Thesis (M.S.)--Florida State University, 2005. / Advisor: Marcia Rosal, Florida State University, College of Visual Arts, Theatre and Dance, Dept. of Art Education. Title and description from dissertation home page (viewed Jan. 27, 2006). Document formatted into pages; contains viii, 84 pages. Includes bibliographical references.

Thesis (Ed. D.)--Illinois State University, 1989. / Title from title page screen, viewed October 13, 2005. Dissertation Committee: Marilyn Newby, Max R. Rennels (co-chairs), Evelyn Rex, Robert Stefl. Includes bibliographical references (leaves 68-72) and abstract. Also available in print.

Orientador(a): Geralda Mendes Ferreira Silva Dalglish (Lalada) / Banca: Patrícia Pinna Bernardo / Banca: Jean-Jacques Armand Vidal / Banca: Sonia Carbonell Alvares / Banca: Kleber José da Silva / Resumo: Esta dissertação de mestrado visa buscar a compreensão de como a produção plástica, através de oficinas de cerâmica com recorte focado na Arteterapia, e projetos sociais inseridos em comunidades podem contribuir com o resgate de crianças e adolescentes em situação de vulnerabilidade social. Foi criado um projeto denominado Ser Âmica: A Modelagem de Um Novo Amanhã, localizado no Instituto Movere de Ações Comunitárias em Artur Alvim, zona leste da capital paulista, onde montou-se um ateliê para atender ao público alvo desta pesquisa, com idade entre sete e dezoito anos. Após realização de trezentas oficinas, num período de três anos não consecutivos, foram encontrados elementos que permitissem a reflexão sobre o potencial de oficinas culturais e seus desdobramentos para compreender o processo individual de cada aluno na formação de cidadãos mais conscientes da realidade em que vivem, possibilitando, desta maneira, o vislumbre de um futuro melhor através das contribuições que o diálogo com a arte e a cerâmica pode representar ao seu desenvolvimento pessoal e social. Em nenhum momento houve pretensão da pesquisadora de tornar os jovens atendidos em ceramistas profissionais. Buscou-se, antes, possibilitar aos atendidos um reencontro de si no resgate da autoestima e do autoconhecimento. A proposta de realizar um projeto de foco social com toda a estrutura de um ateliê de cerâmica profissional foi possível em virtude do fomento oferecido por meio das leis de incentivos fiscais, que também serão abordadas nesta pesquisa / Abstract: This dissertation MFA thesis seeks to understand how plastic production, through a part of ceramic workshops which focuses only on art therapy, and social projects inserted in communities can contribute to the rescue of children and adolescents in social vulnerability situations. A project was created named Ser Âmica - A Modeling of a New Tomorrow - located at the Instituto Movere de Ações Comunitárias in Artur Alvim, east zone in São Paulo, where a workshop was set up to attend the target audience of this research, aged 7-18 years old. three hundred - 300 workshops were held in a period of 3 (three) non-consecutive years to find elements that allowed a reflection on the potential and consequences of cultural workshops in order to understand the individual process of each student in the construction of a citizen more aware of the reality that he lives in and how he can envisage a better future through the contributions that the dialogue, with art and ceramics, can represent in his personal and social development. At no moment, did the researcher have an intention to turn the young people into professional ceramists, but to enable them to recover their self-esteem and self-knowledge. The proposal to carry out a socially focused project with the entire structure of a professional ceramic workshop was possible due to the development of the tax incentive laws that will also be addressed in this research / Resumen: Esta disertación de maeztrago pretende buscar la comprensión de la producción plástica a través de talleres de cerámica con recorte enfocado en la Arteterapia y de cómo los proyectos sociales implantados en comunidades pueden contribuir en el rescate de niños y adolescentes en situación de vulnerabilidad social. Se creó un proyecto llamado Ser Âmica: El Modelado de Un Nuevo Mañana situado en el Instituto Movere de Ações Comunitárias en Artur Alvim (zona leste de la capital paulista), donde se montó un taller para atender al público que era el objetivo de esta investigación y cuyas edades comprendían desde los siete a los dieciocho años. Se abrieron trescientos talleres en un período de tres años no consecutivos para que se encontraran elementos que permitieran la reflexión sobre el potencial de talleres culturales y sus despliegues para comprender el proceso individual de cada alumno en la construcción de ciudadanos más conscientes de la realidad en la que viven y de maneras de vislumbrar un futuro mejor a través de contribuciones que el diálogo con el arte y la cerámica puede representar en su desarrollo personal y social. En ningún momento hubo la pretensión de convertir a los jóvenes en profesionales ceramistas, sino la de darles una oportunidad de encontrarse consigo mismos en un acto de rescate de su autoestima y del autoconocimiento. La propuesta de realizar un proyecto con un objetivo social con toda la estructura de un taller de cerámica profesional se hizo posible gracias al fomento de las leyes de incentivos fiscales que también serán abordadas en esta investigación / Mestre

This thesis is grounded in the theoretical discourses of art therapy and transpersonal psychology. The focus is on a single session of claywork, where a sculpture was made and discussed, leading to an understanding of some of the sculptor's central psychological issues. The overall aim of the research was to examine different hermeneutic perspectives on art therapy with clay sculpture in terms of how well they open up and do justice to the experience of the sculptor and the nature of the overall process. Within this there are two particular goals: Firstly, to examine the extent to which the holographic paradigm in comparison to other perspectives, allows a deeper access to, and deeper understanding of, transpersonal themes and processes; and secondly, to examine the extent to which processes within claywork can be understood as ritual activities. The research was a phenomenological-hermeneutic case study. The session was reduced to a narrative synopsis, and then a hermeneutically grounded thematic analysis was carried out using the theory of Transpersonal Feminism (Knight, 1997) and Schema-Focused Cognitive Therapy (young, 1990, 1994). The principal conclusions reached were that the holographic paradigm does add to our understanding of the experiences (personal and transpersonal) of the claywork, often beyond the scope of other art therapy perspectives. The image of the shaman is used as a metaphor for understanding the process of healing described within the holographic paradigm. Within the healing process, ritual plays an important role in the meaningful therapeutic activity of art therapy. The claywork expresses that the transpersonal struggle with archetypal forces within the collective unconscious is reflected on a personal level through individual conflicts and dilemmas within the personal unconscious. Indeed, these difficulties are viewed on both levels as 'stepping stones' on the path of spiritual development described by Engler (1984) and Welwood (1986).

This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.

Intimate partner violence is a prevalent problem throughout the world and is associated with significant physical as well as psychological impairment for women. Few studies are available to fully illuminate which interventions are most beneficial in healing and empowering women after their experience of violence in an intimate relationship. Although many traditional as well as creative approaches (Cognitive Behaviour Therapy, Person-Centred Therapy or Creative Arts Therapies) are used in practice, much of the work with survivors is not grounded in empirical research. In the present study the effects of Art Therapy in comparison with Person-Centred Therapy and routine intervention without additional therapy have been measured by quantitative as well as qualitative means. Measures of self-efficacy, self-esteem, depression, symptoms of PTSD and general psychological well-being were administered to a sample of survivors of intimate partner violence at baseline, end-oftreatment and follow-up. Therapy experience has been the focus of one-on-one interviews with participants. In general, all intervention groups improved on most outcome measures at follow-up. Participation in either of both therapeutic interventions in addition to routine care, however, contributed to improvements in difficulties related to phobic anxiety and impaired self-reference. Art Therapy was particularly effective in improving general psychological wellbeing and in particular self-efficacy, self-esteem, depression, somatic problems and several debilitating symptoms of PTSD.

Syftet med denna studie är att undersöka hur bildterapi genomförs för personer med demenssjukdom. Metod: Efter gallring och kvalitetsgranskning inkluderades sju artiklar i en allmän litteraturstudie. Bildterapiprocessen analyserades utifrån olika frågor vilket möjliggjorde att identifiera olika teman, liksom skillnader och likheter mellan artiklarna. Resultatet visade att det övergripande syftet med interventionerna var att skapa livskvalitet, men att det begreppet gavs olika innebörd som att vidmakthålla ett intresse, påverka BPSD-problematik, stärka identitet, känna lugn och ro. Bildterapi med målgrupp personer med demenssjukdom är fortfarande ett relativt nytt område, vilket återspeglade i att alla studier utom en även uppgav syftet att inhämta mera kunskap inom detta område. Bildterapi bedrevs för personer i alla stadier av demenssjukdom. Utifrån målgruppens kognitiva svikt skedde anpassningar i material, metod och val av aktivitet. För att möjliggöra individuella anpassningar genomfördes i vissa studier även noggranna kognitiva analyser av försökspersonen, medan andra studier mera tog fasta på tidigare forskning om vilka metoder som anses lämpliga. Den vanligaste arbetsmetoden som användes var kollage. Effekterna av de bildterapeutiska interventionerna var i huvudsak momentan till den aktuella sessionen där försökspersonerna visade lugn, fokus, riktad uppmärksamhet, bättre social interaktion och glädje. En longitudinell RTC-studie gav dock långtidseffekt med förbättrad sinnesstämning och signifikant minskade depressionstecken. Slutsats Bildterapi har sitt ursprung inom psykiatri och psykoterapi, med denna studie visar dess tillämplighet även inom demensområdet. Dock behövs vidare forskning. / The purpose with this study is to determine how art therapy is conducted for people with dementia. The method: seven articles remained for a general literature study after sorting out and quality reviewing articles. The articles were analyzed with regards to questions that reflect the process of art therapy and also considered the differences and similarities. The art therapy process was analyzed with a defined set of questions, which made it possible to identify different themes and sim- and dissimilarities between them.The result shows that life quality was the general purpose of the interventions, but the interpretations for this would vary. Life quality was most commonly defined as maintaining a hobby, combat BPSD, strengthening personal integrity and achieving serenity. Art therapy for people with dementia as a target group is very uncharted territory which is reflected in the articles. All but one study expressed the need of more knowledge in this area and set goal for that as well in the purpose. The art therapy was conducted for people in all stages of dementia, but some modifications were implemented for those in later stages of dementia due to their cognitive impairment. These modifications would affect material, method and choice of activity. Some of the studies performed meticulous cognitive analysis in order to customise on an individual level, whilst other studies used the generally recommended methods based on previous research. The most commonly used method was collage. The short term effect during the art sessions showed signs of tranquility, focus, attention, improved social interaction and joy. The only longterm-study showed lasting effects beyond the art therapy sessions such as improved peace of mind and significantly reduced signs of depressions.Summary Art therapy originates from psychiatry and psychotherapy, but this study shows the eligibility with dementia. Further research is however required.

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Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2999-01-01

This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.