Дисертації з теми "Professional artist"
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1
Wayte, Gillian Ruth. "Becoming an artist : the professional socialisation of students." Thesis, University of Bristol, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.330078.
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Warren, Christopher S. "Professional pathways for the english provincial artist in the early nineteenth century." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501543.
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Walter, Helen. "Artist, professional, gentleman : designing the body of the actor-manager, 1870-1900." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1698/.
Повний текст джерелаАнотація:
In the historical record of British theatre in the latter half of the nineteenth century, the figures of London’s actor-managers are constantly present. As such, over the intervening century, they have been subjected to detailed historical enquiry by any number of different scholars in terms of their theatrical achievements, management styles, and their role in the changing nature of theatre in this period. However, despite the vast amount of extant visual material pertaining to these individuals in British, and other, collections, little attention has been paid to the image of the actor-manager in this period, and still less to the role of the body in the legacy of such figures. Given the nature of the actor’s craft as body-orientated, the explicitly visual nature of theatre in this period, and a burgeoning mass-media industry intent on the dissemination of such images, from a design history perspective this historiographical gap is surprising. Taking as its starting point the contention that the primacy of London’s actor- managers in this period was not, despite the claims of some contemporaries, an inevitable result of natural talent, but rather the outcome of carefully mediated verbal and visual discourses of theatrical and social achievements, this thesis examines how the framing of the body in such texts and images contributed to the legacy of the actor-manager as the central figure of late-Victorian theatre for a number of different audiences. It does this by using a synthetic approach which encompasses a number of distinct disciplines, including theoretical perspectives on the body, theatre historical scholarship that informs the context of the primary material, and design historical narratives of production and consumption. Ultimately, however, it is led by the depiction of actor-managers in the late nineteenth century, and the manifestation of multi-valent identities through the body, which constructed them for popular and critical consumption as artists, professionals and gentlemen of the late-Victorian era.
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Sweat, Ashley Dawn. "What is the nature of the professional practice of artist-teachers? four case studies /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11172005-212321/.
Повний текст джерелаАнотація:
Thesis (M.A. Ed.)--Georgia State University, 2005.Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).
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Sweat, Ashley Dawn. "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/3.
Повний текст джерелаАнотація:
Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.
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Alves, Adriano Batista. "Teorias de carreira: um estudo sobre a jornada profissional do artista." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/957.
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Previous issue date: 2010-10-28Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Many professions are benefiting from the labor studies and the delineation of their careers, they mostly focused on the organizational environment, which requires and fosters these studies for their own development. Even considering the other studies and authors who were instrumental in the study of careers, which are interdependent and converges in meaning and application, the career of an artist becomes the object of this dissertation on the ground does not fit a specific model of career but present with very particular characteristics that are inherent in this profession. The artist, regarded as professional driving career in a manner dissociated from the organizational management system, now in part because his work permit you, pray for her condition to a structure that depends on your creativity and other skills specific to the craft. The structuring of their work is shaped by the same demand, coupled with their skills and their sense of achievement, the latter an intangible component, but fundamental in developing as a professional, independent of the operating area in the arts. The journey of each artist points to a constant development of skills, the ability to adapt to uncertainty, the horizontal mobility of their careers and setting up networking, which conducts the survey for a multi-directional results. Trying to understand the structure of artists career, the study considers the main theories on the subject as a reference to research conducted with professionals from various fields of art, and drawing a parallel between the reality of these with already made careers studies. Also, in order not to limit the focus of careers, but to discuss the issue of positioning the artist in the twenty-first century, was associated with the issue of tangible and intangible value, it was possible to contextualize about the inviolability of the artwork and its place in quantifiable values of society. The survey was conducted with ten professional, who answered seven questions addressed to the interpretation of their careers, expectations, feelings about their careers and the profession, the way that works its image and visibility of their artistic production, as well the concepts for pricing and marketing of their works or services
Muitas das profissões são beneficiadas com os estudos do trabalho e pelo delineamento de suas carreiras, estes na maioria das vezes voltados para o ambiente organizacional, o qual necessita e favorece estes estudos para seu próprio desenvolvimento. Mesmo considerando os demais estudos e autores que foram determinantes para os estudos de carreiras, os quais são interdependentes e convergem em sentido e aplicação, a carreira de artista se torna o objeto desta dissertação pela razão de não se enquadrar em um modelo específico de carreira, mas se apresentar com características muito particulares que são inerentes à esta profissão. O artista, analisado como profissional, conduz sua carreira de maneira dissociada do sistema organizacional de gestão, ora em parte por seu trabalho lhe permitir, ora por lhe condicionar a uma estrutura que depende de sua criatividade e demais competências específicas do ofício. A estruturação de seu trabalho é moldada pela demanda do mesmo, associada de suas competências e seu sentimento de realização, este último um componente intangível, mas fundamental no desenvolvimento como profissional, independente da área de atuação no campo das artes. A jornada de cada artista aponta para um constante desenvolvimento de competências, a capacidade de se adaptar às incertezas, a mobilidade horizontal de suas carreiras e criação de networking, que conduz os resultados da pesquisa para um modelo multi-direcional. Procurando entender a estrutura da carreira de artistas, o estudo considera as principais teorias sobre o tema como referência para a pesquisa efetuada com profissionais de diversas áreas da arte, e traçar um paralelo entre a realidade destes com os estudos de carreiras já realizados. Também, de modo a não se limitar ao foco das carreiras, mas discorrer sobre a questão do posicionamento do artista no século XXI, foi associado a questão de valor material e imaterial; onde foi possível contextualizar sobre a intangibilidade do trabalho artístico e sua inserção na sociedade de valores quantificáveis. A pesquisa foi realizada com dez profissionais, os quais responderam sete questões dirigidas à interpretação de suas carreiras, expectativas, sentimentos em relação à suas carreiras e exercício da profissão, a forma em que trabalha sua imagem e visibilidade de sua produção artística, assim como lida com a precificação e comercialização de suas obras ou serviços
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Smith, Joephine F. "The training, early professional career and publications of the Sheffield artist and art educator Elizabeth Styring Nutt (1870-1946)." Thesis, De Montfort University, 2000. http://hdl.handle.net/2086/5857.
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Duffield, Laura. "An investigation of how artist/student interaction can be structured to maximise learning in the drama classroom." Thesis, Queensland University of Technology, 1997.
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9
Stevelt, Kelly A. "Professionalization of Studio Glass Artists." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.
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Smith, Lisa K. "Professional boundaries: Sharp objects and other injections of memoir and comedy." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98527/3/Lisa_Smith_Exegesis.pdf.
Повний текст джерелаАнотація:
This research and the theatrical performance, THE PERFORMING NURSE, represent the two vocations of the researcher- the artist and the nurse. It addresses the question: How can the Nurse Artist emerge to express the self, and to gain a voice for nurses in a system that often demands compliance and silence?
The research contributes to the field of Performing Medicine and points to potential applications within drama and theatre, the arts health sector and the nursing community that increase self- esteem and general well- being, thereby helping to create healthy and fulfilling workplaces.
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Fernandes, Mariana Queiroz. "Um balanço sobre o Seminário Longitudes: a formação do artista contemporâneo no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100135/tde-01092016-190210/.
Повний текст джерелаАнотація:
A ampliação gradativa de instituições culturais privadas criou uma demanda de mão de obra qualificada para seus mais variados programas. Surgiram nos últimos 20 anos em todo o país cursos profissionalizantes e diversas graduações e pós-graduações em artes visuais reconfigurando assim um novo panorama daquilo que vem sendo, nos últimos anos, a formação do artista plástico (ou visual) no circuito artístico. A dissertação teve por objetivo discutir a posição do artista brasileiro contemporâneo através da análise do seminário Longitudes, realizado na cidade de São Paulo em março de 2014. Três temas centrais nortearam a configuração do seminário e posterior análise: o primeiro abordou a identidade do artista; o segundo tratou da expansão dos espaços alternativos e do escopo de trabalho do artista; o terceiro dedicou-se aos locais de formação e à proliferação de faculdades e cursos livres que têm suprido a demanda do mercado de trabalho recém desenvolvido. A partir dos depoimentos coletados no seminário, discutiremos as relações de trabalho no meio e a profissionalização do artista contemporâneo no BrasilThe gradual expansion of private cultural institutions created a hand demand for skilled labor for its various sectors. Emerged in the last 20 years throughout the country training courses and several graduate and post-graduate courses in visual arts as well reconfiguring a new panorama of what has been, in recent years, the formation of the artist (or visual) on the art circuit. The dissertation aims to discuss the position of the Brazilian contemporary artist by an analysis of the Longitudes seminar, held in São Paulo in March 2014. Three central themes guided the seminar configuration and its further analysis: the first dealt with the artist\'s identity; the second dealt with the expansion of the alternative space and the artist\'s scope of work; the third topic turned to the training sites and the proliferation of colleges and other courses to come meet the demand of the newly developed labor market. From the testimonies collected in the workshop, we will discuss the labor relations in the milieu and the professionalization of the contemporary artist in Brazil
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Smith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.
Повний текст джерелаАнотація:
This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.
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Čiškauskaitė, Živilė. "Baleto pedagogo kompetencijų raiška profesionalių baleto artistų ugdymo procese." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120801_105543-85413.
Повний текст джерелаАнотація:
Šiame darbe yra nagrinėjama baleto pedagogo, siekiančio išugdyti profesionalų baleto artistą, kompetencijų raiška. Pastebima, kad tik nedidelė dalis baleto mokyklas baigusių mokinių yra puikūs vedantieji balete, sugebantys savo šokiu perteikti dvasines vertybes ir taip įprasminti šokį kaip meno kūrinį. Pagrindiniu tikslu mokymo procese dažniausiai tampa geras pačios išraiškos priemonės pažinimas (šiuo atveju šokio technika), pamirštant, koks svarbus yra ir asmenybės meninės brandos puoselėjimas, skatinantis kūrinio visumos, jo turinio, dvasinių vertybių sistemos suvokimą bei pajautimą, kurio dėka kūryba tampa menu, veikiančiu ir prusinančiu žiūrovą. Baleto pedagogo kompetencijų raiškos ugdymo procese klausimas, kuris iškelia ir problemą, ar iš tikrųjų baleto pedagogai savo kompetencijas panaudoja taip, kad ugdymo proceso metu mokiniai turėtų visas sąlygas šokio pagalba kurti save kaip pilnaverčius savo srities specialistus – baleto atlikėjus – gebančius kurti meną, įgauna esminę reikšmę? Siekiant išsiaiškinti tai, tyrimo objektu yra pasirinkta baleto pedagogo kompetencijų raiška. Tyrimo tikslas – nustatyti baleto pedagogo kompetencijų raiškos ypatumus baleto artistų ugdymo procese. Tyrimo uždaviniai: 1. išanalizuoti mokytojo kompetencijas šiuolaikiniame ugdymo kontekste, 2. nustatyti baleto pedagogo kompetencijas, 3. atskleisti baleto šokėjo kompetencijas, 4. išsiaiškinti profesionalių baleto artistų rengimo specifiškumą, 5. nustatyti baleto pedagogų kompetencijų raiškos... [toliau žr. visą tekstą]Expression competencies of ballet teacher seeking to prepare a professional ballet artist are analyzed in this work. It is noticeable that, in the ballet, there is only a small part of ballet school graduates who are excellent teachers capable of conveying spiritual values through their dance and so giving meaning to dance as a piece of art. The main goal usually becomes the good knowledge of the expression means (dance technique in this case) forgetting about the importance of fostering individual’s artistic maturity that stimulates the perception of the whole of the art work, its content, comprehension and feeling of spiritual value system, owing to this, creation becomes art that influences and educates the viewer. A question that also raises the problem, if ballet teachers use their competencies in the way that students would have all conditions to create themselves as valuable specialists of their field- ballet artists- who are able to create art in the process of education gains the essential meaning. The object of the research is competence expression of the ballet artist. The aim of the research is to determine the peculiarities of ballet teacher’s competence expression in the process of ballet artist education. The objectives of the research: 1. to analyze teacher’s competencies in the context of modern education; 2. to determine the competencies of the ballet teacher; 3. to reveal competencies of the ballet artist; 4. to find out the specificity of professional... [to full text]
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OLIVEIRA, Eleny Macedo de. "Docência Universitária em Arte:(auto)retratos da identidade do docente-artista." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/1986.
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Previous issue date: 2010-06-10This study, inserted into the Research Line Training and Teacher Professional Process, aimed to identify and analyze aspects of professional identity of teacher - artist who works in higher education. Thus, it was necessary to understand the reasons that lead this professional to join the university teaching, besides knowing about the aspects that constitute the identity of the teacher - artist who exercises teaching at the university. The concept of teacher - artist constructed in dialogue with references as Célia Maria de Castro Almeida (1992) and Késia Mendes Barbosa (2006) serves to clarify the concept of professional identity and inclusion of teacher - artist in the formation of Higher Education. Along with this concept, the narrative of the first institutions of higher education in Brazil is delineated, in order to elucidate how the genesis of the university teacher training throughout history happened, especially the teacher - artist. These informations are the base for understanding the evolution of the professional training and the identity of the teacher - artist of Higher Education in dialogue with Carmen Lucia Abadie Biasoli (1999), Luiz Antonio Cunha (2003) e Ana Mae Barbosa (2005). Thus, the analysis turns to the concept of teacher identity focusing these authors who propose analysis and discussions on the topic. The highlights of this concept are: Valter Soares Guimarães (2004), Tomaz Tadeu da Silva (2009), and Luzia Alves de Carvalho (2009). Analyses on the professional identity takes consistency, followed by reflections of Léa das Graças Anastasiou (2001, 2006), Pimenta (2002), Miguel A. Zabalza (2004) and Valter Soares Guimarães (2004). The field research achieved in the GT of Education and Art of the National Association for Research and Post-Graduation Education - ANPEd - and at School of Arts, in the Visual Arts Faculty - FAV-and at School of Music and Performing Arts - EMAC- of UFG had as instrument for data collection a questionnaire. The findings resulting from analysis of field research and the possible contributions to the understanding of the aspects that constitute the professional identity of teacher - artist of Higher Education form the outcome of this investigation by presenting two main lines of dominance in teaching in Art with visions distinct, but with common purposes: the teaching of art.
O presente estudo, compreendido na Linha de Pesquisa Formação e Profissionalização Docente, buscou identificar e analisar a identidade profissional do docente-artista que atua na Educação Superior. O docente-artista é conceituado à luz das teóricas Almeida (1992) e Barbosa (2006), como aquele que atua com as diferentes linguagens artísticas no Ensino Superior, com produção artística ou não. De posse desse conceito recorre-se à trajetória das primeiras instituições de Ensino Superior no Brasil, com o intuito de elucidar como aconteceu a gênese da formação do docente universitário ao longo da história, em especial do docenteartista. Essas informações servem de alicerce para conhecer a evolução da formação profissional e da identidade do docente-artista da Educação Superior em interlocução com Cunha (2003) e Ana Mae Barbosa (2005). As análises sobre a identidade profissional tomam consistência, acompanhadas das reflexões de Pimenta (2002) e Zabalza (2004). A pesquisa de campo realizada junto a docentes-artistas teve como instrumento para coleta de dados o questionário. As conclusões advindas das análises da pesquisa de campo e as possíveis contribuições para a compreensão dos aspectos que constituem a identidade profissional do docente-artista da Educação Superior formam o desfecho desta investigação, com a apresentação de duas grandes linhas identitárias. A primeira linha é composta por docentesartistas com características mais voltadas para a identidade de educador. A segunda linha apresenta contornos em que se acentua a identidade de artista em detrimento da visão de educador. São identidades distintas para a docência em Arte, com propósitos comuns aos que atuam nos cursos de formação de professores.
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Carr, Tiffany Ann. "Addressing the non-artist's approach to art: a study of pre-service teachers in an art methods course." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1834.
Повний текст джерелаАнотація:
This is a qualitative, mixed-methods study that focuses on the experiences of pre-service teachers in an art methods for non-majors class. The purpose of this study is to describe the process of transforming pre-service elementary teachers’ apprehensive feelings and experiences about creating art. An examination of play, Thirdspace pedagogy, and contextual exploration within a humanistic approach all inform this study. The dataset exposed themes of apprehension and reluctance to art-making, community building, preconceptions about art and art-making, exploration, non-prescribed outcomes, learning from mistakes, and identity. The results of this study show evidence that explorative methods can alter the conceptions and approaches to art of pre-service teachers in an art methods for non-majors course. As a researcher, it is my hope that this study will impact art educators’ views of teaching art methods courses to non-majors.
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Granlund, Nilsson Mattias. "Artisan : Professional urban mobility." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160366.
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The idea for this project initially came from an article i read about a small company in Stockholm, called “The cycling plumber” In the article, the founder of the company who explained that he was tired of looking for parking and sitting in traffic in his work-van around the tight and congest- ed streets of Stockholm. This sparked an interest from me, what options does the urban-operating handyman have in terms of transportation? Using the design process and thorough user studies, this project explores a new type of commercial vehicle segement, intended for carpenters operating in the dense city traffic of the future. The final product proposed, is called VW Artisan. It’s a versatile commercial vehicle utilizing a detachable toolbox system to improve the efficiency and comfort of the user during their daily work.Idén till detta projekt kom ursprungligen från en artikel som handlade om ett nytt företag i Stockholm, kallat “Cyklande rörmokaren”. I artikeln förklarade grundaren till företaget att han hade tröttnat på att sitta i köer och leta efter parkering runt Stockholms tätt trafikerade gator. Detta väckte ett intresse för mig. Vilka transportalternativ har en hantverkare som huvudsakligen arbetar i större städer? Med hjälp av designprocessen och utförliga användarstudier utforskar detta projektet en ny typ av kommersiellt fordonssegment, avsett för hantverkare i framtidens tätt befolkade städer. Slutresultatet som föreslås i detta projekt kallas för VW Artisan. Ett mångsidigt arbetsfordon med en avtagbar verktygsvagn för att effektivisera och öka komforten i användarens dagliga arbete.
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Gallay, Lillian Hemingway. "Understanding and Treating Creative Block in Professional Artists." Thesis, Alliant International University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567547.
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This project provides a broad exploration of factors that can enhance or inhibit creative performance in professional artists, including writers, visual artists, and musicians. Potential causes of the difficulties creative clients contend with are surveyed, as well as a range of interventions to address them. The first section reviews six major factors that can impact artistic creativity (also called Big C or eminent creativity) both positively and negatively, including the relatively stable and enduring factors of artists’ personality traits, cognitive makeup, and psychopathology. This section also reviews more malleable elements of creativity that the therapist may be able to affect directly, namely, motivational orientation, mood, and environmental influences. The second section is an investigation of creative block: its antecedents, phenomenology, and proposed classifications of different types of block. The final section focuses on interventions to facilitate creative performance in artists, both those who are suffering from artist block and those who are seeking to boost their creative achievement more generally. Interventions reviewed include cognitive-behavioral, Gestalt, psychodynamic, meditative, and compassion-focused approaches. In addition, field interviews conducted with psychologists with expertise in the clinical treatment of professional artists are summarized. The project concludes with a discussion of possible reasons for the scarcity of empirical literature on the subject of creative block and potential avenues of exploration for future research.
Keywords: Arts, artists, musicians, writers, creativity, psychotherapy, self-compassion, perfectionism, self criticism.
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Grainger, Sheila, and n/a. "Accessing the Professional Artistry of Teaching." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031114.084528.
Повний текст джерелаАнотація:
This study accesses the professional artistry of teaching which I argue is being eroded by the representation of teaching in a discourse of technical rationality (Fish, 1991, 1995). Accessing professional artistry is the first step towards identifying how it figures in teaching practice and how it can be (mis)represented in theory, policy and teachers' own talk about their practice. The research method involved: analysing the official New Zealand documents pertaining to teacher performance management to demonstrate how the dominant or hegemonic discourse of technical rationality marginalises the contesting discourse of professional artistry (Schon, 1983, 1987, 1995) and impacts negatively on the profession; collecting interview data through a process of video stimulated recall with student teachers to allow them to reflect on their own professional artistry; exposing the complexity of the student teachers' decision making in action through analysing the video stimulated recall data using the membership categorisation tools (Sacks, 1996; Baker, 1982, 1997, 2000) available in discourse analysis; using Fairclough's (2001) framework for Critical Discourse Analysis to explore the discursive and semiotic aspects of an identified social problem, namely teachers' disillusionment with the teaching profession and their alienation from their professional artistry, 'to produce knowledge which can lead to emancipatory change' (Fairclough, 2001, p.30). I argue that the identified problem is so deeply embedded in the discursive and semiotic aspects of the networked practices in which teaching is carried out, that a common sense interpretation of teaching is inadequate to expose the complexity of teachers' work and therefore inadequate to allow the professional artistry of teaching to be accessed and appreciated. A growing rhetoric/reality gap between teaching theory/educational policy and teaching practice serves to entrench the problem in the New Zealand Education System, positioning teachers in a disempowering discourse of technical rationality in which they are 'not to be trusted with more than the technical aspects of the job' (Fish, 1991, p.31). I argue that the contesting discourse of professional artistry valorises teachers' agency in interpreting and framing the problems of practice, crafting individual solutions to them and wanting to do a good job from a personal and professional commitment to their work and that this is the discourse in which teaching is represented at the local level by teachers themselves. This discursive positioning of teachers, contrasted with their positioning in the official discourse of educational policy offers an enlarged view of all aspects of professional practice as having the potential to inform theory as well as be informed by it, and therefore to generate new knowledge about teaching possibly leading to emancipatory change.
19
Sloan, Kimberly Mae. "The teaching of non-professional artists in eighteenth century England." Thesis, Queen Mary, University of London, 1986. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1713.
Повний текст джерелаАнотація:
The introductory chapter explains terms used throughout this thesis and why this period was chosen for study. The history of the introduction of drawing to the curriculum of Christ's Hospital, the Lens family who were the drawing masters there, and their drawing manuals and teaching methods are the subject of the second chapter. The third deals with the teaching of drawing at private academies, particularly Thomas Weston's in Greenwich, and with his and the Bickham family's activities as drawing masters to the pupils of this academy and the children at the Royal Naval Hospital. William and Sawrey Gilpin at Cheam Preparatory School are examined through the surviving correspondence of the Grimstons of Kilnwick in chapter four. Alexander Cozens's activities as a drawing master occupy the remaining half of the thesis. Chapter five explains how he himself learnt to draw and describes his earliest known employment as a drawing master at Christ's Hospital from 1749 to 1754. Chapter six traces his activities through the 1750's as a private drawing master and as the author of publications intended to assist the artistic invention of amateurs and professionals alike. It also examines his relationship with his son, John Robert Cozens, with Sir George Beaumont at Eton College, and with Henry Stebbing who studied Cozeris's 'blot' method. Chapter seven examines the activities of three of Cozens's private pupils through their surviving work and family papers in order to ascertain the element of original artistic creativity in the landscapes produced under his instruction. The concluding chapter considers why art education gained considerable importance in the education of young gentlemen and gentlewomen during this period, and whether the drawing masters' methods of teaching them changed. Finally, the role of drawing masters as creators and disseminators of artistic theories and their contribution to the development of English landscape watercolour painting are discussed.
20
Lindsey, Ilyse, Schelsey Mahammadie-Sabet, and Nicole Rademacher. "Art-making and Wellbeing with Professional Artists During a Pandemic." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/956.
Повний текст джерелаАнотація:
This research project aims to explore the relationship between art-making and wellbeing in professional artists during the COVID-19 pandemic. The study involves 14 respondents who were invited to complete a Qualtrics survey as well as a process of arts-based inquiry. Researchers analyzed participants’ survey and art responses using an iterative collaborative process to identify emergent themes. These themes included a non-optional and internally-located drive to create; positive emotional, social, and physiological impacts associated with art-making and art-sharing; and, positive impacts on art practice associated with the pandemic. These findings emphasized the unique strengths and challenges associated with the professional artist identity.
21
Vilmanis, Elizabeth J. "Seeing the chameleon: Barriers to making dance work for independent dance creators in Brisbane." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/108028/4/Elizabeth_Vilmanis_Thesis.pdf.
Повний текст джерелаАнотація:
This study advances knowledge about the Australian independent dance sector and identifies barriers to making dance work for Brisbane independent dance creators, presenting a three-tier framework to systematically address and prevent the recurrence of these existing barriers. The thesis utilised a mixed methodology that generated related data, including analysis of practice, a literature and contextual review of claims about practice, and a survey of Brisbane independent dance artists.
22
Letailleur, Erica. "La voie poétique de l'acteur et les mirages du théâtre professionnel : Étude de la formation des artistes du spectacle vivant du centre franco-turc Ayn Seyir (2006-2013)." Thesis, Nice, 2016. http://www.theses.fr/2016NICE2016/document.
Повний текст джерелаАнотація:
En prenant appui sur une enquête que nous avons menée entre 2006 et 2013 auprès de groupes d’acteurs ayant participé à une formation professionnelle intitulée « Autonomie de l’Acteur » et conduite par le centre Ayn Seyir, nous avons tâché de décrire la discipline théâtrale européenne contemporaine dans sa complexité, à travers un filtre analytique métadisciplinaire. Par le regard de ces artistes déplacés entre France et Turquie, nous voyons se dessiner l’esprit d’une culture des acteurs professionnels de théâtre, à deux niveaux : interne et externe. L’on remarque ainsi, au niveau interne, une faille entre pensée et pratique, qui semblerait vouée, d’une certaine manière, à sa propre insolvabilité. Lorsqu’on envisage la discipline en ses aspects externes, l’on note que celle-ci semble prise dans un vertige entre phénomènes de singularisation et de globalisation. Et si tout cela n’était que la marque d’un fait culturel en train de se réinventer par ses hiatus, pour ne (re)devenir que la paraphrase de ce qu’il était déjà ? Le théâtre ne semblerait plus être alors pour ces acteurs qu’un art au fonctionnement aporétique, conduisant à l’anomie. Mais ce métier ainsi éprouvé, s’oppose à la somme des idéaux que ces artistes évoquent et qui semblerait faire sens vers un désir de réalisation quasi-anagogique : une voie poétique. Entrer dans cette voie supposerait, en premier lieu, un abandon des illusions présidant à leur approche factuelle de la discipline : la démarche raisonnée d’un tamisage, pour peut-être tenter de résoudre certains des aspects du défi posé par la complexité du théâtre en tant que fait culturel en permanente mutationBy leading a field investigation between 2006 and 2013 with groups of actors who participated to an unique professional training called « Autonomy of the Actor » with Ayn Seyir Center, we tried to describe the theatrical fact in its complexity, as these actors are practicing and perceiving it, through the analytical filter of metadisciplinarity. By the look of these artists moved from their cultural area, between France and Turkey, we see a theater culture taking shape at two levels for these actors: internal and external. Thus, we notice at an internal level, a flaw between thought and practics, which seems to be consigned, in a certain way, to insolvency. And when we considerate the discipline in its external aspects, we notice that it is taken in a vertigo between super-individualization and globalization phenomenons. What if all of this was the mark of a cultural fact being reinvented by its hiatus, to only become again the paraphrase of what it was before? Then, theater would seem only be for these actors the illusion of an illusion : an art with an aporetic functionning, leading to lawlessness. But this art in this perception, is opposed to the sum of consensual ideals endlessly evoqued by these artists, who are all heading for a quasi-anagogic realization: a poetics path. To enter in this path presupposes at first abandoning their factual approach of theatre: a reasoned approach of a sifting, which may allow us to resolve certain aspects of the challenge of theatre’s complexity, considered as a cultural fact in crisis
23
Loads, Daphne Jane. "Surprising spaces : artistry in university lecturers' professional development." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551605.
Повний текст джерелаАнотація:
In this qualitative study I investigated an aspect of my own practice as an academic developer. My research question was: How do I understand and theorise what happens in art workshops that contribute to university lecturers' professional development? Taking a self-study approach (McNiff and Whitehead, 2006) in which theory is understood as generated by close and intense engagement with individual practice, I invited university lecturers to create, interpret and discuss collages in relation to what teaching meant to them. I interviewed the participants and the co-facilitator shortly after the workshops and again at the end of the study. Bringing together understandings from academic development, adult education and therapy, I claim that these workshops can be understood as restorative spaces where lecturers undertake and explore troubling experiences, leading to surprising insights and opening up the possibility for transformative learning (Mezirow, 1997). Drawing on Eisner's (2003) concept of artistry, I introduce the notion of the apercu: The noticing of a surprising detail that troubles settled ways of thinking and feeling. I explore the relevance of stochastic processes that combine random and non-random elements. I suggest that physical engagement with art-making balances the disembodied nature of much academic work; dialogue with colleagues, including expression of feelings, develops intimacy and safety that are often absent from professional encounters; and metaphor work opens up fresh and surprising ways of making meanings. I recommend that academic development practitioners should consider integrating an element of artful practice into development programmes as a necessary counterpoint to those activities that are narrowly instrumental and concerned with performative values. In order to avoid inappropriate personalisation of structural issues and unthinking perpetuation of the status quo, I argue that it is important that activities focusing on artistry should be complemented by strategies that draw on scholarship and address social and institutional change.
24
Wareen, Christopher. "Professional pathways for the english provinical artiest in the early nineteenth century." Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500837.
Повний текст джерела
25
Hummel, Michael John. "Three american artists at midlife negotiating the space between amateur and professional status /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6776.
Повний текст джерелаАнотація:
Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: American Studies. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
26
Bennett, Sophie. "A study of motivation and the satisficing approaches used by Professional Craft Artists." Thesis, Aberystwyth University, 2015. http://hdl.handle.net/2160/4482b7ba-8eed-410c-b006-1dbdafbe9341.
Повний текст джерелаАнотація:
This research investigates the way in which Professional Craft Artists (Pro-C Artists) operating in the rural sub-regions of Wales achieve a balance between co-existing, paradoxical motives. Previous studies have identified the existence of both intrinsic and extrinsic motives within the visual arts (Hirschman, 1983; RIPPLE, 1998; Fillis & McAuley, 2005) in, for example, the need to both earn an income and gain self-fulfilment from creative work. Such circumstances are investigated in this study, where the settlement of a satisfactory outcome both in terms of the level of satisfaction and income received can be seen in the production of visual art and craft. Intrinsic and extrinsic motives are considered, alongside external socio-environmental factors including location, materials and networks, in order to investigate paradoxical motives in creative work. Quantitative questionnaires have been used to identify Pro-C Artists operating within Pembrokeshire, Ceredigion, Carmarthenshire and Powys and select seventeen participants who took part in the research. Qualitative interviews are used to identify motives and satisficing approaches used in the visual arts sector. The findings from this research highlight the three main satisficing approaches that are used to manage conflicting tensions. These are presented in the concluding section to explain the significance of managing such tensions within the workplace, and also in relation to current rural strategies and creative support organisations, to consider how investment in the visual arts sector may contribute to rural localities.
27
Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Повний текст джерелаАнотація:
Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
28
Schmitt, Mary Donatelli. "Ohio Quilt Artists as Teachers." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1124400161.
Повний текст джерела
29
Bridgstock, Ruth Sarah. "Success in the protean career : a predictive study of professional artists and tertiary arts graduates." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16575/1/Ruth_Bridgstock_Thesis.pdf.
Повний текст джерелаАнотація:
In the shift to a globalised creative economy where innovation and creativity are increasingly prized, many studies have documented direct and indirect social and economic benefits of the arts. In addition, arts workers have been argued to possess capabilities which are of great benefit both within and outside the arts, including (in addition to creativity) problem solving abilities, emotional intelligence, and team working skills (ARC Centre of Excellence for Creative Industries and Innovation, 2007).
However, the labour force characteristics of professional artists in Australia and elsewhere belie their importance. The average earnings of workers in the arts sector are consistently less than other workers with similar educational backgrounds, and their rates of unemployment and underemployment are much higher (Australian Bureau of Statistics, 2005; Caves, 2000; Throsby & Hollister, 2003). Graduating students in the arts appear to experience similar employment challenges and exhibit similar patterns of work to artists in general. Many eventually obtain work unrelated to the arts or go back to university to complete further tertiary study in fields unrelated to arts (Graduate Careers Council of Australia, 2005a).
Recent developments in career development theory have involved discussion of the rise of boundaryless careers amongst knowledge workers. Boundaryless careers are characterised by non-linear career progression occurring outside the bounds of a single organisation or field (Arthur & Rousseau, 1996a, 1996b). The protean career is an extreme form of the boundaryless career, where the careerist also possesses strong internal career motivations and criteria for success (Baruch, 2004; Hall, 2004; Hall & Mirvis, 1996). It involves a psychological contract with one's self rather than an organisation or organisations. The boundaryless and protean career literature suggests competencies and dispositions for career self-management and career success, but to date there has been minimal empirical work investigating the predictive value of these competencies and dispositions to career success in the boundaryless or protean career.
This program of research employed competencies and dispositions from boundaryless and protean career theory to predict career success in professional artists and tertiary arts graduates. These competencies and dispositions were placed into context using individual and contextual career development influences suggested by the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a). Four substantive studies were conducted, using online surveys with professional artists and tertiary arts students / graduates, which were preceded by a pilot study for measure development.
A largely quantitative approach to the program of research was preferred, in the interests of generalisability of findings. However, at the time of data collection, there were no quantitative measures available which addressed the constructs of interest. Brief scales of Career Management Competence based on the Australian Blueprint for Career Development (Haines, Scott, & Lincoln, 2003), Protean Career Success Orientation based on the underlying dispositions for career success suggested by protean career theory, and Career Development Influences based on the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a) were constructed and validated via a process of pilot testing and exploratory factor analyses. This process was followed by confirmatory factor analyses with data collected from two samples: 310 professional artists, and 218 graduating arts students who participated at time 1 (i.e., at the point of undergraduate course completion in October, 2005).
Confirmatory factor analyses via Structural Equation Modelling conducted in Study 1 revealed that the scales would benefit from some respecification, and so modifications were made to the measures to enhance their validity and reliability. The three scales modified and validated in Study 1 were then used in Studies 3 and 4 as potential predictors of career success for the two groups of artists under investigation, along with relevant sociodemographic variables.
The aim of the Study 2 was to explore the construct of career success in the two groups of artists studied. Each participant responded to an open-ended question asking them to define career success. The responses for professional artists were content analysed using emergent coding with two coders. The codebook was later applied to the arts students' definitions. The majority of the themes could be grouped into four main categories: internal definitions; financial recognition definitions; contribution definitions; and non-financial recognition definitions. Only one third of the definition themes in the professional artists' and arts graduates' definitions of career success were categorised as relating to financial recognition. Responses within the financial recognition category also indicated that many of the artists aspired only to a regular subsistence level of arts income (although a small number of the arts graduates did aspire to fame and fortune).
The second section of the study investigated the statistical relationships between the five different measures of career success for each career success definitional category and overall. The professional artists' and arts graduates' surveys contained several measures of career success, including total earnings over the previous 12 months, arts earnings over the previous 12 months, 1-6 self-rated total employability, 1-6 self-rated arts employability, and 1-6 self-rated self-defined career success. All of the measures were found to be statistically related to one another, but a very strong statistical relationship was identified between each employability measure and its corresponding earnings measure for both of the samples. Consequently, it was decided to include only the earnings measures (earnings from arts, and earnings overall) and the self-defined career success rating measure in the later studies.
Study 3 used the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via Classification and Regression Tree (CART - Breiman, Friedman, Olshen, & Stone, 1984) style decision trees with v-fold crossvalidation pruning using the 1 SE rule. CART decision trees are a nonparametric analysis technique which can be used as an alternative to OLS or hierarchical regression in the case of data which violates parametric statistical assumptions.
The three optimal decision trees for total earnings, arts earnings and self defined career success ratings explained a large proportion of the variance in their respective target variables (R2 between 0.49 and 0.68). The Career building subscale of the Career Management Competence scale, pertaining to the ability to manage the external aspects of a career, was the most consistent predictor of all three career success measures (and was the strongest predictor for two of the three trees), indicating the importance of the artists' abilities to secure work and build the external aspects of a career. Other important predictors included the Self management subscale of the Career Management Competence scale, Protean Career Success Orientation, length of time working in the arts, and the positive role of interpersonal influences, skills and abilities, and interests and beliefs from the Career Development Influences scale. Slightly different patterns of predictors were found for the three different career success measures.
Study 4 also involved the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via CART style decision trees. This study used a prospective repeated measures design where the data for the attribute variables were gathered at the point of undergraduate course completion, and the target variables were measured one year later. Data from a total of 122 arts students were used, as 122 of the 218 students who responded to the survey at time 1 (October 2005) also responded at time 2 (October 2006).
The resulting optimal decision trees had R2 values of between 0.33 and 0.46. The values were lower than those for the professional artists' decision trees, and the trees themselves were smaller, but the R2 values nonetheless indicated that the arts students' trees possessed satisfactory explanatory power. The arts graduates' Career building scores at time 1 were strongly predictive of all three career success measures at time 2, a similar finding to the professional artists' trees. A further similarity between the trees for the two samples was the strong statistical relationship between Career building, Self management, and Protean Career Success Orientation. However, the most important variable in the total earnings tree was arts discipline category. Technical / design arts graduates consistently earned more overall than arts graduates from other disciplines. Other key predictors in the arts graduates' trees were work experience in arts prior to course completion, positive interpersonal influences, and the positive influence of skills and abilities and interests and beliefs on career development.
The research program findings represent significant contributions to existing knowledge about artists' career development and success, and also the transition from higher education to the world of work, with specific reference to arts and creative industries programs. It also has implications for theory relating to career success and protean / boundaryless careers.
30
Bridgstock, Ruth Sarah. "Success in the protean career : a predictive study of professional artists and tertiary arts graduates." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16575/.
Повний текст джерелаАнотація:
In the shift to a globalised creative economy where innovation and creativity are increasingly prized, many studies have documented direct and indirect social and economic benefits of the arts. In addition, arts workers have been argued to possess capabilities which are of great benefit both within and outside the arts, including (in addition to creativity) problem solving abilities, emotional intelligence, and team working skills (ARC Centre of Excellence for Creative Industries and Innovation, 2007). However, the labour force characteristics of professional artists in Australia and elsewhere belie their importance. The average earnings of workers in the arts sector are consistently less than other workers with similar educational backgrounds, and their rates of unemployment and underemployment are much higher (Australian Bureau of Statistics, 2005; Caves, 2000; Throsby & Hollister, 2003). Graduating students in the arts appear to experience similar employment challenges and exhibit similar patterns of work to artists in general. Many eventually obtain work unrelated to the arts or go back to university to complete further tertiary study in fields unrelated to arts (Graduate Careers Council of Australia, 2005a). Recent developments in career development theory have involved discussion of the rise of boundaryless careers amongst knowledge workers. Boundaryless careers are characterised by non-linear career progression occurring outside the bounds of a single organisation or field (Arthur & Rousseau, 1996a, 1996b). The protean career is an extreme form of the boundaryless career, where the careerist also possesses strong internal career motivations and criteria for success (Baruch, 2004; Hall, 2004; Hall & Mirvis, 1996). It involves a psychological contract with one's self rather than an organisation or organisations. The boundaryless and protean career literature suggests competencies and dispositions for career self-management and career success, but to date there has been minimal empirical work investigating the predictive value of these competencies and dispositions to career success in the boundaryless or protean career. This program of research employed competencies and dispositions from boundaryless and protean career theory to predict career success in professional artists and tertiary arts graduates. These competencies and dispositions were placed into context using individual and contextual career development influences suggested by the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a). Four substantive studies were conducted, using online surveys with professional artists and tertiary arts students / graduates, which were preceded by a pilot study for measure development. A largely quantitative approach to the program of research was preferred, in the interests of generalisability of findings. However, at the time of data collection, there were no quantitative measures available which addressed the constructs of interest. Brief scales of Career Management Competence based on the Australian Blueprint for Career Development (Haines, Scott, & Lincoln, 2003), Protean Career Success Orientation based on the underlying dispositions for career success suggested by protean career theory, and Career Development Influences based on the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a) were constructed and validated via a process of pilot testing and exploratory factor analyses. This process was followed by confirmatory factor analyses with data collected from two samples: 310 professional artists, and 218 graduating arts students who participated at time 1 (i.e., at the point of undergraduate course completion in October, 2005). Confirmatory factor analyses via Structural Equation Modelling conducted in Study 1 revealed that the scales would benefit from some respecification, and so modifications were made to the measures to enhance their validity and reliability. The three scales modified and validated in Study 1 were then used in Studies 3 and 4 as potential predictors of career success for the two groups of artists under investigation, along with relevant sociodemographic variables. The aim of the Study 2 was to explore the construct of career success in the two groups of artists studied. Each participant responded to an open-ended question asking them to define career success. The responses for professional artists were content analysed using emergent coding with two coders. The codebook was later applied to the arts students' definitions. The majority of the themes could be grouped into four main categories: internal definitions; financial recognition definitions; contribution definitions; and non-financial recognition definitions. Only one third of the definition themes in the professional artists' and arts graduates' definitions of career success were categorised as relating to financial recognition. Responses within the financial recognition category also indicated that many of the artists aspired only to a regular subsistence level of arts income (although a small number of the arts graduates did aspire to fame and fortune). The second section of the study investigated the statistical relationships between the five different measures of career success for each career success definitional category and overall. The professional artists' and arts graduates' surveys contained several measures of career success, including total earnings over the previous 12 months, arts earnings over the previous 12 months, 1-6 self-rated total employability, 1-6 self-rated arts employability, and 1-6 self-rated self-defined career success. All of the measures were found to be statistically related to one another, but a very strong statistical relationship was identified between each employability measure and its corresponding earnings measure for both of the samples. Consequently, it was decided to include only the earnings measures (earnings from arts, and earnings overall) and the self-defined career success rating measure in the later studies. Study 3 used the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via Classification and Regression Tree (CART - Breiman, Friedman, Olshen, & Stone, 1984) style decision trees with v-fold crossvalidation pruning using the 1 SE rule. CART decision trees are a nonparametric analysis technique which can be used as an alternative to OLS or hierarchical regression in the case of data which violates parametric statistical assumptions. The three optimal decision trees for total earnings, arts earnings and self defined career success ratings explained a large proportion of the variance in their respective target variables (R2 between 0.49 and 0.68). The Career building subscale of the Career Management Competence scale, pertaining to the ability to manage the external aspects of a career, was the most consistent predictor of all three career success measures (and was the strongest predictor for two of the three trees), indicating the importance of the artists' abilities to secure work and build the external aspects of a career. Other important predictors included the Self management subscale of the Career Management Competence scale, Protean Career Success Orientation, length of time working in the arts, and the positive role of interpersonal influences, skills and abilities, and interests and beliefs from the Career Development Influences scale. Slightly different patterns of predictors were found for the three different career success measures. Study 4 also involved the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via CART style decision trees. This study used a prospective repeated measures design where the data for the attribute variables were gathered at the point of undergraduate course completion, and the target variables were measured one year later. Data from a total of 122 arts students were used, as 122 of the 218 students who responded to the survey at time 1 (October 2005) also responded at time 2 (October 2006). The resulting optimal decision trees had R2 values of between 0.33 and 0.46. The values were lower than those for the professional artists' decision trees, and the trees themselves were smaller, but the R2 values nonetheless indicated that the arts students' trees possessed satisfactory explanatory power. The arts graduates' Career building scores at time 1 were strongly predictive of all three career success measures at time 2, a similar finding to the professional artists' trees. A further similarity between the trees for the two samples was the strong statistical relationship between Career building, Self management, and Protean Career Success Orientation. However, the most important variable in the total earnings tree was arts discipline category. Technical / design arts graduates consistently earned more overall than arts graduates from other disciplines. Other key predictors in the arts graduates' trees were work experience in arts prior to course completion, positive interpersonal influences, and the positive influence of skills and abilities and interests and beliefs on career development. The research program findings represent significant contributions to existing knowledge about artists' career development and success, and also the transition from higher education to the world of work, with specific reference to arts and creative industries programs. It also has implications for theory relating to career success and protean / boundaryless careers.
31
La, Vertu Edmond G. "From a slave to a critical-thinker-artistic-writer: Emancipating a professional's anthill using action research professional practice with information systems professionals as the crux: Gnothe se auton non, j regrette rien die lichtung and all the world's a stage." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/617.
Повний текст джерелаАнотація:
The diagram shown in figure 1 gives an impression of this thesis around the key words slavery, enslavement, emancipation, freedom, power, critical thinker, and artistic writer. The text at the centre reads "my rich model evolution during this thesis." On rereading the text, I wonder if it is referring to my own evolution during the research, which could be described as "rich model," or the evolution of the rich model that encapsulates, and in one sense is, the chief contribution of the thesis.
That I use this sentence and this impressionistic diagram to begin this abstract should signal to you, dear reader, that this thesis tells my truth, with a little't', in my own way, about my reflective practitioner investigation of my experience of being part of the information systems profession and then part of a Doctor of Business Administration (D.B.A) programme. As such, it is what some may term post-modem, although I hesitate to describe it as such.
Through my lived experience as an enslaved information systems professional, I can relate to the current situation of asymmetric warfare (note the picture of a fighter plane dropping a bomb with the word "hacker" under), asymmetric industrial relations, and some other forms of the master-relationship relationship. In my career as an information systems' professional I have experienced that here is a constant that permeates the world: that parties desire to achieve greater power over any other competitor while sacrificing as little as possible of their own resources. Whether this is an actual war or just a simple jousting for advantage, the process remains similar: Two structuralist sides in conflict. Perhaps this simple description is the apparent reason why most fights are simply a zero-sum game, that is, one side wins ( + 1) and the other loses (-1).
There are however variations to this theme. Hegel's Master-slave dialogue is one. In this case the vanquished who is now a slave, eventually gains power over their master, the original victor, not through force of arms, but by becoming indispensable to the Master. The major and subtle weapon the slave possesses is time with obsequiousness that leads to dependency of the master to the actions of the slave.
Again through my lived experience of near imagined slavery, I can also relate to another form of conflict that is now upon us, that of a structuralist formal army supported by post-structuralist critical-thinkers and the artist-writers of a post-modernist society against a structuralist guerrilla grouping, with a post-modem idealism giving vital quasi or actual intellectual support. This leaves the structuralist formal army seeking effective and favourable counters to this asymmetric situation through the weakness of the guerrilla forces, that is, a lack of critical-thinkers; else, it will see a form of defeat that is reliance upon the guerrilla force not to attack. It is a modem and curious situation where an overwhelming force seems to be impotent against a quick, opportunistic, attack by a much smaller, under-resourced opponent. Yet, if the guerrilla forces do in fact win, what is the result within the territory the guerrillas now control? It seems that it is not an egalitarian-based modem democracy, or even a functioning theocracy. The key is the critical-thinker, without these people who ask questions, embarrassing ones most times, the necessary balance to support a string of freedoms is lacking. The major problem is where do the guerrilla forces find these people, and support them by not exterminating them as counter-revolutionaries, thereby creating the basic weaknesses to the system they wish to impose.
However, the above guerrilla case need not prevail. In my experience of organisational relationships, which are by their very nature asymmetric, a structuralist organisation can defeat even its deadliest asymmetric foe - an enslaved, passed over, disgruntled, and sabotage-prone information systems employee. I was one such employee, one such enslaved person.
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Arruda, Cármen Lúcia Rodrigues 1960. "Arte, trabalho e profissão docente : contradições nas relações de trabalho dos artistas na universidade pública." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279811.
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Orientador: Liliana Rolfsen Petrilli SegniniTese (doutorado profissional) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O objetivo deste estudo é analisar contradições observadas nas relações de trabalho de artistas docentes no ensino superior público. O recorte analítico privilegiou o Instituto de Artes da Universidade Estadual de Campinas, lócus da pesquisa. Três dimensões foram selecionadas: a contextualização histórica da criação da Unicamp e do Instituto de Artes, o processo de institucionalização da Arte no ensino superior e as relações de trabalho de artistas no contexto de uma instituição burocrática, organizada de forma racional e legal. Foram analisados dados históricos, documentais e estatísticos sobre a história da Unicamp, o ensino superior e as políticas públicas de cultura, além de entrevistas realizadas com professores do Instituto de Artes, cujo corpo docente é composto por professores que desempenham suas atividades sob duas formas distintas de carreira: a do Magistério Superior, em que é exigido no mínimo o título de doutor, da mesma forma que para todas as outras áreas da Universidade; a do Magistério Artístico, criada especialmente para manter, no corpo docente da Universidade, artistas com domínio do fazer artístico, o notório saber, mas sem qualificação formal em graduação e/ou em pós-graduação. A docência universitária é, atualmente, uma possibilidade crescente de assalariamento para o artista, frequentemente submetido a formas efêmeras e instáveis de trabalho, levando a uma tendência crescente na formação desse profissional em nível superior - graduação e pós-graduação - na área de Artes. A formação e o trabalho institucionalizados revelam, hoje, problemas e tensões antes inexistentes para a área, indicando que a universidade ainda não possui mecanismos eficientes para o reconhecimento da produção artística como produção acadêmica. A relevância deste estudo refere-se ao processo de institucionalização da arte, por meio da formação no ensino superior, uma dimensão historicamente recente
Abstract: The aim of this research is to analyse contradictions observed in the work relationships of artists teaching in public higher education. The analysis snapshot privileged the 'Arts Institute' from Universidade Estadual de Campinas, locus of the research. Three dimensions were selected: the historical context of the creation of Unicamp and the 'Arts Institute', the institutionalization process of Arts in Higher Education and the work relationships of artists within the context of a bureaucratic institution, organized rationally and legally. Historical, documental and statistical data about the history of Unicamp, higher education and culture public policies were analysed, besides interviews with teachers from the 'Arts Institute', where the teaching staff is composed of teachers who carry out their activities in two distinct career modes: Higher Education Teaching where at least a doctor's degree is required, as in all the other areas of the University, and Arts Teaching which was created especially to hire artists with notorious knowledge and a vast artistic production, but with no formal graduate and/or post-graduate qualifications. The university teaching is currently a growing possibility for the artists to have a fixed remuneration, as they are frequently submitted to ephemeral and unstable working modes, what leads to an increasing trend in the formation of this professional at higher level - graduate and post- graduate degrees - in Arts. The institutionalized formation and work reveal today problems and tensions that were inexistent earlier in the area, thus indicating that the university does not yet have the efficient mechanisms for the recognition of the artistic production as an academic production. The relevance of this study refers to the process of arts institutionalization through higher education formation, a historically recent dimension
Doutorado
Ciencias Sociais
Doutor em Ciências Sociais
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Michael, Maureen K. "Precarious practices : artists, work and knowing-in-practice." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/21879.
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This study presents a new perspective on work practice in conceptual art. Using ethnographic evidence from five visual artists, the study used a combined visual arts and practice orientated perspective to explore the materiality of their everyday work and the sociomaterial practices shaping it. Close scrutiny is given to the forms of expertise embedded in this through concepts of knowing-in-practice and epistemic objects. Emerging from the findings is clearer understanding of how an arts-based methodology might enhance knowledge about artists’ knowing-in-practice. Popular representations of contemporary artists often ignore the realities of precarious work. This is reflected in the professional education of artists with its concentration on studio-based activities and emphasis on the production and products of artmaking. This study reconfigures and reconceptualises the work of artists as assemblages of sociomaterial practices that include, but are not limited to artmaking – so providing a different representation of the work of artists as a continuous collaboration of mundane materials. The study identified seven sociomaterial practices, defined as movement-driven; studio-making; looking; pedagogic; self-promotion; peer support; and pause. As these practices are subject to ever-changing materialities, they are constantly reassembled. Analysis revealed hidden interiors of underemployment and income generation to be significant factors embedded in the mundane materialities of everyday work, revealing resilience and adaptability as key forms of expertise necessary for the assembling of practices. Further, the arts-based methodology of ‘integrated imagework’ created ways of visually analysing the materially-mediated, socially situated nature of knowing in practice, and demonstrated how relational concepts relating to knowing-in-practice might be better analysed. Findings indicate how the professional education of artists – particularly the way the workplace of the studio is understood – could be re-envisioned to support the fluidity of contemporary artistic practices. The studio itself is a form of knowledge – ever changing – forming and being formed by the practices of artists. Adopting this view of studio-based education would be a radical departure from current studio-based pedagogies in contemporary art education. Further, resilience – the capacity to sustain practices that are emergent and constantly unfolding – becomes a form of expertise central to the professional education of artists.
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Wellman, Jessica-Anne. "Drama, education, artistry: Australian practitioners fostering connections across cultures and disciplines in China." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2546.
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This study examines the experience of Australian drama educators working as professional development facilitators in China between 2017-2019. Limited literature exists that highlights the perspectives of professional development facilitators in this field. This thesis highlights the impact of engaging in this role on the practice of drama educators. Using an autoethnographic approach, data were collected from five individuals through semi-structured interviews. Interpretative Phenomenological Analysis (Smith, 2004) highlighted that the participants' experiences acted as critical moments that led to positive personal and professional outcomes. Three key supporting factors for positive outcomes were identified: 1) critically reflective practice; 2) knowledge and experience in theatre practices and drama pedagogies; and 3) collaborative approaches to delivering professional development.
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Fischer, Deborah Vier. "Escola, artistas e docentes em movimento : encontros entre arte contemporânea e educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/108011.
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Esta dissertação tem como campo empírico uma determinada escola da rede privada de Porto Alegre, RS (Escola Projeto), que contempla a arte contemporânea em seu currículo e que convida artistas a construírem esse trabalho em parceria. Como proposta de investigação, busca olhar para os movimentos que esse modo de pensar a arte provoca em professoras e artistas visuais que se aventuram para, juntos, viverem a escola e a educação, produzindo pensamento e estranhando práticas naturalizadas e acomodadas pelo tempo e pelo uso. Pensar o estranhamento nas práticas docentes, instigadas pelas provocações da arte contemporânea, sugere uma aproximação à noção de discurso, tendo em Michel Foucault o principal referencial teórico. Discurso que emerge a partir de conversas e entrevistas com os sujeitos de pesquisa e que são analisadas dentro do campo discursivo que as envolve, neste caso, arte e educação. Movimentos e discursos interessam a esta pesquisa, pois atuam no sentido de olhar para as práticas tidas como mínimas ou basiquinhas, termo usado por um dos sujeitos de pesquisa, e contribuem para pensar na contramão da acomodação e da generalização, tão presentes no modo como a escola vem se constituindo historicamente. Por tratar da arte e da docência, encontrando pontos de encontro e de conflitos entre os fazeres artísticos e pedagógicos, termos como rigor, criação e participação são analisados desde esses dois pontos de vista. Ao olhar para esses encontros, apostando na possibilidade de exercícios de modificação, criação e compartilhamento, ganha força o conceito de docência artista, apresentado por Luciana Loponte, na relação com uma formação docente artista, termo que nasce nesta pesquisa e que se refere a uma formação contaminada, acompanhada e encharcada pelo contato próximo com a arte contemporânea, capaz de rever as relações mais seguras sobre ensinar e aprender, nas artes e para além delas. Desse modo, mais do que buscar resultados ou apontar soluções, esta dissertação busca realizar apostas: na docência, com suas dúvidas e estranhamentos; na escola, com sua possibilidade de educar sem consolação; na arte contemporânea, com sua abertura para provocar rupturas e para desestabilizar o pensamento. É, portanto, nos encontros entre docência, escola e arte contemporânea que esta escrita desenvolve-se, adquire intensidade e potência.This thesis has as an empirical study a certain private school in Porto Alegre, RS (School Project), which includes contemporary art into its curriculum as well as invites artists to build this partnership work. The bulk of this thesis is devoted to looking at what the moves that this way of thinking art instigate teachers and visual artists who venture to jointly live school and education, reasoning and wondering practices which are naturalized and accommodated by time and use. Thinking strangeness in teaching practices, instigated by contemporary art provocations, suggests an approach to the notion of discourse, having Michel Foucault as the main theoretical framework. Discourse that emerges from conversations and interviews with research subjects that are analyzed within the discursive field that these conversations involve, namely, art and education. Moves and discourses are subjects of interest to this research as they act in order to look at the practices taken as minimal or rough (basiquinhas), a term used by one of the research subjects, and contribute to think against of the grain of accommodation and generalization, as present in the way school has historically constituted. As this thesis discusses art and teaching, finding junction and conflict points between artistic and pedagogical doings, terms such as strictness, creation and participation are analyzed from these two standpoints. When looking at these junctions, focusing on the possibility of modification, creation and sharing exercises, gains strength the concept of artist teaching profession (docência artista), presented by Luciana Loponte, in relation to an artist teacher training (formação docente artista), a term born in this research which refers to an infected training, soaked and accompanied by close contact with contemporary art, able to review the most secure relationships on teaching and learning in the arts and beyond. Thus, more than seeking results or pointing solutions, this thesis aims at investing: in teaching, with its inquiries and strangeness; in school, with its ability to educate without consolation; in contemporary art, with its opening to cause disruptions and to destabilize the thought. It is, therefore, matches between teaching, school and contemporary art that this thesis develops, acquires intensity and power.
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Butlin, Susan. "Making a living, Florence Carlyle and the negotiation of a professional artistic identity." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26892.pdf.
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Butlin, Susan (Susan Barbara) Carleton University Dissertation Art History. "Making a living: Florence Carlyle and the negotiation of a professional artistic identity." Ottawa, 1995.
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Weston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
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Merello, Andrea Kathleen. "A case study of artists from the Kansas City Schools Experiment." Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6209.
Повний текст джерелаАнотація:
The Kansas City School District was unable to attain accreditation from 1955 until 2016, enduring high dropout rates, exceptionally low college entrance rates, and poor performances on standardized tests. At the district’s fine arts school, students also experienced these low educational outcomes. But despite these educational setbacks, the fine arts training they received appears to have contributed to their successful long-term outcomes in adulthood. The purpose of this case study is to explore the factors that contributed to talent development and overall thriving among adult artists who attended the fine arts school in this low performing school district. The research questions include 1) How do the artists describe the experience of developing their talent while attending an unaccredited high school? 2) What factors do the artists identify that aided in the emergence and continual development of their artistic practice?
I interviewed 8 adult artists (aged 34-37) who discussed experiences that catalyzed and contributed to the development of their artistic talent. I identify themes and interpret data using grounded theory.
Based on existing research about talent development, this study might show that these students thrived because the fine arts school they attended prioritized talent development over core content standards. The focus on talent development appears to have cultivated certain intrapersonal traits—such as awareness, motivation, and perseverance—which may account for their success as adults. Such identifiable traits are relevant to the “21st century skills” that are emerging in the education community. By understanding these artists’ experiences through a case study, educators and policymakers may have a clearer picture of how talent development helps to cultivate 21st century skills in students.
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Salaméro, Emilie. "Devenir artiste de cirque aujourd'hui : espace des écoles et socialisation professionnelle." Toulouse 3, 2009. http://thesesups.ups-tlse.fr/659/5/Salamero_Emilie1.pdf.
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Depuis les années 1980, l'apprentissage de la profession d'artiste de cirque, à l'instar d'autres professions artistiques, se déroule dans des écoles professionnelles hiérarchisées par l'Etat, et n'est plus réservé au seul cercle familial du " cirque traditionnel ". L'intégration du cirque au Ministère de la Culture dès 1979 et la mise en œuvre de politiques culturelles en sa faveur, ont en effet engendré un processus d'institutionnalisation et de scolarisation de la formation, mais aussi de légitimation sociale et artistique du " cirque contemporain ". Dans ce contexte, ce travail de thèse se propose d'étudier la socialisation professionnelle des apprentis artistes de cirque dans six écoles françaises, au statut varié, et selon une démarche alliant différentes échelles d'analyse et méthodologies. A partir de recherches documentaires, d'entretiens auprès d'une quarantaine d'acteurs et d'observations réalisées au sein de chaque école, l'objet de ce travail est de comprendre et relier les processus qui participent d'une part, à la dynamique et à la structuration d'un espace concurrentiel de formation et, d'autre part, à la socialisation professionnelle des apprentis artistes dans des écoles prises dans une configuration particulière et dans les tensions historiques qui ont marqué la constitution du cirque en sous-champ artistiqueSince the 80s, in line with other artistic professions, training in circus artistry belongs to professional schools labeled by the State and no longer to the family circle of "traditional circus". Not only did the integration of circus within the Culture Ministry since 1979 and the application of policies geared to its development start the institutionalization and the "scholarizing" of the formation, but also the social legitimization of "contemporary circus". The present doctoral work studies the professional socialization of apprentices in circus artistry in French schools of various statuses, using several methods and analytical tools. Based on documentary research, interviews of about forty actors and observations in each school, the goal of thesis is to understand the interacting processes that contribute to the emergence of a structured and competing network of formation and to the professional socialization of circus artists in the schools. These processes are investigated in their particular contextual configuration and in the midst of the historical tensions that arose during the establishment of circus as a proper artistic subfield
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Watson, Katharina Joyce. "You Can't Teach What You Don't Know and You Can't Lead Where You Won't Go: Professional Development as Artists for Elementary Educators." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6734.
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Elementary educators often lack the confidence and skill to teach visual arts to their students because they received very little, if any, formal training in what is a diverse and complex field of study. Teachers who lack confidence in a subject matter will potentially avoid teaching it. As a result, the early visual arts education of entire classrooms of elementary students can become neglected. Giving elementary educators the time to develop their own artistic process and acknowledging the value of educators' artistic voice can benefit teachers by building personal confidence, generating creative flow, providing knowledge about art, promoting a growth mindset, and boosting their enthusiasm for teaching art. It can also build connections to new and invigorating ideas for integrating art into lessons in their own classrooms. As such, it should create benefit for students. Using a combination of a/r/tography, narrative, and action research methodologies, this study researches the experiences of elementary teachers who choose to participate in artistic professional development opportunities provided by the visual art specialist on the faculty in order to see any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual art as a teaching method. Surveys and interviews document their past experiences with visual art, and their responses prior to and during the proposed courses. Follow up surveys, observations, and interviews document any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual arts as a teaching method in the classroom. This study endeavors to discover two things; 1) best practices in giving elementary educators professional development in visual arts content and methodologies to boost their confidence in their own artistic endeavors, and 2) how visual-art professional development workshops translate into visual-art instruction being integrated into the general classroom setting for elementary aged students.
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Nascimento, Aline Barbosa. "Calçando as sandálias de professora/artista/pesquisadora: reflexões, diálogos e práticas narrativas." Universidade Federal do Maranhão, 2016. http://tedebc.ufma.br:8080/jspui/handle/tede/1471.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
This narrative and autobiographical nature research addresses the formative processes of a theater teacher / artist / researcher and her initiation into the practice of teaching. It describes the steps taken and the experiences accumulated over the life course, from basic education to vocational training, with an emphasis on the teaching practice in a public elementary school education in São Luís (MA). The memory taken up work led to the construction of a retrospective look at the rethinking of education, artistic practice and teaching, inspiring reflections on events, conditions and subjectivities leading up to and at the same time staked out an investigative process developed for the professional master's degree in Education of Arts. From the participant observation of a school theater group - Behind the scenes, the UEB Prof. Sa Valle - involving documentation of rehearsals and registration of images, among others, and a dialogue with the literature, the focus turns narrative to attempt to contribute to the knowledge on the formation of theater teachers, giving emphasis on artistic production and research on creative behavior.
A presente pesquisa narrativa, de natureza autobiográfica, aborda os processos formativos de uma professora/artista/pesquisadora de teatro e sua iniciação ao exercício da docência. Descreve os passos percorridos e as experiências acumuladas ao longo da trajetória de vida, desde a educação básica à formação profissional, dando ênfase à prática docente em uma escola pública de educação fundamental, em São Luís (MA). O trabalho de retomada da memória propiciou a construção de um olhar retrospectivo sobre o repensar da formação, prática artística e docência, suscitando reflexões acerca de ocorrências, circunstâncias e subjetividades que antecederam e ao mesmo tempo demarcaram um processo investigativo desenvolvido durante o mestrado profissional em Ensino de Artes. A partir da observação participante de um grupo do teatro escolar – Por trás do pano, da UEB Prof. Sá Valle – que envolveu a documentação de ensaios e o registro de imagens, entre outros, além do diálogo com a literatura especializada, o foco da narrativa volta-se para a tentativa de contribuir com o conhecimento referente à formação de professores de teatro, dando ênfase a produção artística e pesquisa sobre as condutas criativas.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Daoud, Janet Barbara. "Recognising and appreciating the artistry in professional practice : a means to researching and developing practice through insider practitioner research." Thesis, Bournemouth University, 2004. http://eprints.bournemouth.ac.uk/385/.
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This study explores professional practice and examines an approach to research that could be useful for the practitioner in developing and extending their practice. The existence of artistry is recognised within professional practice (Schon 1983), and is important in making professional judgements (Fish and Coles 1998, pp. 28-53, de Cossart and Fish 2005). Therefore, as in the methodology proposed by Fish (1998), the artistic/holistic paradigm was adopted because this specifically enables the exploration of professional artistry and is suited to insider practitioner research. The study critically appraised the use of the proposed artistic/holistic paradigm. A case study approach was used in which the researcher was the case. A portrait of an episode in clinical practice was produced, followed by a critical appraisal of this portrait. These then became the portrait of research practice, which was equally appraised. This mirrors the process seen within the arts in which critical appreciation is a reflective process, deriving its rigour from the discipline and connoisseurship of the critic. The results demonstrate that the artistic/holistic paradigm is well suited to continuing professional development, both individually and corporately. The proposed paradigm does enable the recognition and exploration of professional artistry, both within clinical and research practice. Professional practice has a moral foundation and it was shown that this must be openly recognised if meaningful professional development is to occur. Evidencebased medicine, which is founded on the technical-rational view of practice, was shown to be insufficient for the professional's ongoing development. This, and similar work, will impact and contribute to the ongoing evolution of the traditions of the profession.
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Vieira, Ana Rita Sousa Gaspar. "Espaço, poder e vigilância-o quotidiano nas artes plásticas, anos 80-90 (de Richard Serra a Pedro Cabrita Reis)." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2002. http://dited.bn.pt:80/29954.
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McKay, Duncan Robert. "Drawn from artists’ lives: An empirical study of the situation and realisation of professional visual art practices in the Western Australian Field of cultural production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/2006.
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This thesis presents the findings of empirical research on the working lives of visual artists living and working in Western Australia. No detailed studies of this kind have previously been undertaken in a Western Australian context, though a series of national, economically framed studies have surveyed Australian artists working in a variety of art forms about their working lives on five occasions since the early 1980s. Collectively the reports published from these five studies make up the most comprehensive picture of artists’ economic activity that has been available to policymakers and others involved in arts and culture in this country (Australia Council, 1983; Throsby & Hollister, 2003; Throsby & Mills, 1989; Throsby & Thompson, 1994; Throsby & Zednik, 2010). Seldom, however, has other suitable empirical data been collected from Australian artists facilitating the evaluation of the findings, methods and assumptions underlying economic research in this area. The detailed qualitative data collected for this research both augments and interrogates the findings of national quantitative studies, assessing their applicability to the particular circumstances of professional visual artists working in this state.
Artists’ working lives were examined using data in two forms: Curriculum Vitaes (CVs) of 322 Western Australian visual artists, published on commercial gallery websites; and in-depth interviews with a diverse sample of 20 Western Australian visual artists. This data has provided access to what Florian Znaniecki (1934) has called the humanistic coefficient: the understandings that social actors have of the situations within which they are acting. Without this understanding it is not possible to properly account for social activity, such as professional art practice. CVs have rarely been used as a data source for research, so this study has taken an innovative methodological approach and has demonstrated the potential for further development of these methods and this form of social data. CVs of visual artists were used to examine the Western Australian field of cultural production, and to produce a network-map of the social values and the complex relationships between artists, commercial galleries and other entities in the field.
In-depth interviews with 20 visual artists, practising in different media, at different stages of their career and earning their living in diverse ways, have provided detailed accounts of how visual artists construct their professional artistic identities and sustain their creative practice in Western Australia. Through qualitative analysis of these accounts, a new conceptual model of the labour of visual art has emerged, in which artists’ work is considered across four interrelated kinds of cultural production. 1) Artists define their practice, making it real for themselves. 2) Artists create the conditions in which they can define and maintain their practice. 3) Artists attract validation of their practice, seeking to make it real for other people. Throughout their work to establish the cultural reality of their practice, 4) artists also strive to maintain the integrity of their practice, to ensure that they continue to recognise themselves within it. The development of this conceptual model, the CV study and the rich contextual material obtained through interviews have informed the multi-dimensional understanding of the work of professional artists presented in this thesis, challenging and building upon previous research.
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Gilberg, Asbjørn L. "Contextual and Personal Factors Contributing to the Mental Health of Norwegian Professional Musicians." Thesis, Norges teknisk-naturvitenskapelige universitet, Psykologisk institutt, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26641.
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This master’s thesis investigates the contributing factors to Norwegian professional musicians’ psychological distress. Several researchers have pointed out that musicians seem to be a risk group in regards to mental health and work environment. In contrast, research regarding the explanatory variables of their mental health is scarce. Recently, a study indicated a high prevalence of psychological distress in Norwegian musicians. A qualitative study on Norwegian musicians reported a combination of family, social, and personal factors to be of particular importance regarding their mental health. The present study adds to the accumulated research base by conceptualizing contributing factors of musicians’ health in a job demands–resources framework, in which the total model as well as individual predictors are tested with a survey on 1,365 Norwegian professional musicians. Five out of ten hypotheses were supported using a hierarchical multiple regression procedure. Job demands and job control were positively related to psychological distress, whereas job-related social support, emotional stability and sense of mastery were negatively related to psychological distress. Work–nonwork interference, effort–reward imbalance and conscientiousness were not significantly related to the outcome. Unexpectedly, job control was positively related to psychological distress, which may have been influenced by the subjects’ levels of personal resources. Overall, the main findings was that a combination of contextual and personal variables were most influential, but that the work environment concepts investigated were only weakly or non-significantly related to musicians’mental health. The highest single contributors were emotional stability, sense of mastery and general social support, indicating that personal dispositions of emotionality, a strong sense of control over one’s life, and perceived social support from family and friends are of high significance for Norwegian professional musicians’ experience of anxiety and depression-like symptoms.
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Cota, Luísa Vogt. "Configurações identitárias profissionais de professores de canto." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/12353.
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Fundação de Amparo a Pesquisa do Estado de Minas GeraisWithin the scope of teacher education and professional singing teacher practices, this study aims to understand how the professional identities of singing teachers are config-ured. For this purpose, the articulation of concepts of profession as well as professional identities was necessary, using the consideration by Claude Dubar (1998; 2005) as the theoretical framework. For this research study, four singing teachers were interviewed in Uberlândia-MG. The teachers have a wide teaching practice ranging from singing teaching at the Conservatory of Music and specific private music schools to teaching in Choirs on social projects from associations, NGOs and churches. In addition, some professionals teach private singing lessons in their and their students\' residences and also sing at weddings and other events with their musical groups. The empirical mate-rial was collected through semi-structured interviews whose script was subdivided in three areas: self-image, education, and professional experience. Data analysis was con-ducted through Discourse Analysis. The discursive strands gave visibility to the profes-sional identities configured by the teachers. Among the main findings, it was possible to highlight a broad identity of the singing teacher. Apart from singing lessons, they also teach other music disciplines and hold other activities. There is also what I called typi-cal identities of singing teachers based on concepts by Dubar (1998, 2005, 2009). Such identities are mainly outlined by the specific professional cultures of this professional. Among them, it is possible to highlight the particularities of the voice instrument to be worked and the methodology used in the singing teaching. By realizing that the profes-sional identities of singing teachers are broad, one can understand that they are also marked by the dualities of being a singing teacher and choir conductor/preparer; work-ing with classical and popular repertoires; being a performer and a teacher; following a teaching model and using technology, among others. The results contribute to a wider understanding of the professional identities of the singing teacher as well as of the work carried out by such professional.
Inserido no campo da formação de professores e das práticas profissionais do professor de canto, este trabalho tem como objetivo compreender como são configuradas as iden-tidades profissionais de professores de canto. Para este propósito, foi necessária a articu-lação de conceitos abertos de profissão bem como das identidades profissionais, tendo como referencial teórico considerações de Claude Dubar (1998,2005,2009). Nessa pes-quisa foram entrevistados quatro professores de canto que exercem a profissão na cida-de de Uberlândia MG. Esses professores têm uma prática docente ampla que vão desde o ensino de canto no Conservatório Estadual de Música e escolas particulares específi-cas de música até projetos sociais com Canto Coral em associações, ONGs e igrejas. Além disso, há professores que ministram aulas particulares de canto na sua residência e na residência dos alunos e, ainda, cantam em casamentos e eventos com seus grupos musicais. O material empírico foi coletado por meio de entrevistas semiestruturadas as quais possuíram um roteiro sob três eixos: auto imagem, formação e experiência profis-sional. A análise dos dados foi feita a partir da Análise do Discurso. Os fios discursivos deram visibilidade às identidades profissionais configuradas por esses professores. Den-tre as principais conclusões foi possível destacar uma identidade ampla do professor de canto. Ao mesmo tempo em que ministram aulas de canto, outras disciplinas na área da música são ministradas e outras atividades são realizadas. Há também o que denominei a partir dos conceitos de Dubar (2005) como identidades típicas dos professores de can-to. Essas identidades têm como principais delineamentos àquelas culturas profissionais específicas desse profissional. Dentre elas é possível destacar a particularidade do ins-trumento voz e a metodologia para se ministrar aulas de canto. Ao perceber que as iden-tidades profissionais do professor de canto são amplas, pode-se compreender que estas também são marcadas por dualidades que estão entre ser professor de canto e regen-te/preparador de coros, entre o repertório erudito e popular, entre ser performer e ser professor, entre um modelo de ensino e o uso de tecnologias, dentre outras. Os resulta-dos contribuem para um entendimento mais aberto acerca das identidades profissionais do professor de canto bem como a atuação desse profissional.
Mestre em Artes
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Guimarães, Alexandre José. "Avessos da docência em artes visuais." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8170.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This study deals the averse teaching of four visual arts teachers in the professional education context from their life histories. In order to discuss variables of the teaching images about the professional education teacher, the teaching work of the Federal Institute of Goiás was investigated through questions about: a) the art teachers identities in a school of technicist tradition; b) the teaching training processes in transit and in different places from and beyond school; c) the historical contextualization of the Brazilian professional education matrices; d) the dialogues between the artistic work and the teaching work as actions that feed back. For methodological inventions, the issue discussed was: how does an investigation in art invite me to experiment the art and how this artistic production infiltrates in a research problem? By understanding the art research as a research narrative this study was built at the same time that it told its story - a metalinguistic game that took shape while maintaining a pedagogical dialogue with itself. In this sense, this study arrives in appoitments such as: a) an identity crisis of the federal network teacher; b) the tension movements for the art education in the technical education context; c) the reaffirmation and reconfiguration of the professional education colorization throughout our histories; d) the necessity and the urgency to think about the art teaching practice in the professional education scope; e) the collegiality as an inseparable element for the art teacher formation; f) the artistic work (or experience) approximation with the teaching work as a dialogical action. In this way, we experimented an archaeological exercise to dig our and other stories for the understanding and reconfiguration of our profession contributing to the identity constitution and our difference within the public education.
Este estudo aborda os avessos docentes de quatro professoras de artes visuais no contexto da educação profissional a partir de suas histórias de vida. Para discutir variáveis das imagens docentes sobre o professor da educação profissional, investigou-se a docência no Instituto Federal de Goiás por meio de questões sobre: a) identidades de professoras de arte em uma escola de tradição tecnicista; b) processos formativos docentes em trânsito e em diferentes lugares a partir e além da escola; c) contextualização histórica das matrizes da educação profissional brasileira; d) diálogos entre o trabalho artístico e o trabalho docente como ações que se retroalimentam. Para as invenções metodológicas, voltou-se à pergunta: como uma investigação em arte me convida a experimentar arte e como essa produção artística se infiltra em um problema de pesquisa? Ao compreender a pesquisa em arte como uma narrativa de investigação, este estudo foi se construindo ao mesmo tempo em que contava sua história – um jogo metalinguístico que ganhou forma enquanto manteve um diálogo pedagógico consigo mesmo. Nesse sentido, chega-se a apontamentos como: a) crise de identidade do professor da rede federal; b) movimentos de tensão para o ensino de arte no contexto do ensino técnico; c) reafirmações e reconfigurações da colorização da educação profissional ao longo de nossas histórias; d) necessidade e urgência em pensar a prática docente em arte no âmbito da educação profissional; e) colegialidade como elemento indissociável para a formação do professor de arte; f) aproximação do trabalho (ou experiência) artística com o trabalho docente enquanto ação dialógica. Experimentou-se, dessa forma, exercícios arqueológicos para cavar as nossas e outras histórias para o entendimento e reconfiguração de nossa profissão, contribuindo para a constituição identitária e nossa diferença no interior da educação pública.
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Cannon, David Roy. "Making sense of failure : learning or defence?; a study of how individuals interpret their personal failures based on the recollected experiences of business people, professionals, artists and athletes." Thesis, London Business School (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302111.
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