento contrafactual corresponde à ideia de construções mentais de alternativas para eventos passados e apresenta uma importante função adaptativa e de elaboração de sentimentos. Este estudo teve como objetivos: (1) elaborar um material para acessar e avaliar o pensamento contrafactual de adultos e (2) investigar os pensamentos contrafactuais de pessoas com indicativos de depressão e sem indicativos de depressão, a fim de verificar se há diferenças na forma como essas pessoas buscam alternativas para a realidade vivenciada. Para a elaboração do material buscou-se estórias retiradas de estudos da literatura e de jornais e revistas, tendo sido selecionadas cinco estórias. As estórias foram adaptadas e, para cada uma, foram formuladas questões abertas sobre pensamentos evocados pela leitura e, ainda, quatro alternativas de modificações do curso da estória. As alternativas foram formuladas a partir dos aspectos da realidade mais comumente modificados pelas pessoas, de acordo com a literatura: ação/inação, obrigação, tempo e evento não usual. Após a composição do material, foi feita uma avaliação de juízes, quanto à redação e classificação das alternativas de acordo com os aspectos da realidade. Em seguida foi realizada a coleta de dados, sendo a amostra de participantes composta por 42 adultos, 85% do gênero feminino e com idade média de 43 anos. Os participantes foram divididos em dois grupos: com indicativos de depressão e sem indicativos de depressão, sendo cada grupo composto por 21 pessoas. A coleta foi realizada com cada participante individualmente. As modificações a respeito das estórias foram feitas, em um primeiro momento, por meio de relato livre, em seguida por meio de modificações direcionadas e, por fim, por meio de escolha de alternativas previamente elaboradas. As respostas abertas foram categorizadas por meio da análise de conteúdo e as frequências de pensamentos contrafactuais entre os grupos com e sem indicativos de depressão foram comparadas por meio do Teste-t de Student. Os resultados apontam estilos similares entre pensamentos contrafactuais de pessoas com e sem indicativos de depressão. A maioria dos pensamentos encontrados foram categorizados como ascendentes, subtrativos, autorreferentes e modificavam um aspecto referente à ação/inação. Foram observadas poucas diferenças significativas entre os grupos, sendo a maioria encontrada por meio de modificações direcionadas.
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Moore, Joseph Elliott. "Porous places : imaginative architectures of embodied experience /." view abstract or download text of file, 2007. http://hdl.handle.net/1794/4235.
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Wilder, Ken. "Projective space : structuring a beholder's imaginative response." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/7783/.
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The thesis explores the reciprocal relationship between an artwork and the space of its reception. It proposes a distinctive position on spatiality and the virtual. The thesis is submitted in two parts: a written thesis (Part One), and a documentation of my own art practice (Part Two). The artwork that comprises the practice component is not that of a painter, and yet the sculptural installations I present allude to perspectival paintings. Utilising perspectival geometry, these site-responsive works engage the threshold between two and three-dimensional representation in a way whereby implicit and actual beholder’s viewpoints are contrasted or fused. The written thesis focuses on the reception of perspectival painting, rather than on my own artworks. Referencing analytical philosophical arguments on representational seeing, and the reception aesthetics of Wolfgang Kemp, it puts forward a distinctive position that contends that while the visual imagination does not define depiction, it plays a pivotal role in supplementing perception in works where the spectator attends to and/or imagines away the threshold separating the real and fictive realms. After Merleau-Ponty, I call such an imaginative engagement seeing-with, which describes a particular use to which painting is put. In providing a strongly felt pictorial depth, I argue that such an implied pictorial space incorporates the space between painting and spectator position. I investigate two categories of works where such imagining facilitates a distinctive access to the picture’s content: (i) paintings containing what Wollheim refers to as an ‘internal spectator’; and (ii) paintings integrated into their architectural settings, where the internal onlooker is fused with the external spectator. I highlight differences afforded internal and external spectators: with the former, the viewer identifies with a spectator who already occupies an unrepresented extension of the ‘virtual’ space; with the latter, the beholder enters that part of the fictive world depicted as being in front of the picture surface, the work thus drawing the ‘real’ space of the spectator into its domain. This distinction mirrors two distinct types of visualization: where a scene is imagined as elsewhere, and where it is situated, juxtaposed with an existing reality. Imagination provides a reciprocity that replicates the experience of our bodily situatedness, in that it structures our implied spatial access to the depicted scene. In establishing a bodily frame of reference, it draws upon nonconceptual content. The thesis tests the philosophical argument against specific paintings, including works that introduce a break from a situated relationship in order to depict the supernatural or the unconscious.
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Poncet, François. "La dynamique imaginative dans l'oeuvre d'Ernst Jünger." Rouen, 1989. http://www.theses.fr/1989ROUEL081.
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L'imaginaire jungerien reste peu exploré par une critique allemande plus soucieuse d'accusations politiques et de démystification réductrice que de dynamique imaginative. Le présent travail vise à inverser cette tendance en appliquant à Jünger les théories archétypologiques de Gilbert Durand. L'imaginaire jungerien est analysé par "schèmes", gestes premiers de l'imagination monnayant sa démarche primordiale d'inversion ascensionnelle de la caducité ambiante. Ces schèmes se regroupent eux-mêmes selon plusieurs grandes orientations imaginatives qui prévalent successivement : on peut ainsi distinguer une balistique, une optique, une cinétique et une statique. Le "parcours mythique" qu'elles dessinent est celui de l'affirmation toujours plus haute d'une inversion imaginative première qui se déploie dans toutes les dimensions de l'espace imaginal. Elle culmine dans une gastrulation révulsive que traduit spatialement l'image de l'île, où transparaît comme vecteur de l'imaginaire jungerien un mythe atlantidien conjuguant catastrophe et résurgence insulaire, et qui se veut le paradigme du devenir spirituel occidentalThe imaginary world of Ernst Jünger remains a terra incognita for most of Germany's literary critics, more inclined to political prosecution and demystificative reduction. The present work seeks to invert that trend and apply to Jünger the archetypological theories evolved by Gilbert Durand. The analysis makes use of "schemes", i. E. Primeval gestures of the imagination which articulate its fundamental process of inverting in an ascensional direction the general decay of empiric reality. These schemes associate themselves according to distinct and successively prevailing orientations of the imaginary : balistics, optics, cinetics and statics can thus be differenciated. They point to the "mythical sequence" of a primeval imaginary inversion which gradually extends to the various dimensions of imaginal space. It climaxes in a revulsive gastrulation spatially rendered by the island-image, in which the leading mythical pattern for the whole of Jünger's imaginative process may be spotted : an atlantidian myth of catastrophical submersion and insulary resurgence which asserts itself as the paradigm of western spiritual evolution as a whole
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Koliji, Hooman. "In-Between: Architectural Drawing and Imaginative Knowledge." Diss., Virginia Tech, 2013. http://hdl.handle.net/10919/50412.
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Design drawings mediate between the world of ideas and the world of things, spanning the intangible and tangible. However, contemporary technical architectural drawings, in establishing a direct relationship between the drawing and its object, tend to base this relationship on a visual paradigm that authenticates the visible physical world over the conceptual invisible world, including that of the designer\'s imagination. The result is that the drawing may become a reduced utilitarian tool for documentation, devoid of any meaningful value in terms of a kind of knowledge that could potentially link the visible and invisible.The imaginal drawing, assuming mundus imaginalis, is an ontological third world mediating between the invisible and visible worlds. As such, it offers an alternative view of the architectural drawing. Inhabitants of this domain are subtle bodies that hold physical attributes (e.g. form, proportion, color), highly evocative, yet with no matter. Representing a world of similitudes, the imaginal is fundamental to the field of architectural representation, as it introduces a perspective in which the architectural drawing finds an ontological home, wherein the drawing becomes a true in-between territory, mediating between the invisible and visible. In this realm, the drawing becomes a subtle architecture in itself.
Prevalent Islamic geometric architectural drawings, namely girih, which lend themselves to the imaginal, provide clues by which the drawing is recognized as an in-between. The geometric interlocking patterns they feature, the girih mode, represent a creative agent by which the built transcends the physical world and penetrates realm of spirituality. An examination the girih mode in its intellectual, imaginative, and physical contexts re-identifies these geometric drawings as a productive realm of consciousness.
As an aperture to the imaginal, these architectural drawings open the door to a world of its own, wherein the drawing has a true subtle existence. In this view, the drawing starts from the domain of human imagination with the possibility of ascending to the realm of the intellect, while at the same time descending to the realm of the senses to guide the architect toward a built object. Seen this way, the imaginal drawing can offer an in-between state of being and becoming, a subtle matter, lighter than the building and denser than the idea"essentially representing a mode of consciousness involving the conscious imagination.
Ph. D.
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Conroy, Stephen J. "CAPTURING CHILDHOOD: EXPLORING IMAGINATIVE PLAY IN ANIMATION." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306877619.
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GUIMARAENS, DOMINGOS DE LEERS. "IMAGINATIVE PATHS: FROM SYMBOLISM TO MODERNISM AND BEYOND." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15115@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICONeste trabalho traço um caminho entre o simbolismo e o modernismo no Brasil. Um caminho de fusão entre estas duas escolas como contraponto ao pensamento hegemônico sobre o simbolismo, que o define como movimento marginalizado dentro do parnasianismo e sem grande repercussão na geração futura. Para fazer este caminho lanço mão de estudos sobre textos e obras críticas dos dois movimentos, além da correspondência e documentação, em grande parte inédita, entre Alphonsus de Guimaraens Filho e algumas das principais figuras do modernismo brasileiro.
In this work I create a path between symbolism and modernism in Brazil. A path of fusion between those schools on the other hand of an hegemonic opinion that symbolism was trapped inside parnasianism and did not influenced the next generation. To follow this path I use texts and critic works of those schools and also the letters and documents, most of all inedited, between Alphonsus de Guimaraens Filho and some of the major figures of Brazilian modernism.
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Plocha, Aleksandra Helena. "The Importance of Imaginative Play in Child Development." Thesis, Boston College, 2007. http://hdl.handle.net/2345/502.
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Thesis advisor: Julia FisherThe future of imaginative playtime in the lives of children today is at great risk. Currently, 40% of schools are considering eliminating- or have already eliminated- recess from the school day. The goal of this essay is to argue the irreplaceable value that imaginative play has in contributing to the cognitive, emotional, and social growth of a child. In making a case for the importance of play in child development, all three of these areas of potential growth will collectively be considered as true development of the child. To lay the foundation for these specific categories of benefits, it is necessary to understand the general biological background supporting the innate importance of play, as well as the previous work of those who have researched this subject. Once this information is presented, the cognitive, emotional, and social benefits of imaginative play will be explored in more detail, and the effects of play deprivation and play reintroduction will be discussed. In this manner, it is the aim of this presentation to demonstrate the exceptional importance of imaginative play
Thesis (BA) — Boston College, 2007
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program
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Cardo, Julia Claire. "HIV and metaphor: an imaginative response to illness." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002454.
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The medical model has been criticised for its failure to attend to individuals' experience of illness and the meaning they attribute to illness. HIV / AIDS has challenged its adequacy and brought the question of meaning in illness into sharp focus. This study aimed to understand what it means to live with HIV by exploring the fantasies, images and metaphors that make up the depth of such an experience. Phenomenology was deemed the appropriate approach, as it assigns epistemological significance to metaphor and ontological primacy to the lifeworld. An interview guide was fashioned from existing phenomenological literature and in-depth interviews were conducted with eight HIV -infected individuals. Five protocols were selected to constitute the study. In addition, an audio tape recording of one individual's metaphorical dialogue with HIV was obtained and transcribed. The three protocols with the richest content of imagery and metaphor were subjected to phenomenological explication. The remaining two protocols were used to support and clarify emergent meaning. A phenomenological explication of the data revealed a number of salient metaphors and themes. Upon being diagnosed with HIV, individuals were confronted with a socially and institutionally prescribed understanding of the disease; HIV as synonymous with AIDS and immediate death, HIV as sexual deviance, and HIV as myth. These metaphors influenced their conceptualisation and handling of HIV. Individual embodied metaphors included: embodying a heart of stone to live with HIV and perceiving HIV as a punishment from God, a demon from the Devil, a death sentence and a torture. Affectively, the experience of HIV was constituted as fear of physical disfigurement and exposure, anxiety, vulnerability, anger, betrayal, injustice and isolation. In a process of resolution and transformation, individuals imbibed positive metaphors with which to continue living with HIV. In order to cope with HIV, individuals seemed to negotiate a metaphorical space in which to dwell with their virus. This entailed establishing some form of dialogue with HIV or a Higher Power. This study revealed that metaphorical thinking about HIV /AIDS has a powerful impact on individuals' embodiment of their world. Metaphor is also an effective means Clf conveying and eliciting meaning in the experience of illness. Based upon these findings, it was suggested that metaphor be a prime focus for future research endeavours.
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Farrelly, Carol M. "Imaginative slaves : Thomas Hardy, social relations, and Victorian readers." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249090.
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Imaginative Slaves explores the question of how Thomas Hardy imagined and addressed his contemporary readers. The representative or ideal reader sparked incessant conflict between all those who controlled the late-nineteenth-century reading industry. This thesis attempts to understand Hardy's imagined readers as constructs which he developed and shaped in largely antagonistic response to his culture's dominant conceptions of the reader, especially the oppressively pervasive conceptions held by publishers, editors, circulating libraries, and critics. All these conceptions tended to circle around the powerful reader of the day: the middle-class reader. Questions of class and gender, therefore, are particularly important to this thesis which very much grounds Hardy and his readers in their cultural, historical context. Hardy's unconventional, contentious attitudes towards his readers are considered as challenges to class and gender divisions, challenges, indeed, to the hardening Victorian social system. Hardy's novels, ultimately, question the belief that people are and should be members of narrowly defined, divisive social strata. Imaginative Slaves begins with a general discussion of Victorian reading culture, its structure, forms, ruling ideas, values, misconceptions, and anxieties. Moving on to consider perhaps the dominant conception of the reader, the Young Girl, it examines Hardy's struggles with this reader figure. Other important conceptions of the reader and reading are then tackled: the sensation reader and the working-class reader whose shadowy, threatening figure haunted and motivated many of the middle-class strictures placed on fiction such as Hardy's. The thesis ends with a consideration of both Hardy's legacy in the form of theatrical adaptations and the interpretive and social implications ofactual readers' theatrical reinvention of his novels. This thesis also implicitly questions recent critics' understandings of the popular or non-academic reader. Imaginonve Slaves, emulating Hardy, attempts to offer a rich, challenging, and socially grounded portrayal of readers which recognizes the potential power ofthe reader and the reading process
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Li, Peilin. "La structure et le développement de la pensée imaginative." Paris 1, 1987. http://www.theses.fr/1987PA010660.
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Tout au long de notre thèse, nous avons montré qu'il y a une renaissance de la pensée imaginative sous forme tout à fait nouvelle dans la situation actuelle, et que cette pensée imaginative, qui n'est ni simplement une faculté ou une fonction de la pensée, ni un moment de mentalité historiquement dépasse, est un état ou un mode de pensée, existant parallèlement avec la pensée abstraite. Ainsi, l'innovation de la perspective est considérable : d'une part, dire que la pensée imaginative est une méthode indépendante de la connaissance, c'est rejeter le préjugé selon lequel la pensée imaginative est seulement une faculté psychologique, elle n'intervient que dans un petit moment du processus cognitif; d'autre part, c'est rejeter ainsi un autre préjugé selon lequel la pensée imaginative est le commencement de la conscience, liée inévitablement à la mentalité primitive, absolument inferieure a la pensée civilisée ou au dehors de la conscience rationnelle. La nouvelle théorie de l'imagination s'est fondée sur la nouvelle conception de l'image qui est à la charnière de l'absence et de la présence, à la fois actuelle et virtuelle. Les deux modes d'existence de l'image se réunissent dans un circuit ou le réel et l'imaginaire courent l'un derrière l'autre, échangent leur rôle pour découvrir les couches de plus en plus profondes de la réalité. De Descartes à Kant, de Husserl a Bachelard, nous avons démontré que les ruptures conceptuelles sont les mêmes lieux privilégies ou se noue leur réflexion, ou se cache le temps continu. Dans le développement de la pensée imaginative, la continuité et la discontinuité, la nécessité et le hasard sont tout à fait complémentaires.
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Grando, Bezerra Angela Maria. "Cicero Dias : figuration imaginative et abstraction construite [1928-1958]." Paris 1, 2002. http://www.theses.fr/2002PA010508.
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Ce travail se propose de mener une interprétation minutieuse de l'oeuvre du peintre brésilien Cicero Dias [1907-] pour la période qui va des années 20 aux années 50. Le peintre a traversé le siècle et sa longue carrière qui débute à Rio de Janeiro s'est déroulée entre le Brésil et la France. Son départ précipité du pays en 19371 sous le régime de la dictature Vargas, pour un séjour à Paris qui dure depuis cette date, fait qu'il laisse derrière lui une quantité importante de ses oeuvres et un discours partial de la critique qui célèbre sans modération son côté régional. Nous chercherons tout d'abord à reconsidérer l'expérience formelle de son langage figuratif pour ensuite mettre en lumière le passage de la figuration à l'abstraction sous l'angle de l'analyse de l'oeuvre et des faits généraux auxquels elle renvoie. Puis, nous interpréterons les changements formels de l'abstraction construite chez Dias en esquissant les rapports qui se sont établis entre lui et la scène artistique française et entre son oeuvre et le monde de l'art brésilien. Si, au Brésil, l'aura de mystère qui entoure le déroulement de sa carrière a progressivement remplacé tout regard analytique, l'oeuvre est, en revanche, presque inconnu en France aujourd'hui. Il importait donc d'interpréter et de remettre en question l'oeuvre, tout en essayant parallèlement de replacer l'artiste dans l'histoire de l'art brésilien.
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Hernandez, Jesse. "Senses In Synthesis: Imaginative Sensing In The 19th Century." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/621.
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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.
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Martin, Michael Sean. "Imaginative Thanatopsis: Death and the 19th-Century American Subject." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/41295.
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EnglishPh.D.
In my dissertation, I intend to focus on the way that supernaturalism was produced and disseminated as a cultural category in 19th-century American fiction and non-fiction. In particular, my argument will be that 19th-century authors incorporated supernaturalism in their work to a large degree because of changing death practices at the time, ranging from the use of embalming to shifts in accepted mourning rituals to the ability to record the voices of the dead, and that these supernatural narratives are coded ways for these authors to rethink and grapple with the complexities of these shifting practices. Using Poe's "A Tale of Ragged Mountains" (1844) and Narrative of Arthur Gordon Pym (1838), Alcott's Little Women (1868), Hawthorne's House of the Seven Gables (1851), Melville's Moby-Dick (1851), Brockden Brown's Weiland (1798), Phelps' short fiction, Shaker religious writings, and other texts, I will argue that 19th-century narration, instead of being merely aligned with an emerging public sphere and the development of oratory, relied heavily on thanatoptic or deceased narrators, the successive movement of the 18th-century British graveyard poets. For writers who focused on mesmerism and mesmerized subjects, the supernatural became a vehicle for creating a type of "negative freedom," or coded, limitless space from which writers such as Margaret Fuller and Harriet Martineau could imagine their own death and do so without being scandalous. The 19th-century Shaker "visitations," whereby spirits of the dead were purported to speak through certain Shaker religionists, present a unique supernatural phenomenon, since this discrete culture also engaged with coded ways for rethinking death practices and rituals through their supernatural narratives. Meanwhile, such shifting cultural practices associated with death and its rituals also lead, I will argue, to the development of a new literary trope: the disembodied child narrator, as used first in Brockden Brown's novel and then in Melville's fiction, for example. Finally, I will finish my dissertation with a chapter that, while also considering how thanatoptic narrative is used in literary supernaturalism, will focus more on spaces, mazes, and, to use Benjamin's term in The Arcades Project (tran. 1999), arcades that marked 19th-century culture and architecture and how this change in space - and subsequent thanatoptic geography in 19th-century fiction - was at least partially correlated to shifting death practices. I see this project as contributing to 19th-century American scholarship on death practices and literature, including those by Ann Douglas, Karen Sanchez-Eppler and Russ Castronovo, but doing so by arguing that the literary mechanism of supernaturalism and the gothic acted as categories or vehicles for rethinking and reconsidering actual death practices, funeral rituals, and related haunted technology (recordings, daguerreotypes) at the time.
Temple University--Theses
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Cowles, Randee Teresa. "The role of imaginative literature in First Year Composition." CSUSB ScholarWorks, 2004. https://scholarworks.lib.csusb.edu/etd-project/2516.
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This study steps into a long running discussion of the place of imaginative literature in First Year Composition (FYC) courses. Chapter one surveys the scholarship, including the work of Erika Lindeman and Gary Tate, two compositionists whose debate has been at the center of this discussion, and three scholars' responses to the issues their debate raises. Instructors might be able to include imaginative literature in FYC courses if they use the literature to support the courses' rhetorical goals rather than to "teach the literature" itself.
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Nelson, Camilla. "Reading and writing with a tree : practising 'Nature Writing' as enquiry." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/6060/.
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This thesis reframes, or reforms, ‘nature writing’ (‘Nature Writing Reformed’) through the practical and theoretical recombination of human, tree, and page. Understandings of ‘writing’, ‘nature’, and their phrasal relation in ‘nature writing’, are explored through a sustained enquiry into the reading and writing practices principally undertaken by the author (Camilla Nelson) in relation to one specific apple tree in the walled garden of University College Falmouth’s Tremough Campus, Cornwall. The central claim of this thesis is that composition is always environmentally constructive and constructed: how (the method with which) you read and write, and where (the environment in which) you read and write, i.e. the situation and materials you read and write with, affect not only the composition of the written text but the composition of the human, as well as the other-than-human, entities involved in this practice. This thesis is explicitly structured as an interweave of variously material (word; page; room; box; walled garden; library; studio; tree) and conceptual (word; page; theory; footnote; hyperlink; field of research) framing devices (and / or environments). The structure of this thesis and that of the orchard and studio installations, which together constitute the final PhD research submission, play on the variety of framing and reframing that occurs in relation to the spatio-temporal specifics of material and conceptual composition (as evidenced in the Media Log). This ‘reform’ of nature writing, as an interweave of human and other-than-human environments (or frames), is developed in relation to Mark Johnson’s expanded theory of ‘mind’ by way of the conceptual and material practice of metaphor (Johnson, 2007). This thesis combines the theories and practices derived from the (prinicipal) field of ‘Nature Writing’ (as defined in the correspondingly titled chapter), with those suggested by contemporary developments in cognitive philosophy, neuroscience, microbiology, systems theory, and translation studies.
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Liston, Kate. "Link Zone : an exploration of the sensation of knowledge through a practice of art and writing." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36113/.
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This thesis explores the scope artists’ writing has to perform the ‘sensation of knowledge’ – a term I am using to indicate my central proposition that knowledge can be felt. Through descriptions of place, the use of allusion and first person narration the thesis paves the way for a series of encounters between the reader and the matter, content and commonplace bodily processes of contemporary lived experience. By being grounded in this way, the ‘sensation of knowledge’ challenges presuppositions about the immateriality of knowledge; it makes readers alert to their own idiosyncratic perceptions of its meanings. Further, the thesis asks them to consider how such experience gains the authority and status of knowledge when the significance is felt rather than comprehended. The writing has come out of research into meaning-making that is located in the experience of specific sites and situations and has taken place across moving image, installation, writing and performance. The thesis is presented as a self-contained art object with the writing that comprises it performing its argument through its form and methods rather than by explaining, cataloguing or defining it. The writing as art practice contributes to a broad art discourse but also, critically, to academia. It specifically makes its proposition within, and in response to the current culture and format of knowledge production within the academy. It meets the defining expectation of a PhD to produce new knowledge and provides the means for this knowledge to be accessible through existing academic and institutional conventions. Its knowledge is contingent on the sensation of its encounter, an approach that is counter to that which the academy expects. With these propositions in mind, the writing produced for this thesis situates ideas and language alongside descriptions of physical substances. It questions assumptions about the default function of language to expedite the delivery of information, by slowing down the feelings experienced. The material and abstract references accumulate to reveal the sense of weight that occurs in response to the act of reading. Formal conventions of academic writing and reading, such as footnotes, are used as meta-critical devices that illuminate the apparatus of institutionalised knowledge production. The thesis places such devices alongside forms of storytelling including historiographic fiction and autobiographical narratives to reveals the multiplicity of modes through which knowledge can be produced and absorbed. This multiplicity is a critical device that challenges institutionalized conventions through which knowledge is legitimized. Through these methods the thesis locates the production of knowledge between the body, ideas and the lived world and, as such, challenges the superiority of one form over another.
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Alexander, Jane. "The contemporary uncanny : an exploration through practice and reflection." Thesis, Northumbria University, 2018. http://nrl.northumbria.ac.uk/36241/.
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My Creative Writing thesis comprises a collection of uncanny short stories that explores social, psychological and physical impacts of advances in science and technology, and a critical-reflective exegesis. Using a research methodology that critically examines insights emerging from creative and reflective practice, the thesis as a whole addresses the question of how the short story can be used as a particularly appropriate mode to illuminate contemporary experiences of science and technology through the creation of uncanny affect. The exegesis offers a definition of contemporary uncanny fiction; the stories test a range of thematic, stylistic and formal strategies for achieving uncanny affect. The resulting creative work suggests a contemporary technological uncanny is one that develops and extends Freud’s conceptualisation of das Unheimliche. Chapter 1 establishes the theoretical background to my practice research, providing a historical overview of the uncanny as a phenomenon and literary mode. Chapter 2 draws on Gothic and posthuman studies and psychoanalysis, and short stories by China Miéville, Nicholas Royle and Ali Smith, to explore the implications of insights emerging from my short stories: notions of an ‘uncanny of the virtual gaze’ and the body as site of impact for science and technology characterise a technological uncanny particular to our age, and comprise an original contribution to dialogues and debates theorizing a contemporary uncanny. Chapter 3 applies these notions to the practice of creative writing, to investigate the impact of its location in the academy. Finally, Chapter 4 extends existing narratological theory to suggest how second person is a particularly uncanny narrative mode, and examines issues of form, voice, structure and sequence to contend that short fiction is an especially effective form for the creation of uncanny affect – at the level of the individual story, and the collection as a whole.
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Haas, Sarah S. "By writers for writers : developing a writer-centred model of the writing process." Thesis, Aston University, 2010. http://publications.aston.ac.uk/15207/.
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This thesis, set within an Action Research framework, details the development and validation of a writer-centred model of the writing process. The model was synthesised within the boundaries of a writers’ group for MA students. The initial data collected, and analysed using the principles of grounded theory, were retrospective descriptions of group members’ writing processes. After initial analysis, additional data, from group members’ writing, and from audio recordings, were used for further analysis, and to form a model of the writing process. To ascertain whether the model had value outside the specific context in which it was made, it was validated from three different perspectives. Firstly, the retrospective descriptions of other writers were collected and analysed, using the model as a framework. Secondly, the model was presented at academic conferences; comments about the model, made by members of the audience, were collected and analysed. Finally, the model was used in writing courses for PhD students. Comments from these students, along with questionnaire responses, were collected and the content analysed. Upon examination of all data sources, the model was updated to reflect additional insights arising from the analysis. Analysis of the data also indicated that the model is useable outside its original context. Potential uses for the model are 1) raising awareness of the process of writing, 2) putting writers at ease, 3) serving as a starting point for individuals or groups to design their own models of the writing process, and 4) as a tool to help writers take control of their writing processes.
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Moody, Louise J. "Naive realism, imaginative disjunctivism, and the problem of misleading experience." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/10683/.
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This thesis defends naïve realism about the essential nature of perceptual experience, that is, the experiences that subjects enjoy when they hear, see, smell, taste, and touch things. It claims that the essential natures of such experiences are intrinsically constituted and relationally determined by the perceptible properties of those worldly objects with which perceiving subjects are immediately and irreducibly acquainted. In particular, this thesis defends naïve realism against the Problem of Misleading Experience which exploits the existence of misleading experiences (viz., dreams, hallucinations, and illusions) in order to show that no perceptual experience can be naïve realist in nature. Chapter 1 presents naïve realism’s metaphysical commitments and the Problem of Misleading Experience. In Chapter 2, I sketch three desirable constraints on any successful naïve realist solution: I argue that it is desirable for the Naïve Realist to (i) adopt some form of Basic Phenomenal Disjunctivism (i.e. the claim that perceptual and misleading experiences have different phenomenal natures), (ii) positively explain the phenomenal nature of misleading experience, and, (iii) tell the same fundamental story of dreams, hallucinations, and illusions. Chapter 3 introduces my own theory – Imaginative Disjunctivism (i.e. the claim that perceptual experiences have naïve realist natures whereas the natures of misleading experiences are perception-like imaginings) – that I argue has the right conceptual and empirical shape to meet these three constraints. I then put Imaginative Disjunctivism to work by showing how it can explain dreams (Chapter 4), hallucinations (Chapter 5), and illusions (Chapter 6) in a way that is compatible with naïve realism. Though there is some precedent for explaining dreams (e.g. Ichikawa 2009) and hallucinations (e.g. Allen 2014) in terms of perception-like imaginings, my account is the first to extend this treatment to illusions, and so, provides a theoretically attractive unified .theory of misleading experience.
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Juuso, Lina. "Procedural generation of imaginative trees using a space colonization algorithm." Thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-35577.
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The modeling of trees is challenging due to their complex branching structures. Three different ways to generate trees are using real world data for reconstruction, interactive modeling methods and modeling with procedural or rule-based systems. Procedural content generation is the idea of using algorithms to automate content creation processes, and it is useful in plant modeling since it can generate a wide variety of plants that can adapt and react to the environment and changing conditions. This thesis focuses on and extends a procedural tree generation technique that uses a space colonization algorithm to model the tree branches' competition for space, and shifts the previous works' focus from realism to fantasy. The technique satisfied the idea of using interaction between the tree's internal and external factors to determine its final shape, by letting the designer control the where and the how of the tree's growth process. The implementation resulted in a tree generation application where the user's imagination decides the limit of what can be produced, and if that limit is reached can the application be used to randomly generate a wide variety of trees and tree-like structures. A motivation for many researchers in the procedural content generation area is how it can be used to augment human imagination. The result of this thesis can be used for that, by stepping away from the restrictions of realism, and with ease let the user generate widely diverse trees, that are not necessarily realistic but, in most cases, adapts to the idea of a tree.
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Magalhaes, De Saldanha D. Pedro. "The power of suggestion: placebo, hypnosis, imaginative suggestion and attention." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209119.
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People have always been fascinated by the extent to which belief or will may influencebehavior. Proverbs, like “we tend to get what we expect,” and concepts, such as optimistic
thinking or self-fulfilling prophecy, reflect this intuition of an important link between one’s
dispositions and subsequent behavior. In other words, one’s predictions directly or
indirectly cause them to become true. In a similar manner, every culture, country or
religion has their own words for ‘expectation,’ ‘belief,’ ‘disappointment,’ ‘surprise,’ and
generally all have the same meaning: under uncertainty, what one expects or believes is the
most likely to happen. This relation between what caused a reaction in the past will
probably cause it again in the future might not be realistic. If the expected outcome is not
confirmed, it may result in a personal ‘disappointment’, and if the outcome fits no
expectations, it will be a ‘surprise’. Our brain is hardwired with this heuristic capacity of
learning the cause-effect relationship and to project its probability as the basis for much of
our behavior, as well as cognitions. This experience-based expectation is a form of
learning that helps the brain to bypass an exhaustive search in finding a satisfactory
solution. Expectations may thus be considered an innate theory of causality; that is, a set of
factors (causes) generating a given phenomenon (effects) influence the way we treat
incoming information but also the way we retrieve the stored information. These
expectancy templates may well represent one of the basic rules of how the brain processes
information, affecting the way we perceive the world, direct our attention and deal with
conflicting information. In fact, expectations have been shown to influence our judgments
and social interactions, along with our volition to individually decide and commit to a
particular course of action. However, people’s expectations may elicit the anticipation of
their own automatic reactions to various situations and behaviors cues, and can explain that
expecting to feel an increase in alertness after coffee consumption leads to experiencing
the consequent physiologic and behavioral states. We call this behavior-response
expectancy. This non-volitional form of expectation has been shown to influence
cognitions such as memory, pain, visual awareness, implicit learning and attention, through
the mediation of phenomena like placebo effects and hypnotic behaviors. Importantly,when talking about expectations, placebo and hypnosis, it is important to note that we are
also talking about suggestion and its modulating capability. In other words, suggestion has
the power to create response expectancies that activate automatic responses, which will, in
turn, influence cognition and behavior so as to shape them congruently with the expected
outcome. Accordingly, hypnotic inductions are a systematic manipulation of expectancy,
similar to placebo, and therefore they both work in a similar way. Considering such
assumptions, the major question we address in this PhD thesis is to know if these
expectancy-based mechanisms are capable of modulating more high-level information
processing such as cognitive conflict resolution, as is present in the well-known Stroop
task. In fact, in a recent series of studies, reduction or elimination of Stroop congruency
effects was obtained through suggestion and hypnotic induction. In this PhD thesis, it is
asked whether a suggestion reinforced by placebos, operating through response-expectancy
mechanisms, is able to induce a top-down cognitive modulation to overcome cognitive
conflict in the Stroop task, similar to those results found using suggestion and hypnosis
manipulation.
Doctorat en Sciences Psychologiques et de l'éducation
info:eu-repo/semantics/nonPublished
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McCutcheon, Catherine Margaret. "Imaginative rebellion, women writers and the Irish nation, 1798-1830." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/MQ34315.pdf.
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Atkinson, Harriet. "Imaginative Reconstruction : Designing Place At The Festival of Britain, 1951." Thesis, Royal College of Art, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503017.
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Robinson, Mark. "Imaginative challenge and discourse strategies in task-based language learning." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342287.
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Smyth, Pamela S. "Planning purposeful imaginative activities in creative contexts for children's literacy." Thesis, University of Greenwich, 2010. http://gala.gre.ac.uk/5645/.
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Although children in primary schools in England are required to write imaginatively in order to gain optimum marks in statutory tests, an emphasis is often placed on revising decontextualised genre features, grammar and spelling. I wondered whether there was a place for creativity and imagination within the apparent constraints of a curriculum for English that had become defined by objectives and teaching procedures imposed by national strategies to raise literacy standards. Using a definition of creativity as purposeful imaginative activity, I set out to explore how teachers could interpret the objectives imaginatively and plan meaningful contexts for literacy, even in a climate of changing curriculum emphases. My thesis reports on three cycles of reflective, collaborative action research focused on literacy planning, in order to theorise meanings in relation to my values, understanding and practice. As a result of the research, approaches to planning sequences of purposeful imaginative activities that embed literacy concepts in meaningful creative contexts are exemplified. Evidence from an analysis of literacy plans for children in classrooms across the primary phase shows that teachers use their professional imaginations to plan their provision for children to read and write imaginatively – their statutory national curriculum entitlement (DfEE, 2000). We found that children’s literacy improves when they dwell in possible worlds as, for example, curators, custodians or concerned villagers, using the powerful resource of their own, and collective, imaginations. In addition, an analysis of drawings revealed evidence of the effort and effect of children’s somatic and affective imaginations. The work is underpinned by theories of: aesthetic appreciation and representation; child-centred, holistic pedagogy; inclusive creative processes; and the imagination as a resource for creating meaning. My ideas have been challenged and developed by academics such as Pat D'Arcy on literacy, Robert Sternberg on creativity, and Ken Robinson on imagination, in particular. As a result of the research, two conceptual tools for planning were developed and tested. They are underpinned by theory and professional experience and have been used effectively in schools during and beyond the research project. Components of the creative process were identified as motivating ideas, associating ideas, generating ideas, innovating ideas and communicating ideas, and became the MAGIC planning tool. Components of the imagination's repertoire were identified as auditory, kinaesthetic, tactile, emotional and visual, and became the AKTEV imagination repertoire. These represent the living education theories that have transformed my practice, and are offered as a contribution to the field of primary English education.
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Aguero, Jenn. "TEACHING PERSPECTIVE TAKING USING IMAGINATIVE PLAY IN TYPICALLY DEVELOPING CHILDREN." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1074.
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AN ABSTRACT OF THE THESIS/DISSERTATION OF JENN AGUERO, for the Master of Science degree in Behavior Analysis and Therapy, presented on April 8, 2013 at Southern Illinois University Carbondale. (Do not use abbreviations.) TITLE: TEACHING PERSPECTIVE TAKING USING IMAGINATIVE PLAY IN TYPICALLY DEVELOPING CHILDREN MAJOR PROFESSOR: Dr. Mark Dixon Recently, behavior analysis has begun to investigate perspective-taking and a means at which to measure, teach and acquire it. A protocol has been developed and administered in previous studies to assess perspective-taking in children. That protocol was revised to include children's toys that could be used as representative stimuli during the testing and training sessions. Currently, no other study has utilized this protocol along with children's toys; requiring the participants to switch perspectives between themselves and the characters. Participants in this study were all typically developing children between the ages of six and seven. Results indicated that multiple instances of implementation of the training protocol increased the ability to correctly complete the perspective taking task.
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Turnbull, Tim. "The Adventures of Kunstlicht in the Netherworld : a novel." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/30327/.
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This thesis comprises an original work of Weird fiction, entitled The Adventures of Kunstlicht in the Netherworld, and a commentary which explores its relationship to the fiction and writing practices of the American Weird fantasy author, H. P. Lovecraft. The novel is the first person narrative account of Christian Blackwood’s experiences with his goth band, Kunstlicht, their pursuit by politically motivated occultists, and encounters with serial killers, avant-garde artists, revenant Nazis and supernatural folkloric monsters. The majority of the story unfolds retrospectively in conversations with the former police officer Wade. The final section shows the band’s own attempt to perform practical magic and their meeting with a resurrected pagan god. The commentary opens with an introductory examination of the extent of Lovecraft’s influence on fantasy (and especially horror) fiction since his death, the general rationale for using him as model, and the specific thematic issues relevant to this novel. There follow three chapters. The first chapter discusses the realist tendencies in Lovecraft’s work, his world-building strategies and those in recent Weird fiction. It then shows how Lovecraft’s prescriptions were applied in this novel, and how this affected the novel’s narrative and tone. The second chapter examines the connection between his work – and that of his predecessors – and the cultural, scientific and occult thought of his time, showing how these elements were combined to give depth to his corpus. I then explain how this approach was applied and updated in my own novel. In the third chapter I explore Lovecraft’s extensive synthetic mythology, its relationship to existing folklore and myth, and to a folkloric interpretation of the philosophy of Friedrich Nietzsche. I then explain how I combined occult and Nietzschean elements with the Lovecraftian to produce a more complex Weird novel. In the concluding section, I briefly examine how the novel fits with other recent Lovecraft-inspired work, and assess to what extent it succeeds as Weird fiction.
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Shaw, Sarah. "Seventeen : ethics and aesthetics." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/23587/.
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My practice-led research in Creative Writing consists of composing a novel closely focalised through three members of a dual-heritage family in Suffolk in 2004 after the teenage daughter is diagnosed with leukaemia. ‘Seventeen: Ethics and Aesthetics’ explores the question: what are the tensions between truth, kindness and the form and poetics of the novel? My critical reflection considers techniques used to convince the reader, and my attempts to represent unconscious psychic processes of the novel’s protagonists in relation to trauma fiction. The aim of the research programme has been to discover the appropriate form for a novel in which characters are paramount. My research methodology has consisted of revising repeated drafts in order to imagine and articulate the points of view of the novel’s protagonists: Rosie, a mixed-race teenager who has a vivid sense of the ridiculous, who wants to separate herself from her family and mix with her friends; Jay, her White mother, who works in anti-racist education and has ambitions as a photographer, together with a tendency to embrace New Age ideas; and Mel, Rosie’s stepfather, who runs an independent cinema, who never intended to be anyone’s father but finds himself caught up in loving Rosie. The novel is about the language and voices used, and about how the relationships between the characters change as a result of Rosie’s illness and impending death. Writing a commentary has informed the discipline of editing and revision. My completed critical reflection recounts decisions made on ethical or aesthetic grounds, while attempting to relate the research to cultural preoccupations in the study and composition of novels. The originality of this contribution to knowledge consists of fiction that focalises three original characters. A claim to originality may also be made in relation to my work on metaphor, metonymy and the unconscious.
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Arntzen, Jenny. "Teacher candidates’ imaginative capacity and dispositions toward using ICT in practice." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55657.
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The study investigated the relationship between instructional discourses in a pre-service teacher education program and teacher candidates’ subsequent plans to use ICT in their professional practice. Teacher candidates’ dispositions, in terms of comportment and composure, were seen as indicative of the quality of their relationship with ICT. Teacher candidates’ manifestations of these dispositions, in terms of ICT imaginative capacity, were seen as indicative of the characteristics of their use (what they had the capacity to imagine and the capability to implement). Manifestations of dispositions were described as displays of ICT imaginative capacity. The setting for the study was a post-baccalaureate two-year teacher education program in a large regional university in western Canada. Participants in the study were comprised of a thirty-eight member cohort of teacher candidates in the first year of their two-year program. A sub-group of teacher candidates was self-selected from the cohort and participated in a research intervention. This study adapted a social constructivist theoretical framework complemented by an enactive analysis of social interactions examining communicative events from the teacher education program. An interpretive case study methodology collected data from teacher education classes, teacher candidate questionnaires, and focus group discussions. These three datasets were analyzed and interpreted to explore relationships between instructional discourses and teacher candidates’ dispositions toward using ICT. Findings document teacher candidates’ dispositions toward using ICT as demonstrated by their capacity to imagine using ICT and their capability to implement these imaginings in practice. Conclusions suggest a need for further research into “ecologies of learning”. Recommendations also include a need to investigate instructional discourses with regards to developing ICT imaginative capacity and imaginative capability. The need to develop imaginative capacity extends beyond when, where, why, how, or what ICT teachers learn to use in practice.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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May, Louise-Anne. "Sino-western historical accounts and imaginative images of women in battle." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25930.
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The intent of this thesis is to analyse both the characteristics of the participation of women in war and the social and ideological context in which the imagery of the armed woman proved useful in two distinct cultures which produced an inordinate number of historical and fictional women warriors. Specifically, it is intended to test the following three hypotheses which arise from an analysis of the secondary literature in this field in the context of the societies of seventeenth and eighteenth century France and Imperial China:
1. That women were generally excluded from military combat and leadership roles. This exclusion was the result of gender and not biological constraints.
2. That some women in history were able to modify the masculine/ military equation. This was based on one or more of three factors: rank, religion, rebellion/revolution.
3. That the images of women warriors in imaginative literature and art did not reflect the actual scope or nature of women's participation in war. Rather, they reflected and reinforced attitudes towards ideal social and sexual hierarchies and behaviours.
The present study examines the subject of women and war within a more limited cultural and historical framework than that which is usually employed
in this field. While significant variations are discovered in the analysis of Chinese and French history and culture, the finding is that these three hypotheses prove to be correct. This is not to suggest that the two cultures were the same. Rather, it suggests that within two very different social hierarchies, there were comparable sexual hierarchies which were underlined and reinforced by similar ideals in respect to the division of labour and to the appropriate behaviour which accompanies this division.Arts, Faculty of
History, Department of
Graduate
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Johnson, Mark. "Seditious theology : imaginative re-identification, punk and the ministry of Jesus." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2038.
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The following thesis investigates the British punk movement of the mid-late seventies and suggests that, by performing acts of imaginative re-identification, we may gain greater insights into both the phenomenon of punk and aspects of Jesus’ life, ministry, and teaching despite their axiomatic and sometimes problematic differences. To do this we explore the power of the sartorial creations that the movement adopted and the way in which they conveyed an oppositional protest message and stance. We explore punk graphics and the way in which they could offer a targeted critique of the nation. We look at punk performances and how they confrontationally engaged with their audiences and what they wanted to elicit in return. We reflect on women in punk, punk in Northern Ireland and the relationship between punk and the black community and the degree to which punk exhibited a counter-cultural attitude to relationships. Concluding our look at punk we investigate how society, the authorities and commerce reacted to the movement, before investigating punk as a trans-historical essence. Having explored punk and established imaginative connections we then revisit aspects of Jesus’ life and consider him as a subversive who negated some of the national symbols of Israel, collided with Jewish national authority and reversed many of the nation’s perspectives. We look at the more confrontational nature of Jesus, his use of symbolic physical statements and his interaction with women, teaching on enemies and the way he related to the outcast. We then conclude by showing the degree to which the present-day church has been absorbed into the surrounding culture and explore two instances in post-war theology where there has been a recovery of the more seditious pattern within Jesus’ life before seeing whether there is anything that the church may learn from imaginatively identifying with punk.
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Goodall, Margaret Ann. "Imaginative anticipation : towards a theology of care for those with dementia." Thesis, University of Chester, 2011. http://hdl.handle.net/10034/253633.
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Dementia is a degenerative disease which appears to take away personhood and identity and calls into question how we understand what it means to be a person. My argument is that how people with dementia are seen and imagined is key both to the understanding of their value and the care that is offered. The aim of this study is to determine how the Christian ethos of Methodist Homes (MHA) influences the care of people with dementia in order to develop a general theology of care from within practical theology. The thesis explores the ways in which the Methodist emphases of social justice and prevenient grace offer a basis for dementia care, and how MHA has drawn on its origins within the Methodist Church to develop an ethos of care that places respect for the person with dementia at the centre. This concern for those with dementia is then surveyed and the themes of respect and relationality emerge offering the potential for human becoming. Within MHA the care offered is based on a person-centred model. In order to discover how the Christian ethos of the organisation influences care this thesis explores patterns of delivering care in three homes of each of three types; well-established, recently-acquired and new-build. In each home the views of the staff were surveyed. Three in-depth interviews were conducted when questions were asked in order to understand their perception of the person with dementia. The interviews uncovered what carers regarded as good care and when care did not meet the needs, and why they believed that happened. Browning’s ‘strategic practical theology’ was used to evaluate these findings from within a Christian context to examine the influence of MHA’s ethos on the care offered. The core value chosen as the most important for care was ‘respect’; and while the care offered across all types was ‘person-centred’ the way it was delivered varied. The culture of MHA that gave rise to the values is investigated, along with the challenge of retaining ‘mutuality’ as an ideal as the needs of older people changed. The themes that emerged were those around quality of life and the things that enable the change in thinking from basic ‘caring’ to ‘caring for the person’ as the person is seen in a different way. Dementia is sometimes called the ‘theological disease’, and this understanding of dementia and the person is explored to discern what can be offered from theology to the best ideals of care in order to provide true person-centred care that is respectful of the person. I argue from within practical theology that a new way of seeing the person with dementia is needed in order to anticipate the possibility for human flourishing that is possible in a person, even in dementia. And that, offered with respect, good person-centred dementia-care can be a sign of the Kingdom. Part 1 of the D.Prof. comprises four sections in which I explore dementia from within practical theology; how it impacts on personhood, how I, as a practitioner within Methodist Homes (MHA), could enable others to offer care of the whole person; and how the carers’ understanding of the person makes a difference. In the first section, the literature was surveyed in order to discover the historical development of the term dementia. Until the middle of the twentieth century, there was little care as the condition was not named. But then drugs were discovered that could control unsocial behaviour, and the medical model of care developed. However, a new culture of care developed (person-centred care), because of the better understanding of the social nature of the disease. From within the context of theology, I explored how personhood can be understood within dementia and how, even in dementia, it might be possible to grow into the fullness of Christ as spirituality is enhanced. The second section was in the form of a publishable article which explored how it might be possible to evaluate spiritual care within a dementia-care setting. This took the form of a case study in which I worked with staff in a home that had difficulty evidencing spiritual care. It raised issues about the nature of care and assessment of spiritual care, as well as the rationale behind, and the delivery of, that care. What developed used the biblical concept of ‘fruits of the spirit’ as a way of recognising spiritual dis-ease as it is these qualities which enable inspiration, reverence, awe, meaning and purpose even in those who have no religious beliefs. The model used to offer this care was through the 3 R’s of reflection, relationship and restoration. Section three, reflective-practice section, emerged out of my practice as a chaplaincy adviser for MHA, in which I reflected critically on the contexts and understanding of the manager and chaplain, and how a chaplaincy manual was developed. The ability of the chaplain to work effectively and enable good spiritual care in the home, depended on the relationship between the manager and chaplain. By exploring the culture of both manager and chaplain, a way to enable good communication was discovered. The role of pastoral care and how it is seen within an organisation, that must have a professional management, was investigated and ways suggested for mutual understanding using the chaplaincy manual. The last section examined whether the Christian ethos of MHA encouraged a model of person-centred care. I suggested that a way of making sense of the data is by using types to describe personhood and how that can be made visible by their care. Considering the way that therapeutic interventions (reminiscence therapy, reality orientation, validation therapy, drug therapy) were used offered a way to enable the ethos of the home to be seen more clearly. Central to theological anthropology is the concept of the person which includes an ethical dimension. MHA has the strap line, ‘care informed by Christian concern’, so the study investigated whether this Christian ethos is lived out in the care offered. These aspects of study have led me to begin this thesis to research how care is delivered and what carers understand to be appropriate care. An appreciation of the context in which this care takes place also highlighted a need to conduct a theological exploration of the nature of the person with dementia.
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Kelly, Daniel IV. "Parsing the Non-finito: Systems, Thresholds and Imaginative Space in Representation." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1640.
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Between the actualized built spaces that the artist moves around and through on a daily basis and the more abstract systems we invent to represent these structures sits the illusion of space and structure found in his drawings and paintings. Constant turnover within the built environment offers not only content, but rich analogy for his artistic practice. The artist’s endeavors in the studio in many ways echo the genesis, evolution and possibility he observes in the transitioning city around him. In the actual making of the work, he gleans from traditional methods of drawing and painting, from the architectural lexicon, from experiments with new materials, from the effects of time and decay and from building processes themselves.
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Skagert, Ulrica. "Possibility-Space and Its Imaginative Variations in Alice Munro's Short Stories." Doctoral thesis, Stockholm : Department of English, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8292.
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Egbers, Steven. "Imaginative Verarbeitung direkt und indirekt formulierter Texte in Abhängigkeit vom Aufmerksamkeitsbedarf." [S.l.] : Universität Konstanz , Sozialwissenschaftliche Fakultät, Fachgruppe Psychologie, 1998. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB8500698.
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Rau, Man-Lin. "Creative, imaginative English-as-a-foreign-language using storytelling and drama." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2693.
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With a view to improve English teaching, this project provides creative teaching methods for English teachers of elementary schools in Taiwan. Storytelling, creative writing, and creative drama are interesting and lively activities that are used to motivate students to learn English.
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Ramos, João Paulo Duarte. "A utilização da imagética no desempenho motor em treino desportivo." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 1999. http://dited.bn.pt:80/29070.
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Peterson, Eric M. "ON SUPPOSING, IMAGINING, AND RESISTING." UKnowledge, 2017. http://uknowledge.uky.edu/philosophy_etds/18.
Full textAbstract:
My research focuses on the philosophy of imagination. Within the analytic tradition, there recently has been a growing interest in imagination. The current research lies at the crossroads of various sub-disciplines of philosophy, including aesthetics, moral psychology, ethics, epistemology, and philosophy of mind. My work joins this choir as a voice from within philosophy of mind.
My dissertation addresses two questions within philosophy of imagination. What I call the Relation Question asks what is the proper relation between supposition and imagination, and what I call the Unification Question asks what is the imagination. With regards to the Relation Question, philosophers answer it in one of two ways: either supposition and imagination are distinct mental capacities (what I call two-nature views) or supposition is a kind of imagination (what I call one-nature views). I argue that both views fail to explain all of the features central to the relation. With regards to the Unification Question, many philosophers doubt it has an answer because there is no clear way to unify the disparate activities of imagination. I argue that this skepticism is the result of mischaracterizing the relation between imagining and supposing. Thus, I answer both the Relation and Unification Questions by arguing that both imagining and supposing (as we typically understand these terms) are both instances of what I call the as-if-true attitude. I call this the as-if-true attitude view of imagining. The explanatory payoff of this is that my view can explain all of the features central to the relation without positing two distinct mental capacities (as two-nature views do) and without getting facts about supposition wrong (as one-nature views do). It also gives us a way of seeing how we might unify the different activities of imagination.
Finally, I demonstrate that my view has application to what is known in the literature as the phenomenon of imaginative resistance. This phenomenon has to do with competent imaginers failing to comply with invitations to imagine certain propositions. It has been noted in the literature that there is variation to this phenomenon, where some people experience it and some do not. Some philosophers attempt to explain this by appealing to contextual factors. Thus, I call them Contextual Variant Views. I argue that these views fail to account for all of variation. I show that from my as-if-true attitude view comes another view that I call Constraint Variant View. I argue that this view can account for all of the variation of imaginative resistance.
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Taljaard, Frederik. "Imaginative unconcealment Heidegger's philosophy of aletheia and the truth of literary fiction /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-03062006-200330.
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Paul, Juliette. "The manuscript presentation volume of Jane Barker and her imaginative Catholic faith." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/5913.
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Thesis (M.A.)--University of Missouri-Columbia, 2006.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 30, 2007) Includes bibliographical references.
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Deshmane, Anisha V. "Imaginative procedural modeling : automated 3D generation and rendering of stylized building designs." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/65736.
Full textAbstract:
Thesis (S.B. in Art and Design)--Massachusetts Institute of Technology, Dept. of Architecture, 2011.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 29).
The entertainment industry relies fairly heavily on computer-generated imagery to depict built environments in current films, video games, and other forms of simulated reality. These often involve highly complex geometries that take a long time to hand-model and are too difficult or costly for many productions' rendering capacities, both in computational costs as well as time. Procedural modeling and the automation of these geometries is one option to solve these problems. Many modeling programs involve a script or procedural modeling component. This thesis explores the use of CityEngine, a commercially available software that is specialized to generate geometries for buildings in urban environments. By using the CGA Shape Grammar built into CityEngine, this project seeks to generate geometries based on complex architectural precedents using a procedural modeling system based on shape grammar and computational design principles. Results are generated and discussed, as well as applications and future work.
by Anisha V. Deshmane.
S.B.in Art and Design
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Greenaway, Jonathan. "Language of the sacred : the nineteenth-century Gothic novel and imaginative apologetics." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/619992/.
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This thesis offers imaginative apologetic readings of some of the key Gothic novels from the nineteenth century. It begins with a discussion of Mary Shelley’s Frankenstein (1818) then moves on to Hogg’s The Private Memoirs and Confessions of a Justified Sinner, (1824) Jane Eyre, (1847) and Wuthering Heights (1847) before concluding with Dracula, (1899) The Picture of Dorian Gray (1890), and The Strange Case of Dr. Jekyll, and Mr Hyde (1886). The thesis argues that utilising theological readings of the Gothic is both necessary and productive, bringing to the fore aspects of the Gothic text that have, thus far, been marginalised or neglected by Gothic studies. Furthermore, this combination of the Gothic with imaginative theology establishes new ways in which Gothic literature may influence the wider field of theology, by bringing Gothic literature into the work of Imaginative Apologetics. The thesis argues that the Gothic nineteenth century novel, whilst rooted in particular social and historical circumstances, possesses substantial theological content. Throughout the readings provided, theological revelation is revealed in striking new ways as the Gothic novel shows itself to be not only influenced by theology, but also theologically influential, speaking of God whilst removed from the strictures of orthodoxy and religious institutions. Taking seriously the idea that a generous God is at work in all places, the thesis argues that especially in the midst of Gothic horror, violence and the supernatural, God continues to speak and reveal Himself in strange and unexpected ways.