xv, 554 leaves : ill., (part col.) tables ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of Psychology, 1979

The main focus of this dissertation is a discussion of how an artist uses her dance bodily knowledge to develop in a static art form a more bodily sense of movement. For this purpose this dissertation examines four clay sculptures by contemporary artist Mary Frank. The analysis suggests that the uncharacteristic sense of movement displayed in these works derives from her experiential knowledge of dance. This sense of movement is achieved through the considered assemblage and inextricable relationship between Frank’s dance bodily knowledge (body knowledge a dancer acquires through years of dance practice) and the manipulation of clay, the plastic medium she uses to create these forms. The study reveals that Frank’s ceramic assemblages of organic shapes resembling a figure could be related to somatic awareness of arms, legs, torso, hips, and head that dancers experience while dancing. Similarly, the fluid quality of her ceramic assemblages and their seamless coexistence with the environment can be correlated to the proprioceptic sensibilities (the reception of stimuli produced within the organism by movement or tension) that a dancer’s body senses as it navigates through the air and across the ground managing the pull of gravity. These findings are developed through a discussion of the philosophic theories on bodily knowledge (knowing in and through the body) by Maurice Merleau-Ponty, Michael Polanyi, Edward Casey, Pierre Bourdieu, and Richard Shusterman, as well as the philosophic theories on dance bodily knowledge (my own term) developed by Barbara Mettler, Maxine Sheets-Johnstone, and Jaana Parviainen. In addition, Mary’s sculptures are compared to traditionally built sculptures to illustrate the bodily sensory quality of the sense of movement of her structures. Although the scope of this study is limited to the application of dance bodily knowledge onto sculpture, perceived through the clay sculptures of Mary Frank, this research adds to the debate on the interrelationships between dance education and the arts, the body and institutions of learning, and the body and society. It suggests that dance practice and introspection of one’s body movement affects how one perceives the world around us and therefore how one reacts and expresses oneself on to the world. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

My thesis body of work developed from a desire to examine my nonrepresentational artwork in relation to the concept of entropy - the law of thermodynamics that measures the gradual, steady disintegration in a system such as our world. Experimenting with a range of approaches and mediums, I resolved to radically manipulate the inkjet printing of my digital photography files to introduce chance and provoke decay. The resulting prints operate as an orchestrated chaos alluding to environmental decline and collapse, and by extension, potential social degeneration. My art reflects my perceptions of our times as well as adds to the problem. I continue to produce waste through the consumption of materials. I contaminate through inks. I add to landfills with failures. My artwork points out the inevitable end. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

There is limited research available focusing on arts integration at the secondary school level and even less on a children’s chorus curriculum. Therefore, the aim of this qualitative study is to investigate the application of arts integration in a university-based children’s chorus based on historical research, rehearsal observations, and interviews of practicing children’s chorus directors. The pedagogical practices and philosophies of three prominent children’s chorus directors, Robyn Lana, Henry Leck, and Ann Small were conducted to understand the relationship between arts integration theory and practice in their respective children’s choruses. The criteria used to select the participants of this study is based upon their tenure in the field of choral music education, national and international recognition, their publications on music education for children, and their expertise on the child and adolescent singing voice. One of the principal objectives of this study is to discover if the participants are currently implementing arts integration in their respective children’s choruses and, if not, would they be amenable to implementing this type of pedagogy? The study’s research criteria focuses on two possible factors: 1) the expectations of a high level of artistic performance that could affect time availability presenting obstacles to implementing arts integration, and 2) identifying the philosophy and practice towards arts integration amongst the selected children’s chorus directors. The study suggests that a choral curriculum based on arts integration does not appear to diminish or interfere with the rehearsal process in preparation for the choral performance but rather, enhance the total learning and performance outcomes. Research data also suggests the need for materials and resources to assist with the application of an arts integrated curriculum. The three participants acknowledge the value of this type of pedagogy as well as the significance of future research to aid in applying this methodology. Sample lesson plans and choral literature representative of repertoire conducive to creating lesson plans based on arts integration strategies are found in the appendices. However, additional qualitative and quantitative studies are needed to promote arts integration at the secondary choral level. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2013.

張經緯. / 論文(哲學碩士) -- 香港中文大學硏究院敎育學部, 1998. / 參考文獻: leaves 64-66. / 中英文摘要. / Zhang Jingwei. / Chapter 第1章： --- 引言 --- p.1 / Chapter 1.1 --- 研究背景 --- p.1 / Chapter 1.2 --- 研究問題 --- p.3 / Chapter 1.3 --- 研究目的 --- p.3 / Chapter 1.4 --- 研究重要性 --- p.4 / Chapter 第2章： --- 文獻回顧 --- p.5 / Chapter 2. 1 --- 美學 --- p.5 / Chapter 2.1.1 --- “自上而下的美´學ح與“自下而上的美´學ح --- p.5 / Chapter 2.1.2 --- 客觀論美學與主觀論美學 --- p.5 / Chapter 2.1.3 --- 美學發展的簡介 --- p.5 / Chapter 2.2 --- 藝術心理學 --- p.6 / Chapter 2.2.1 --- 藝術心理學之始 --- p.6 / Chapter 2.2.2 --- 藝術心理學發展的三大取向 --- p.7 / Chapter 2.3 --- 完形心理學 --- p.9 / Chapter 2.3.1 --- 完形心理學的源起 --- p.9 / Chapter 2.3.2 --- 完形(Gestalt) --- p.10 / Chapter 2.3.3 --- 同型論(lsomorphism) --- p.11 / Chapter 2.3.4 --- 圖形與背景 --- p.12 / Chapter 2.3.5 --- 完形視知覺組織定律 --- p.12 / Chapter 2.4 --- ARNHEIM的完形藝術心理學 --- p.16 / Chapter 2.4.1 --- 視覺思維 --- p.16 / Chapter 2.4.2 --- 形狀與形式 --- p.17 / Chapter 2.4.3 --- 形式與力 --- p.17 / Chapter 2.4.4 --- “美即適´切ح及“美即動力性結構對´應ح --- p.18 / Chapter 第3章： --- 研究方法 --- p.21 / Chapter 3.1 --- 研究對象 --- p.21 / Chapter 3.2 --- 研究過程 --- p.21 / Chapter 3.3 --- 材料 --- p.22 / Chapter 3.4 --- 資料分析 --- p.22 / Chapter 第4章： --- 研究結果及討論 --- p.26 / Chapter 4. 1 --- 砌圖過程 --- p.27 / Chapter 4. 1.1 --- “具意´念ح的創作開端及過程 --- p.27 / Chapter 4. 1.2 --- """乏意´念ح的創作開端及“具意´念ح的創作過程" --- p.28 / Chapter A) --- 漸現式 --- p.28 / Chapter B) --- 頓現式 --- p.29 / Chapter C) --- 速現式 --- p.30 / Chapter D) --- 平衡式 --- p.31 / Chapter E) --- 反覆驗式 --- p.33 / Chapter 4.2 --- 美的解釋 --- p.33 / Chapter 4.2.1 --- 初步個案分析 --- p.33 / Chapter 4.2.2 --- 美的解釋分類歸類過程及架構重建 --- p.33 / Chapter 4.2.3 --- 美的解釋類別要義 --- p.35 / Chapter 4.2.4 --- 美的解釋分類架構 --- p.35 / Chapter 4.2.5 --- 美的解釋分佈與個案組別分佈 --- p.37 / Chapter 4. 3 --- 美的解釋與個人獨特性及經驗的關係 --- p.42 / Chapter 4.3.1 --- 美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.43 / Chapter 4.3.2 --- 美的解釋類別與個人獨特性(包括經驗)的關係---以解釋類別為單位的整理 --- p.46 / Chapter 4.3.2.A --- 形式特質(F0)與個人獨特性 --- p.46 / Chapter A1 --- 視覺元素/構圖原則(Visual Elements/ Compos itional Principles)與個人獨特性 --- p.46 / Chapter A2 --- 表徵(Representation)與個人獨特性 --- p.48 / Chapter 4.3.2.B --- 個人關聯(PR)與個人獨特性 --- p.48 / Chapter B1 --- 自我肯定(Self-assurance)與個人獨特性 --- p.48 / Chapter B2 --- 感覺(Fee ling)與個人獨特性 --- p.49 / Chapter B3 --- 喜好/價值(Liking/Value)與個人獨特性 --- p.51 / Chapter B4 --- 意念（ldea)與個人獨特性 --- p.51 / Chapter 4.3.2.C --- 創作關係(CR)類別與個人獨特性 --- p.55 / Chapter C1 --- 思想空間(Horizon)與個人獨特性 --- p.55 / Chapter C2 --- 創作態度/感受(Attitude/Feeling of Creation)與個人獨特性 --- p.55 / Chapter 4.3.2.D --- 互動 (IN)與個人獨特性 --- p.55 / Chapter 第5章： --- 結論 --- p.58 / Chapter 5.1 --- 研究結果摘要 --- p.58 / Chapter 5.1.1 --- 砌圖過程 --- p.58 / Chapter 5.1.2 --- 美的解釋 --- p.58 / Chapter 5.1.3 --- 美的解釋與個人獨特性(包括經驗)的關係 --- p.61 / Chapter 5.2 --- 研究限制建議 --- p.62 / 參考資料 --- p.64 / 附錄 A---幾何圖形(GEOMETRIC SHAPES)舉隅及其數量與色彩分佈表 --- p.67 / 附錄 B---不規則圖形（IRREGULAR SHAPES)(1:5. 3) --- p.73 / 附錄 C---幾何圖形與不規則圖形色表 --- p.77 / 附錄 D---“GUMMED MOSAICS JUMBO PAC´Kح舉隅 --- p.78 / 附錄 E---創作指引 --- p.79 / "附錄 F---審美訪談(AESTHETIC JUDGMENT INTERVIEW, AJI)" --- p.80 / 附錄 G---美的解釋個案分析 --- p.82 / 附錄 H---美的解釋分類(以個案為單位) --- p.107 / 附錄 I---美的解釋類別要義 --- p.117 / 附錄 J---美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.125

Thesis. 1978. M.Arch.A.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 118-122. / M.Arch.A.S.

Literature in arts education suggests that experiences in the arts support the development of thinking skills such as critical thinking and reasoning (Fiske, 1999; Eisner, 2004; Greene, Kisida, and Bowen, 2014). But do individuals make aesthetic judgments supported by critical thinking and reasoning, or are these judgments based only on subjective preferences or personal taste? The present study examines whether undergraduate college students from an elite private university serving primarily students of high socioeconomic status (SES) and a public university serving primarily low SES students (n=150) invoke criteria when making evaluative judgments across the domains of visual art, music, and a non-aesthetic more general domain. Students were asked to compare two works of art (visual art or music), and to compare two fictional political candidates and to indicate whether one could be judged superior to the other and if so on what basis. Responses reflected levels of epistemological understanding—that is, whether judgments are based primarily on facts (Absolutist level), subjective opinions (Multiplist level), or criteria (Evaluativist level). The majority of participants displayed Multiplist levels in the aesthetic domains. Evaluativist levels were more common in the non-aesthetic domain, although significantly so only in comparison to the music domain among the students from the private elite university. Group comparisons across the two aesthetic domains showed that individuals scored at the Evaluativist level with more frequency in the visual art domain as compared to the music domain. However, this difference was significant only among the participants from the private elite university and not among the participants from the public university. The general educational and social background of the participants (private elite university setting versus public university setting) proved to be the strongest predictor of Evaluativist-level responses. Continued research in epistemological understanding in the aesthetic domain is needed, as development in epistemological thinking may afford insights into the degree to which individuals exercise critical thinking about the arts, and how such thinking can be fostered.