The problem was three—fold: (1) to document formative influences on a population who possessed enlightened and cherishing attitudes toward art; (2) to compare their experiences with relevant aspects of Harry S. Broudy's notion of enlightened cherishing; (3) to assess what implications these findings might have for the most recent British Columbia fine arts curricula. Procedure Fifty personal interviews were conducted with a population consisting of visual artists, art critics, art historians, art teachers, art gallery curators, aestheticians, art collectors, and an art consultant. The instrument was an open—ended question schedule which allowed for separate analysis and interpretation of experiences which were: (1) educational (formal) vs. extra-curricular (informal); (2) studio art experiences (aesthetic expression) vs. art critical/historical/aesthetic—based experiences (aesthetic impression). From these taped interviews, thirty were chosen for transcription. The resulting data were categorized and qualitatively analyzed. Comparisons were made with prior research relating to art attitudes, with aspects of Broudy's theory and, finally, with aspects of the British Columbia fine arts curricula. Conclusions : The research supports Broudy's recommendations for more teacher training in art, for art classes at elementary level to occur on a daily basis and for art classes to be given equal status with other subjects in schools. The research does not support Broudy's recommendation that specific art exemplars be chosen by curriculum designers for implementation in the classroom by teachers. Instead, the research suggests that operational-definitional standards in art be suggested by curriculum designers so that teachers may make their own choices for exemplars and, when appropriate, even use exemplars from the realm of what Broudy refers to as popular art. Recommendations : Out of this study come the following recommendations for art education in British Columbia: — that the level of training for elementary generalists be upgraded in areas of aesthetics, art history, and studio methods. — that more art monospecialists be recruited at both elementary and secondary school levels. — that both teacher training and art curricula include references to the significant role (in nurturing a cherishing attitude toward art) played by: a teacher's encouragement of the student's progress in art; open-ended and imaginative teaching strategies allowing for some independence for the student; sound evaluation practices; and knowledge and enthusiasm for the subject area. — that the implementation of art curricula in schools be mandatory and that the art curricula include information on the use and choice of art exemplars (works, materials, and processes). — that time for art (aesthetic expression and aesthetic impression) equivalent to that allotted for other subjects be provided at the elementary school level. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of this study is fourfold: first, to study the local industrial resources; second, to assemble and analyze data concerning the availability of industrial resources for instructional enrichment of the industrial arts program; third, to assemble and analyze data concerning the extent of use of available industrial resources in teaching industrial arts in the Dallas Independent School District; and fourth, to make recommendations and conclusions based on the findings of the study.

This dissertation seeks to understand how a re-invigorated sense of American exceptionalism circulated within the texts of several prime time serial television programs. American exceptionalism has functioned as a foundational mythology and a justifying discourse that works to create a sense of national unity through participation in rituals of national belonging. Television is a cultural site where rituals of national belonging are experienced and shared. As such, it is important to examine how television texts engage with and participate in the creation, cultivation, and circulation of nationalist mythologies, ideologies, and discourses. To understand serial television's engagement with exceptionalist themes and myths, I begin in chapter one by offering a history of American exceptionalism as it emerged through the institutionalization of American studies as a discipline. Chapter two looks at HBO's Deadwood and CBS's Jericho and examines how they engage with foundational exceptionalist tropes such as destiny, frontier, and the jeremiad. Chapter three engages with the Fox series 24 and the Showtime series Dexter, to describe the intersection of American exceptionalism's history as a justifying discourse and the legal construction of the state of exception in the discourse of the ticking time bomb scenario as it was deployed to legitimize the use of torture. The final chapter analyzes how ABC's Lost and SyFy's Battlestar Galactica negotiate with American exceptionalism in terms of both the state of exception and the ticking time bomb as well as with the foundationalist tropes of mission and destiny, the frontier and the garden. / A Dissertation submitted to the Program in Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2010. / March 25, 2010. / Post-9/11, Serials, Television, State of Exception, American Exceptionalism, Television Studies, U.S. Culture / Includes bibliographical references. / Leigh H. Edwards, Professor Directing Dissertation; R. M. Berry, University Representative; David Johnson, Committee Member; Amit Rai, Committee Member; Jennifer Proffitt, Committee Member.

Classical music performance has long been perceived as the domain of people with talent. This pervasive way of thinking can inhibit individuals from reaching their true musical potential. I argue that this problem has to do with the habitual performing and teaching practices based upon the body-mind dualism, which ignores intrinsically connected qualities of the performing body and mind. In this project, I aimed to understand the intrinsic malleable capacity, or my terms, the malleable inner self, as the intrinsic measurement for lifelong learning and growth in the context of musical performance and its pedagogy. Through autoethnographic narrative inquiry with the life story interview method as a methodological lens, I used the Korean cellist Ms. Lim’s 30- year transformative journey as an essential testimony. This project arises from a way of knowing I have turned to, the move from practice to theory, which I came to believe opens up a mode of inquiry that offers continuous growth, as did Ms. Lim’s lifelong transformative journey. In my reimagination of Ms. Lim’s narrative—in which I redefine her transformative journey as a musical pilgrimage—the self is the “capacity within.” I cultivated the idea of the entirety of the musical self, underlying a sense of wholeness or a sense of the self as a musical whole, the pinnacle of the restored capacity that comes with the body-mind/self- music unity. In this sense, the malleable inner self or the malleable capacity within is the foundational condition to be restored to experience the entirety of the musical self or a sense of the self as a musical whole. I further reimagined, from the transformative learning perspective, how this restored self/capacity can reflect understanding of an essential pedagogy, breaking out of the extrinsic measurement-oriented pedagogical structure in the context of musical performance. I conclude that every individual musician at all levels retains an inherent, malleable musical capacity, which can be restored from the unified, liberated mind-body as the ultimate musical entity. With the capacity-building perspective, my study demonstrates that students and teachers can open their own doors for ultimate lifelong transformation and growth by restoring the malleable inner self, turning away from the long-standing perspectives in classical music performance and its pedagogy.

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The specific purposes of the study are as follows: first, to study the general requirements for the baccalaureate degree and teaching certificate in the institutions included in the study; second, to study and analyze the requirements in each of the institutions for a major or first minor in industrial arts; third, to determine the changes and trends with respect to the total programs of preparation and changes and trends in the various phases of industrial arts taught in each of the institutions.

The history of industrial arts is rooted in the manual training movement, which began in the second half of the 19th century. Of the three school systems studied (Danville, Lynchburg and Richmond), Lynchburg was the first to offer manual training classes. Started in 1901, the classes were almost exclusively hand woodworking, and were taught at the secondary school level. In 1903, Richmond began offering manual training in its elementary schools. This program was first called industrial arts in 1921. Danville added industrial arts to its program of studies in 1929. In the fall of 1929, the Virginia State Board of Education directed that non-vocational industrial education be promoted throughout the State. In the decade that followed, industrial arts programs in Danville, Lynchburg and Richmond grew to fill this directive. This period of growth was followed by almost 40 years of stagnation. In June 1969, the State Department of Education created the Industrial Arts Education Service. Thomas Hughes was appointed to head this new division. Under his direction, the industrial arts curriculum throughout the State underwent many changes. These changes were reflected in the renewed development of industrial arts programs in the three school systems studied in this paper. Today, these programs offer a wide variety of pre-technical and personal enrichment courses. As such, they serve both the general and vocational aspects of the schools' program of studies. / Master of Science

The over-all purpose of this study is to ascertain whether industrial arts teachers in Texas are utilizing methods in testing and in assigning final grades.