Teses / dissertações: "Creation (Literary and artistic)"

1

Kehoe, Peggy. "Self discovery and personal creation /". Online version of thesis, 1991. http://hdl.handle.net/1850/11073.

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Witt, Susanna. "Creating creation readings of Pasternak's Doktor Živago /". Doctoral thesis, Stockholm : Almqvist och Wiksell International, 2000. http://catalog.hathitrust.org/api/volumes/oclc/46340409.html.

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3

Kakavas, George. "Dionysios of Fourna (c. 1670-c.1745) : artistic creation and literary description". Thesis, Courtauld Institute of Art (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431679.

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4

Green, Charles. "Thief in the attic : artistic collaborations and modified identities in international art after 1968 /". Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.

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5

Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright". Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.

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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.

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6

Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.

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7

Cseh, Genevieve. "Flow in visual creativity". Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225306.

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Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.

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8

Wedel, Valerie A. "The undoing of the self an artistic exploration /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5004.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2007.
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 April 4, 2008) Vita. Includes bibliographical references.

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9

Saxton, Linda K. "Computer imagery and creative energy /". Online version of thesis, 1987. http://hdl.handle.net/1850/10309.

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10

Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.

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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.

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11

Still, Frederick George. "Digital Collage-Access to inspiration: The use of multimedia as a catalyst for creative thought". CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2891.

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This paper takes the position that creativity can be enhanced by multimedia. Computer software was designed and a study was conducted to measure that proposition. The author used participant self-analysis as a means to gather data on creativity enhancement holding to the presupposition that people can tell when they are creative and when their creativity is inhibited. The results of the study supported the belief that multimedia and the software designed for that purpose was able to enhance creativity.

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12

De, Muro Theodore Edward. "Making a case for clay in art education /". Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/1130215x.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Typescript; issued also on microfilm. Sponsor: David S. Nateman. Dissertation Committee: Judith Burton. Includes bibliographical references (leaves 203-216).

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13

Bradley, S. Burtis. "Sacramental elements of creativity in the work of Dorothy L. Sayers". Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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14

Payne, Emily. "The creative process in performance : a study of clarinettists". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:652aa4a1-347b-41e2-8ba3-a71eee9c3e5a.

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This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.

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15

Hall, Wendy E. "Ceramic handbuilt vessels". Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725080.

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The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.
Department of Art

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16

Murphy, Eric. "Five earthenware vessels with mixed media for reflection and contemplation". Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941719.

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As humans and society have evolved, living has become more abstract and individualized. This report on the creative project discusses the artistic process and how each of the five works personalized or called attention to the abstractness of a beholder's existence. Each of the mixed-media works centered around a hand-built ceramic granary form which referenced the human drive to store resources. During exhibition at Ball State University, beholders would construct an association to storage by resolving the disparities caused by the mix of images and materials in each artwork.The artistic process was defined into three categories of experiences: personal investigation, experimentation and skill-building. A major component of personal investigation was the development of the Visual Vocabulary, a collection of devices, images and ideas from the artist's life experiences. The experimentation category occurred when the elements of the visual vocabulary were conceptualized into a scenario for an artwork. The physical work involved in making each artwork was part of the skill-building category. How each work was constructed and the exhibition was also discussed.
Department of Art

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17

Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /". Diss., Connect to online resource - MSU authorized users, 2008.

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18

Leclerc, Josée. "La poïétique, lieu du jaillissement de l'oeuvre picturale /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.

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19

Grewal, Harsimrat Kaur. "The creation of artistic space and literary possibility through speculative fiction in Octavia E. Butler's Kindred and Fledgling". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/460587554/viewonline.

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20

Goudreau, Hélène. "Influence de l'enseignement de l'esthétique sur la créativité des élèves de sixième année primaire en regard du programme du ministère de l'éducation du Québec en art /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.

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21

Keasorn, Thitacharee Rennels Max R. "A cross-cultural comparison of style of perceptual mode and creativity among subjects majoring in art from Thailand and the United States". Normal, Ill. Illinois State University, 1989. http://wwwlib.umi.com/cr/ilstu/fullcit?p9004087.

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Thesis (Ed. D.)--Illinois State University, 1989.
Title from title page screen, viewed October 21, 2005. Dissertation Committee: Max R. Rennels (chair), Normand W. Madore, Marilyn P. Newby, Thomas E. Malone. Includes bibliographical references (leaves 73-78) and abstract. Also available in print.

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22

Lebel, Jean. "Pérégrination sur une ligne de vie /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.

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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995.
"Communication de recherche présentée pour l'obtention du grade de maître es arts (M.A.), extensionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi" Les diapositives qui accompagnent ce document sont disponibles à l'audiovidéothèque. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU

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23

Pan, Yee Lin. "The development of creative thinking in adolescents in Hong Kong : a sociocultural interpretation /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19508.pdf.

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24

Bellingham, Robin. "A phenomenological and thematic interpretation of the experience of creativity". Click here to access this resource online, 2008. http://hdl.handle.net/10292/432.

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Creativity is a nebulous concept, lacking both clear articulations and common understandings of meaning. Due to a lack of clear alternatives the concept of creativity is increasingly becoming infused with economically driven vocabulary, associations, interests and ideologies. There is an immediate need to provide alternatives to the „creative economy‟ view of creativity, because of its insidious effect on educational institutions and practices and because it promotes a generally impoverished view of the meaning of creativity and of human potential. Reductionist thought; the tendency to understand concepts as separate and distinct from one another prevents us from easily conceptualising an experience such as creativity which involves the simultaneous experience of seemingly paradoxical elements such as individuality and unity, intellect and intuition and freedom and discipline. Democracy is a metaphor which can help to articulate and understand the paradoxical experience of creativity. Democracy stands for the potential to make meaning from the integrated exploration of individuality and of unity, which I argue is a fundamental dynamic of the creative experience. I further suggest that the essence of the creative experience is a democratic attunement to existence, in which subject and object, self and environment, intellect and intuition and freedom and discipline are experienced as in a democratic relationship with one another. This way of understanding creativity provides an alternative to the creative economy view. It implies some significant changes to traditional educational emphases, including a movement away from primarily individualistically oriented curricula and toward curricula and educational values which situate the individual within an integrated eco-system.

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25

Gao, Wei Zhi. "Creative criticism : the example of James Joyce /". Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9422.

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26

Lewinsohn, Ana Caldas 1979. "Metáforas de trabalho no território de criação : provocações do corpo-em-arte na preparação do ator". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285293.

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Orientador: Renato Ferracini
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Cada sala de ensaio, cada grupo e processo de criação utiliza, em suas práticas, o que podemos chamar de metáforas de trabalho. As metáforas de trabalho são ideias, ações, imagens, comandos verbais utilizados em práticas de ensaio, aulas ou processos criativos para auxiliarem os atuantes a entrarem em um estado de experimentação. A utilização de metáforas de trabalho em práticas teatrais possibilita a construção de um corpo-em-arte, gerando e potencializando estados de criação, repetição, atualização e manutenção de ações-matrizes físico-vocais no contexto poético ficcional e espetacular. Essa pesquisa investiga a potência dessas provocações, na busca de criar uma relação mais íntima entre conceitos e a prática artística, e de uma reflexão teórica cada vez mais próxima do processo criativo, utilizando seus paradigmas, sua linguagem e terminologia para discutir questões pertinentes sobre o trabalho do ator contemporâneo
Abstract: Each rehearsal room, each group and each creation process engage in their practices, what we call work metaphors. Work metaphors are ideas, actions, images, verbal commands used in rehearsal practice, in classes or in creative processes to help actors achieve a state of experimentation. The use of work metaphors in theatrical practice enables the construction of a body-in-art, generating and expanding states of creation, repetition, revision and maintenance of physico-vocal template actions in the poetical, fictional and scenic context. This research investigates the potential of such provocations, searching to produce a more intimate relationship between concepts and actual practice and hence to produce a theoretical reflection that approximates the creative process, employing its paradigms, its language and terminology to discuss questions relevant to the work of the contemporary actor
Doutorado
Artes da Cena
Doutora em Artes da Cena

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27

Parsons, Rosemary Frances. "Group devised theatre a theoretical and practical examination of devising processes /". Master's thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/71211.

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Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007.
Bibliography: leaves 241-251.
Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion.
This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research.
Mode of access: World Wide Web.
251 leaves

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28

Secunda, David. "Developing a performance with special needs students : a case study in creativity". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29481.

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This thesis advances the proposition that learning disabled students' participation in kinesthetic or dance and mime performance activities provides an alternative expressive mode to the verbally oriented activities through which creativity has traditionally been examined and evaluated. Between February and May, 1989, I designed and carried out research project in an elementary school in Vancouver, B.C. A group of students, characterized as "learning disabled," participated under my direction in the design, rehearsal, and presentation of a performance of mime and movement to a narrated text developed mainly by the students. Techniques of participant observation and interview (as well as videotape recordings) were used to document both students' activities and the responses of students and their teachers The technique of cognitive mapping was used to analyze observations of the students in kinesthetic activities. Results of this case study have implications for theory and practice. Theoretical implications relate to conceptions o creativity derived from Maslow's description of "peak experiences" and from analyzing Weisberg's definition of creativity. An applied outcome of this research allows practical generalizations about the use, design, and implementation of programmed kinesthetic activities as a means of encouraging creativity among learning disabled students.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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29

Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.

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Merrill, Cecily P. "Embodied communication : visually representing movement /". Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.

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Dunn, Jennifer Erin. "Ambiguous and ambivalent signatures : rewriting, revision, and resistance in Emma Tennant's fiction". Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:6a4e8319-422a-48b9-8e43-cd05d742450f.

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While existing criticism of Emma Tennant's work emphasizes its feminist agenda, less attention has been paid to her rewriting of different narratives and discourses. Tennant's career has centered on challenging literary values as well as generic categories, realist conventions, and gender stereotypes. Contrary to implications that rewriting is "re-vision," an "act of survival" that corrects or subverts earlier texts, this thesis argues that Tennant's characteristic resistance to categories also extends to the work of rewriting and revision. Her texts suggest that the act of "writing back" is not as straightforward as it may seem, but deeply ambiguous and ambivalent. Developing theories of the "signature" that return the writer-as-agent to the otherwise anonymous field of intertextuality, this thesis traces Tennant's figurations of writing, metafictional devices, and intertextual allusions to show how these relate to themes in the fiction. Examining groupings of the texts from different critical perspectives, each chapter shows how Tennant's rewritings destabilize notions of originality, identity, and agency, and represent political discourses and social progress in an ambivalent way. While this thesis offers very specific insights into Tennant's work, the close readings also encompass broader themes, such as feminism and postmodernism, the gothic, myths of home and exile, and the ventriloquistic techniques of pastiche and biofiction. The arguments centered on her work contribute to the larger discourse on rewriting in two ways. First, in problematizing assumptions that rewriting inherently strives toward progress or correction, this thesis argues that rewriting can dramatize the ambiguity and ambivalence that haunt acts of resistance. Second, in advancing challenges to the idea that intertextuality functions anonymously, it argues that rewriting can return agency to the text by offering representations of authorship that engage with literary and cultural history.

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Alleoni, Natália Vasconcellos 1985. "Entre rastros, laços e traços : o corpo, suas memórias e um processo criativo em dança". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284490.

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Orientador: Elisabeth Bauch Zimmermann
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Entre Rastros, Laços e Traços: O corpo, suas memórias e um processo criativo em dança.A pesquisa baseou-se na competência dos laboratórios como espaços de (dês) condicionamento, de reflexão e (re) construção das memórias, bem como propôs uma dança compostas pelas elaborações de conteúdos pessoais em diálogo com experimentações do presente. É um estudo de caso que aborda o tema arquetípico do feminino a partir das memórias de formação em dança da pesquisadora-artista. Esse estudo dividiu-se em três momentos: laboratórios de improvisação, estudo do material expressivo e criação da dramaturgia cênica. Como matéria-prima da investigação, podemos citar as memórias resignificadas e as imagens corporais ¿ mentais e gestuais. Como instrumentos de criação, temos a observação das sensações e impulsos expressivos e o diálogo entre a psicologia profunda de Jung ¿ principalmente no que diz respeito ao processo de individuação - e os conteúdos que emergem do corpo em laboratório de criação. Por fim, como produto final do estudo, a poética e a dramaturgia cênica que, nesse caso, são frutos das experiências e dos afetos vividos. A pesquisa possibilitou que a artista vivenciasse diferentes conteúdos por meio de experiências diversas e trocas intensas, indo do narcisismo ao desenvolvimento do corpo próprio. Valeu-se, para tal, de três eixos norteadores: os rastros (percurso de formação em dança), os laços (afetos e afinidades) e os traços (qualidade expressiva e linguagem cênica). O solo de dança Pela finita beleza da rosa é assim, fruto e produto final do processo corporal da bailarina autora dessa pesquisa
Abstract: Between Tracks, Loops and Traces - The body, its memories and the autobiographical creative process in dance.The research was based on the competence of laboratories as spaces of conditioning and deconditioning, reflection, construction and deconstruction of memories. Additinally, the dance proposed was created by the elaborations of personal contents in dialogue with the present experiments. The present research is a case study approaching the theme of the archetypal feminine, initiating from the dance training memories of the researcher-artist.This study is divided into three stages: the improvisation labs, the research of expressive phrases, and the creation of a performance. The investigative source to this research is finding new meanings, mental and gestural, to the researcher's memories and body image. As instruments of creation, the artist observes the sensations, impulses and expressive dialogue between Jung's depth psychology, regarding the process of individuation, and the contents of the body that emerge in a dance lab setting. Finally, as the final result emerges, the poetic performance is the result of the experiences and emotions lived throughout the process.The research enabled the artist to experience different contents by several experiences and intense exchanges, from the narcissism to the the development of the body itself. Three guiding principles were used: the tracks (in dance training pathway), loops (affections and affinities) and traces (expressive quality and scenic language).The solo dance For the rose's finite beauty is therefore both the object and purpose of this research in dance
Mestrado
Artes da Cena
Mestra em Artes da Cena

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Dallaire, Sylvie. "Fables d'O : images de l'invisible". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.
Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de la maîtrise en arts plastiques extentionné de l'Universtié du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

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Helguero, Lorenzo. "Transgresion y modernidad la prosa de Rubén Darío /". Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/453505739/viewonline.

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Robitaille, Bianka. "Les rencontres singulières et collectives en art : sources de création /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.

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Whitman, Eric. "A case study on Ed Young Jr's creative team approach to sermon development". Theological Research Exchange Network (TREN), 2006. http://www.tren.com/search.cfm?p001-1063.

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Rife, Martine Courant. "Rhetorical invention in copyright imbued environments". Diss., Connect to online resource - MSU authorized users, 2008.

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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process". CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.

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Quinteros, Carmen Veronica School of Sociology &amp Anthropology UNSW. "Creativity, order and discipline". Awarded by:University of New South Wales. School of Sociology and Anthropology, 2004. http://handle.unsw.edu.au/1959.4/20741.

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For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.

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Osman, Hazem S. (Hazem Samy). "Crossings: journey through Le Corbusier's Villa la Roche". Ottawa, 1999.

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Marchand, Roger. "Un art sous zéro /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.

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Memoire (M.A.)-- Universite du Quebec a Chicoutimi, 1993.
Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU

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Lamonica, Claire Coleman Neuleib Janice. "Conflict and creativity in student writing groups a case study investigation /". Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9633421.

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Thesis (D.A.)--Illinois State University, 1996.
Title from title page screen, viewed May 23, 2006. Dissertation Committee: Janice Grace Neuleib (chair), James Robert Kalmbach, Heather Ann Brodie Graves, John Francis Cragen. Includes bibliographical references (leaves 215-222) and abstract. Also available in print.

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Oliveira, Lineker Henrique de 1987. "Por uma experimentação indisciplinar do artista da cena". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284618.

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Orientador: Matteo Bonfitto Júnior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Pensar a experimentação como um caminho possível ao desenvolvimento técnico-poético do artista da cena e à criação. Pensar uma prática corporal e vocal integrada, sob o prisma da corporeidade. Pensar a criação artística sob um olhar inter, trans e indisciplinar. Essas são algumas questões que norteiam este estudo, que se propõe como um material a ser apropriado e experimentado por artistas da cena que buscam ampliar as fronteiras de seus saberes e fazeres. A pesquisa apresenta a sistematização de alguns exercícios que têm por objetivos experimentar e reconhecer algumas possibilidades da conexão entre corpo e voz, voz e movimento, considerando ainda os aspectos sensíveis e pulsionais presentes na criação artística. Apoiando-se ainda em outras práticas artísticas, essa sistematização foi integrada ao processo de criação do espetáculo "Depois", que teve a participação de atrizes, bailarinas e cantoras, alunas e ex-alunas do Instituto de Artes da UNICAMP, integrantes do "NUA ¿ Coletivo Artístico Indisciplinar
Abstract: The abstract is available with the full electronic document
Mestrado
Artes da Cena
Mestre em Artes da Cena

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Bader, Angela. "A personal exploration of the creative process". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.

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Baron, Annie. ""Pour perpétuer le souvenir de la chose" : installation de mises en scène de la vie quotidienne /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Bliss, Shirley E. "The Art Process in Therapy: A Phenomenological Study". Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935726/.

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This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.

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Pitre, Nicholas. "Angle incarné /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1990. http://theses.uqac.ca.

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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1990.
Programme de la maîtrise en arts plastiques extentionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU

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Tremblay, Gisèle. "Liens de mémoire : (démarche de création en situation de paradoxe entre la mémoire et l'oubli) /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1993. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1993.
Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de la maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Document électronique également accessible en format PDF. CaQCU

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Costin, Pierre. "Itinéraire de lieux fragmentés : (photographie) /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.

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McLaren, Stephen Joyce James. "Framing a portrait of the artist evolution in design /". View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/30426.

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Thesis (Ph.D.)--University of Western Sydney, 2005.
A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Humanities, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies.

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Teses / dissertações sobre o tema "Creation (Literary and artistic)"

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