The author of the work: Diana Chraptavičiūtė Subject of the work: The influence of the fine arts on the morality formation of preschool children. The place of the preparation of the work: Department of Professional Pedagogics and Psychology, Lithuanian Agricultural University, Academy, 2005-2005. The work includes: 2 tables, 30 pictures, 6 Appendices. Total amount of pages: 87. Referents: 73. The object of research: morality formation by mean of the fine arts in preschool children of age of 5-7 years old, which attend kinder garden. The methods that were used: • Analysis of pedagogical, psychological, and scientific literature; • Questioning by means of questionnaires designed specifically for parent, teachers, and oral interview-for children; • Analysis of drawings dedicated for the closest people; • Drawing of nonexistent animal; • The processing of statistical data by using software SPSS v. 9. The results of the research were as follows: • The children attending the kinder garden with an inclination towards arts, ETIUDAS, are of higher morality than those who attend conventional kinder gardens, which were under investigation. The children from Catholic kinder garden usually take neutral position among all that were investigated. The children from the kinder garden ĄŽUOLIUKAS, which fosters inclinations towards sports, usually take neutral position in most of the situations, though, sometimes, they show negative reactions towards other people. • The age has no influence... [to full text]

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The role of gestures in determining the use of familiar and novel tools was explored. In the first study, participants were shown gestures for tools corresponding either to tool design, or to the physical affordances of a puzzle designed for each tool. In the second study, two additional conditions were added. In the first, gestures were used that did not correspond to tool design or the puzzle affordances. The second was a control condition in which no gestures were shown. Results indicate that the demonstration of gestures appropriate to a novel problem situation facilitate creative use of tools. Additionally, attention to tool and puzzle affordances is effective for creative tool use when no gestural input is present. However, knowledge of tool design may interfere with this creative application. Performance is further hindered by the demonstration of gestures consistent with tool design, which may prime individuals to rely on the design stance. / by Robert R. Freund. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

In the late 1870's English society witnessed the rise of the aesthetic movement, a phenomenon which affected the art and literary worlds and which was characterized then and later as the pursuit of art for art's sake. The notoriety of the movement at the time obscured its exact limits and the origins of its ideas and values. The intellectual and literary side of the movement, especially the ideology of art for art's sake, attracted most notice and comment, yet the plastic arts of painting and industrial design were crucial to the theories of aestheticism and its impact on Victorian culture. This thesis examines those plastic arts, and the social and economic contexts in which they had a place, and their relationship to the aesthetic movement. The aim of this thesis is to describe the cultural context in which the aesthetic movement in the arts developed. The aesthetic movement came at a time when most critics would agree that Victorian design in the fine and industrial arts was at a low point, and did much to stimulate higher standards in both fields. The reasons for this failure and subsequent recovery have been incompletely researched and, I think as a result, incompletely understood. The social and economic changes in the fine and industrial art worlds form a large part of this study out of necessity and in dealing with the mechanism of the art markets, the changing status of the painter, the rise of the industrial designer and the growing activity of the middle-classes in the art world, I have attempted to demonstrate that the aesthetic movement was merely an offshoot of a larger cultural problem, a problem which the Victorians could not solve. Behind the aesthetic movement was the problem of reconciling the mechanism and mechanistic rhythms of modern society with art and the values which art represented, especially individualism, humanism and the knowledge of life sprung of faith rather than science. The solutions and compromises which earlier Victorians had accepted were no longer possible to many people in the 1870's. / Arts, Faculty of / History, Department of / Graduate

This thesis discusses the appropriation of antique art in Italy during the fourteenth century. In order to do that, it considers the surviving antiquities in late medieval Italian cities and examines their reception and perception by contemporary authors and artists. Following the introductory chapter, which sets out the aims of the thesis and provides a brief historical background of the period, this study is divided in two parts. Part I examines the awareness of ancient art in the Trecento by looking at late-medieval Italian texts. After an introduction of the relevant texts and a presentation of the biographical background of their authors, the chapters explore the reliability of the writers, their references to antique art and their particular interests towards antique art. They also examine the textual evidence on attitudes towards antiquity, contrasting the different approaches of intellectual and popular audiences, and discuss a number of surviving antique works that were placed in public places and were charged with ideological intent, meaning and power. Part II approaches the subject of the appropriation of antique art in the Trecento from a different angle and deals with the reaction of artists toward ancient art. It discusses the emergence of a new iconography that reflects themes arising from encounters with classical literary texts, explores instances of antique sculpture portrayed in fourteenth-century paintings, and examines the antique sources of various Trecento motifs and compositions. The Appendix is a detailed list of antique works of art that were visible in Trecento Italy, along with a discussion of their history and the relevant primary and secondary bibliography.

Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments. / Department of Architecture