Since Plato first banished poets from his Republic, the relationship between the aesthetic and moral value of literature has been subject to philosophical, critical, and pedagogical debate. In this philosophical investigation, I sought to explain how the evocation of the senses during literary transactions shapes the phenomenal experience of the reader. Recent developments in neuroscience (Damasio, 1999, 2003; Edelman, 1992) provide strong evidence in support of embodied theories of cognition in which imagery and affect play a central role. The purposes of this philosophical investigation were to describe the structure and function of imagery and affect in the cognitive act of reading, to provide a detailed account of how we exercise our capacity for imaginative thought in order to achieve literal, inferential, and critical comprehension, and to explore the implications of an embodied mind for reading and responding to literary texts. The investigation yielded a critical review of contemporary theories of reading (Kintsch, 1998; Rumelhart, 1977; Sadoski & Paivio, 2001) to examine their ability to explain the phenomena associated with the literary experience. Dual coding theory (Sadoski & Paivio, 2001) which maintains an empirical and embodied view of the mind was shown to have considerable theoretical advantages over rationalist computational theories of cognition in explaining phenomena associated with reading and responding to literary texts. A neurobiological account of consciousness provides support for the idea that literature can engage readers imaginatively in the process moral deliberation (Dewey, 1932/1985). In addition, I concluded that considerable evidence exists to suggest that somatic and visceral changes experienced as a result of undergoing the text can potentially incite individual and social change.

Many architects report about mentally visualizing 3D aspects of their design ideas while simply working with 2D sketches of them. Indeed, in architecture, the general practice of conveying 3D building information by means of 2D drawings bears on the assumptions that every architect can mentally visualize a building in 3D by looking at its 2D drawings or sketches and that architects, as many report, can capture the 3D aspects of a building design during such 3D mental visualization practices. Additionally, many intuitively believe that the levels at which architects perform such 3D mental visualization practices is highly correlated to their spatial visualization abilities as defined by existing measures of spatial visualization ability. This thesis presents the outcomes of protocol studies and analyses that were conducted with the aim of developing an in-depth understanding about such 3D mental visualization practices and capabilities of architects on the basis of four research questions. First, what might be the nature of the 3D mental visualization phenomena that architects claim to experience: what are the features of these 3D mental visualizations as evidenced in specific tasks; and what might be the nature of the mental representations created during these visualization processes? Second, can every architect carry out these 3D mental visualization practices; might there be individual differences among architects' performances? Third, might 3D mental visualization of buildings be only an architectural skill; can non-architects, who can read 2D architectural drawings, visualize a building in 3D based on its 2D drawings and can they do so to the same levels of performance of those of architects? Fourth, might performance in 3D mental visualization tasks be related to/predicted by spatial visualization ability? The major conclusions of this thesis with regard to the first research question include that (1) architects can be visualizing the buildings in one of the two major forms or by alternatively switching between them: by imagining themselves situated within (almost) the actual size 3D building environment or by imagining a 3D small scale model of the building; (2) the mental representations they create during these visualization processes capture the various visual and spatial aspects of the buildings with a structure similar to that of an actual size or small scale model of the visualized space/form, yet the way they capture these aspects is not like the way these aspects would be captured from a certain viewpoint in reality; and (3) what they experience during these visualization processes is not like the continuous holistic visuospatial experience that one would have when looking at a building or walking inside/around a building. With regard to the second, third and fourth research questions this thesis concludes that (question 2) architects differ in their 3D mental visualization skills; (question 3) 3D mental visualization is an architectural skill in that it relies on certain abilities that become heightened in architects, possibly during education; and (question 4) 3D mental visualization skills are not related to spatial visualization ability as defined by the standard paper-folding test of spatial visualization ability.

<p>The aim of the study is to investigate how double-consciousness operates through contrastive color imagery in Nella Larsen’s novel Quicksand. A focal point of the analysis is to show how Larsen thematizes the ability to benefit from bright colors and how color choice determines the quality and level of freedom in life.</p><p>Together with W. E. B. Du Bois’s theory of double-consciousness, a few other literary works by writers of the Harlem Renaissance have been considered in order to further support my arguments. I link these other writers’ perspectives to Quicksand and to the novel’s theme of color as a path to freedom.</p><p>In Quicksand, a broader path of colors, more bright than dull, leads to freedom, as is made evident through the novel’s connection of bright colors with Harlem’s freedom of expression. Furthermore, a narrow path of colors is contrastively figured as the course towards tragedy, which is clearly seen in the novel through the example of the protagonist Helga’s “sinking” due to an absence of color.</p>

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves [157]-172). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves [157]-172). Also available on the Internet.

Thesis (D. Min.)--Ashland Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 138-142).

Syftet med studien var att undersöka om visualiseringsträning kan minska nivån av upplevd stress hos kampsportare. I studien deltog 27 atleter (16-41 år) som var medlemmar i en utvald kampsportsförening lokaliserad i sydvästra Sverige. Deltagarna randomiserades in i en experimentgrupp och en kontrollgrupp där experimentgruppen erbjöds att vid tre tillfällen delta i visualiseringsträning. Det instrument som tillämpades i denna studie var K10 testet av Kessler et al. (2002) som mäter stressupplevelsen hos individer sett ur ett generellt hälsoperspektiv. Resultatet från studien visade ingen statistiskt signifikant skillnad mellan grupperna (p = 0.053). Dock påvisades en moderat effektstorlek (Cohen´s d = 0.78) vilket gör att en praktisk signifikans mellan grupperna kan diskuteras (där experimentgruppen uppvisar en lägre nivå av upplevd stress i jämförelse med kontrollgruppen). Rekommendationer från studien är att atleter uppmuntras att involvera visualisering i sitt träningsupplägg för att på så sätt potentiellt minska de upplevda stressnivåerna och på så sätt minska risken för de negativa effekterna som höga stressnivåer visats kunna generera. / The purpose of this study was to investigate if imagery exercise can reduce the level of perceived stress among martial artist athletes. The study enrolled 27 athletes (age 16-41) who were members in a martial arts association located in southwestern Sweden. The participants were randomly divided into an experimental group and a control group in which the experimental group were offered to take part in three imagery-training classes. The instruments used were K10 test of Kessler et al. (2002), which measures self-perceived levels of stress seen from a general health perspective. The result showed no statistically significant difference between groups (p = 0.053). However, results showed a moderate effect size (Cohen's d = 0.78), which suggest that there is a practical significant between (where the experimental group showed a lower level of perceived stress in comparison with the control group). Recommendation with this study was to urge athletes to involve imagery in their training programs to thereby potentially reducing the self-perceived levels of stress and to counteract the subsequent/following negative effects that high stress levels can contribute to.

This dissertation seeks to advance our understanding of how marketing principles can be used to improve the process of new product design. Specifically, it examines the potential of a specific cognitive process, visual mental imagery, as a tool to help designers maximize the appeal of new products in the eyes of their customers. A conceptual framework is presented that describes a process through which visual mental imagery might influence the customer appeal of a design output. This is followed by two experiments which test the hypotheses that flow from this model. The experiments manipulate both the type of visual imagery utilized, and the incorporation of the customer in the imagery invoked (content of the imagery), in order to examine their effects on the usefulness, originality, and customer appeal of the resulting design. Consistent with the proposed framework and its hypotheses, visualization of the customer, as part of the imagery process, proved to enhance design usefulness when this imagery was imagination-based, but not when it was memory-based. Furthermore, use of imagination-based imagery resulted in more original designs than pure memory-based imagery. Finally, and most importantly, the use of customer visualization in combination with imagination-based imagery led to designs that were significantly more appealing to the customer. An analysis of covariance subsequently revealed that this improvement in customer appeal was mediated both by the perceived usefulness of the design, and by its degree of originality. The dissertation concludes with the integration of the experimental findings, and a discussion of the potential of visual imagery as a tool in the new product design process.

The purpose of this qualitative study was to investigate the use of storytelling as a teaching strategy in the classrooms of three experienced elementary school teachers. Storytelling is defined in this study as the use of a narrative, spoken or written, in prose or in verse, true or fictitious, related so as to inform, entertain, or instruct the listener or reader. This research answers questions concerning; (a) what constitutes storytelling in these teachers’ classrooms, (b) teachers’ purposes for using storytelling, and (c) factors that have encouraged these teachers to employ storytelling in their teaching practices. Framed within constructivist theory, the study provides insight into how these three respondents teach content through storytelling and bridge information from teller to listener. Data collection included classroom observations, interviews of teacher-participants, and the collection of teacher-generated artifacts such as lesson plans and teacher notes. Portraiture is used as a method for writing up the data in order to record the perspectives and experiences of the participants in this study by documenting their voices, visions, and wisdom in a detailed exploration into the feelings about and use of storytelling in their teaching practices. The instructional strategies reported through this qualitative inquiry support a socio-cognitive interactive model of literacy and demonstrate its importance in learning content in an elementary school environment. The data were analyzed continually through a search for emerging patterns and through constant comparison analysis. The researcher found that the teachers used stories and illustrations in an impromptu manner and that storytelling served both cognitive and affective purposes. Cognitively, storytelling was employed to form connections to students’ prior knowledge and new knowledge being introduced. Storytelling was used as a mnemonic device to help students transfer storied information to new situations. Affectively, storytelling served to engage students in an enlightening and entertaining manner. Students responded to the use of stories through actively participating in classroom discussions and sharing stories of their own. Storytelling assists these teachers in their critical roles as negotiators and facilitators of meaning construction in the text and social context of the classroom.

The early twentieth century saw the beginning of modern environmentalism. Intellectuals dreamed up solutions to the world’s problems and hoped for a better future being made possible by advances in science and technology. However, Aldous Huxley produced Brave New World which, as this essay argues, mocks the enthusiasm of his intellectual peers. The dystopian novel depicts a future in which technology dehumanizes the population, and uses a great deal of animal imagery to make this point. This essay analyses the use of animal imagery from an ecocritical perspective arguing that the “pathetic fallacy” is reversed. By examining the use of biotechnology and central planning in the novel, and applying the ecocritical perspective that humanity and nature are part of a whole, this essay argues that society resembles a farm for human animals, which is partly expressed by Huxley’s use of the image of a bee colony. The argument is presented that Huxley satirizes his environmentally concerned peers by depicting a totalitarian state which, though unconcerned with environmental issues, echoes the eco-fascist methods proposed by the author’s friends and family.