This thesis introduces and explores a novel construct for studying human beliefs in social science: doxastic spaces. These flexible analytical devices are demonstrated as capturing three key properties of beliefs which are difficult to depict through other formats: the relational, relative, and reflexive properties of beliefs. The doxastic-space paradigm developed by this thesis is likewise shown to enable new and insightful theories about belief formation and change. Two such theories cultivated herein are quantized evidence theory (QET) and entropy-based social learning (EBSL). These theories prioritise not only the evidential bases of beliefs, but also the cognitive limitations on memory and attention that people face in constructing and updating beliefs about their worlds. Such bases and limitations underscore not only the role that context has to play in sculpting beliefs, but also the reciprocal function of beliefs in helping to determine and demarcate context. Part of that context is discussed as being other people relevant in social judgment and learning situations. And interplay between beliefs and context is used to aid explanation for unstable tendencies in neglectful cognition. The work mixes theoretical and empirical investigation of the doxastic-space framework, and suggests that it may serve social science by working to not only forge deeper comprehension of belief dynamics but also to operate as a platform for interdisciplinary exchange.

This dissertation critiques and updates the theoretical frameworks for understanding encyclopedic and diagrammatic images as presented in the scholarship of Lucy Freeman Sandler, Barbara Maria Stafford, John Bender, and Michael Marrinan. It offers a new model for examining the cognitive role of images by studying an important medieval encyclopedia, On the Properties of Things, originally written in Latin by Bartholomaeus Anglicus in the thirteenth century. Bartholomaeus’ text was the most popular encyclopedia of the later middle ages and four vernacular translations were produced and circulated between the fourteenth and sixteenth centuries. Significantly, the French translation of the compendium, coming out of the vernacularization movement of King Charles V but radiating out to other production centres, involved the design of an elaborate and novel illustrative program. The present project examines two exceptional fifteenth-century French copies of this encyclopedia (BnF fr. 9141 and BnF fr. 135/6), and interprets them in light of the shifting intellectual culture and evolving reading practices of late-medieval lay audiences. The information-rich and highly aestheticized miniatures found in such encyclopedic manuscripts have traditionally been defined, by Sandler and others, as having an explanatory function and the capacity to elevate the content of the text through displays of material luxury. My model expands the significance of such images by highlighting their capacity to promote thought. I argue that images in didactic compendia can (i) encourage the reader to actively engage with the text through representations of aristocratic readers performing their understanding of the book socially, and (ii) facilitate visual thinking by aesthetically reflecting the structure of the encyclopedic text through the diagrammatic strategies of the collection, compression, and division of fragmented information. Though the images in my two manuscript case studies take distinct approaches to reader engagement and the mediation of knowledge, in both cases the power of these visualizations rests in the cognitive acts and range of mental associations they provoke. This dissertation demonstrates that epistemically-dense images, in addition to merely reflecting a text, could shape knowledge as it was being formed in the minds of active viewers, readers, writers, and artists, in an intellectually rich period in late-medieval France. / Graduate

This paper seeks to further explore stages an artist moves through that can be applied to teaching art, and helping students understand how to access their creativity. This project involves observation and an auto-ethnographic approach in order to best determine stages artists naturally move through when creating art. In order to most effectively suggest a teachable creative process for secondary art students, this paper will further explore cognitive and disciplinary categories in art education by applying principles and stages to a curricular guide (or lesson plans) for secondary art educators. Topics and studies of design thinking, creative inquiry, studio habits, creative processes, the National Assessment for Educational Progress (NAEP, 2008), and National Core Art Standards will be reviewed and expanded upon in this paper. Using these inputs, a series of 4 recursive, creative stages were observed and applied to teaching art at the secondary (6th-12th grade) levels.