Thesis (M.A.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record.

No description available.

Thesis (Ed. D.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains vii, 159 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 121-133).

Thesis (M.A.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 64-65).

Graduation date: 1954

The aim of the work is comparison of the primitivists’ art and the children’s art (6 – 11 years old), with the purpose to point theirs similarities in different artistically aspects. Looking at the child like at the artist is not a new attitude, but the attitude, that the children’s art is an aesthetical value came just at XX c. Till our days the children’s art was researched by psychology, pedagogy, philosophy even medicine attitude, but not art. Then adults are looking at children’s drawings they seem imperfect, naïve and primitive. Such naïve, spontaneous, playful attitude to the world, a childish slant and rendering of reality is very similar to primitivism artists. The children’s pictorial activity and primitivists art was researched like two different art’s districts. So I think this subject is actual and important. The creation of primitivism artists is a proof that we can see and treat the world not even by academic art rules. The original viewpoint which comes from subconsciousness to objects, surrounding covers the new opportunity to interpret the nature. The children’s pictorial activity is the important game form during it child reveals his physical development, moral condition, outlook. It is a natural child’s dependence which comes from subconsciousness. Each child’s individual, creative conception of reality and reflection in works, drawings has right to exist. Questionnaires’ materials show that teachers of primary classes are conversant... [to full text]

What are the traces of culture left behind by children? What emotional significance so these material traces hold for those who elect to use them as inspiration within their own creative practice? The creative investigation of this project focuses upon 'child-made' artefacts produced during play rituals within the domestic environment. Through painting practice my project seeks to respond to and record these artefacts. I am particularly interested in how these artefacts, as emblems of desire and symbols of loss are transformed into a mother's memorabilia. / In researching this area I have adopted an interdisciplinary approach, taking inspiration from play theory, anthropology, sociology, feminist cultural theory, literature and psychoanalysis. / My project follows a self-reflexive approach that utilises auto-ethnography and action research as methodologies. This auto-ethnographic and personal approach reveals a number of complex issues that unfold between author and subject, regarding ethics and the power relationships between participants. The blurring of boundaries that occurs between academic and auto-ethnographic research is also examined within the exegesis. As mother and artist I have conducted my research using observation and transcribing practices that cross over between anthropology and the field of contemporary visual arts practice. Utilising transcription techniques of painting and writing, I have recorded the ephemeral artefacts of childhood play as well as the circumstances and even conversations surrounding their evolution. Discussed thematically rather than chronologically, the artefacts I have produced also investigate the capacity for creative works to evoke ideas of temporality and absorption, through representing moments of reverie and preoccupation that may correlate directly with the act of painting. Supporting the exhibition of paintings and objects, the exegesis interweaves academic and poetic writing, transcriptions and journal notes in a playful ensemble of texts and images that reveal a complex layering of ideas, thoughts, relationships and questions. / My creative investigation into the ephemeral traces left behind by children examines the role of play from two perspectives, that of the child as creative individual and that of myself as mother and artist. My intention has been to celebrate the creative practice and life of the individual child. Observing and recording the young child at play, in parallel with my own visual arts and writing practice, I recognise the cross-pollination that occurs, and the generative potential of this relationship. While this exhibition and exegesis brings to conclusion one body of research this project has opened up great possibilities, generating questions and new ideas for future consideration. / Thesis (MVisualArts)--University of South Australia, 2007.

Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1992. / Source: Masters Abstracts International, Volume: 45-06, page: 2750. Abstract precedes thesis as 3 preliminary leaves. Typescript. Includes bibliographical references (leaves [89-91]).

Thesis (Ph. D.)--University of Oregon, 1999. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 275-295). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9948014.

Using an ecological systems approach, this qualitative study examined how continuously evolving, personal living experiences and the ideologies and attitudes of their material, folk, and school culture come to be (re) presented in the construction of images and meaning in children’s artwork. The research was conducted with three groups of fifth-grade students facilitated by the art teacher at their schools in three different countries: United States, Greece, and Ghana. Data in the form of a set of autobiographical drawings from observation, memory, and imagination with written commentary were created by each participant and supported with responses to questionnaires and correspondences from teachers and parents. The sets of drawings were analyzed in terms of how the drawings reflect the children’s (a) artistic expression as mediated by their interaction with local and media influences and (b) sense of self, agency, or purpose. The findings strongly suggest that style, details, content, and media use assumed a dominant role within the drawings. Furthermore, these results were reflected differently in the drawings of the cohort from each country. Having considered the set of drawings each child made as a network of enterprise emphasizes the active role the children played in the production of the artwork, involving their choices of theme and content, the media images incorporated, and the means by which a task was adapted to suit their interests. However, the results also show that the specific skills—drawing from observation, memory, and imagination—required by the four drawing tasks had a tempering effect on their creative output, leading to the conclusion that the children’s limited drawing experience constrained their ability to express themselves in pictorial representation with fluency. In view of these findings, lesson suggestions are designed to develop drawing skills across drawing modes in a rhizomatic manner of thinking. Suggestions for future research address exploring the evolution of children’s identity and sense of agency in the world through artistic expression; the role of the environment in which children draw as an embodied and embedded experience in a physical and sociocultural world; and further research into how and why children use images to communicate.