This is a report of a study of a new service added to the instructional program in Art in the secondary school system of Duval County, Florida, under the auspices of the County Art Supervisor. The period covered by the study was the first eighteen weeks of the school year 1960-1961. Specifically, it concerns the work of an art teacher employed to serve in a resource capacity for teachers of any subject area other than art, in any white secondary school in the county. / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Science." / "August 1961." / Typescript. / Adviser: Julia B. Schwartz, Professor Directing Paper. / Includes bibliographical references.

Incarceration is a major problem in the United States. It is a very complex system influenced by politics, ethnicity, poverty, social justice issues, and collective human experiences. Despite it complexities, its understanding by the general public is simplified and sensationalized by the media—prison, its workers, and residents are usually negatively stereotyped and stigmatized. The idea of incarceration only becomes tangible and familiar when a family member or friend that is close to you is directly affected. In this paper I use the qualitative research method—autoethnography—to present a personal narrative about my experiences as a family member affected by incarceration, and as a Master’s Degree art therapy student who has various experiences working with the prison system. My aim is to shed a more subjective light on the prison system as it relates to literature and the media. In this research, I am both participant and researcher—in this thesis, through reflections of my personal narrative, I am able to question the conceptions of the general public and policy makers on the prison system and discuss them from my point of view and what is known from the literature. Through this thesis, I am able to add to the many stories of persons who have been personally affected by the prison system either directly or indirectly. Through the use of autoethnography, I’m afforded the space to discuss the very pressing need for more research in correctional settings that will effectively change the prison system and how an art therapist like myself can begin to create change. / A Thesis submitted to the Department of Art Education in partial fulfillment of the Master of Science. / ERROR. / ERROR. / Includes bibliographical references. / David Gussak, Professor Directing Thesis; Marcia Rosal, Committee Member; Theresa Van Lith, Committee Member.

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Research supports ideas that relate the value of arts integration to success in the elementary classroom. This thesis explores the theoretical and practical aspects of the integration of the visual arts and their value, specifically to elementary grades four through six.

Call number: LD2668 .T4 1959 J65

John Dewey's formulation of the primacy of aesthetic experience in all human endeavor is investigated in order to promote the inclusion of a fine arts requirement in the curriculum of higher education. In particular, Dewey envisioned art as necessary to develop moral, thus social sensibility because moral precepts derive from imagination, and art is both the child and stimulator of creative imagination. An analysis of the "qualitative experience" concept provides an introduction to Dewey's fully-elaborated aesthetic theory. Subsequently, the role of such experience is evaluated in both personal and social terms. Then, it is argued that the establishment of a fine arts requirement in General Education is necessary to ensure the propagation of the experience. Supporting arguments from educational theorists and behavioral scientists serve to buttress the Dewey proposition as well as to demonstrate that the content of the proposed fine arts course must incorporate theoretical, historical and practical components.

This study is based on the Arts Integration Program, a series of lesson outlines utilizing fine arts experiences (dance, music, theatre, and visual arts) to teach core curriculum subjects. The study took place over two years in six schools, combining qualitative and quantitative research methods to determine: if learning actually took place concurrently with the program's lessons; how the classroom learning environment was affected; and what teachers who use the Arts Integration Program lessons for the first time report about the experience? The study was continued into a second phase based on results of the first. In the development of an Arts Integration Program teacher-mentor model, two teachers from the first year of the study worked with new teachers in their schools who were beginning to use the program. This second phase of the study asked: What is involved in establishing a successful teacher-mentor model with the Arts Integration Program? And, How do the lessons effect the classroom learning environment? Lesson outlines and arts integration techniques are described and results from the Content Area Tests and the Perceived Self-efficacy, Attitude, and Linguistic Domain Questionnaire from both phases of the study are presented. The evolution of the Arts Integration Program Teacher-mentor Model is also described. The process of implementing the program in each school was documented through teacher journals, observations, interviews, and videotapes. The aesthetic reaction that Vygotsky (1971) wrote about seems to be present in these children. Their teachers each report having a more cohesive and supportive classroom environment as a result of the theatre lessons. They all noted improvement in the childrens' communication, expressive and receptive, skills. There is also evidence of transfer into other academic areas. The study showed the more successful Arts Integration Program Teacher-mentor model to be: (1) At least a one-year. (2) Concentrating on one, or two, arts areas. (3) With teacher observing teacher. (4) Regular meeting to plan and discuss. (5) Videotape and review for teachers and students. Plans for future implementation of the Arts Integration Program and ideas for further study are presented.

This grounded theory study describes practitioner decision-making processes regarding best interest determinations for granting children the power of assent to art interventions and the procedures used to initiate participation. Assent refers to the agreement of a minor to participate in activities, while recognizing the developmental limitations of children to render a fully reasoned decision. Twelve practitioners who use art in their clinical work with children participated in direct interviews. The narrative data collected was conceptualized, categorized, and coded using a Paradigm Model. Results link the present study to Awareness Context Theory, suggesting that best interest determinations are guided by concerns not to disrupt the existing level of child's awareness to intervention and to the practitioner's role.