The Aaron Douglas Collection of works of art in the Amistad Research Center, now at Tulane University, includes works of art little known to scholars of American art. It is a collection of two hundred and seventy examples by black and minority artists, most dating from 1925 to 1954. Fifty-two of this number have been illustrated with several in color. There is no published catalog. Though individual works have been shown in specialized exhibitions, virtually none of this group has been included in standard survey books used in courses teaching American art history. The vitality of these works of art, the message they convey, should be included with the discipline of American art history The Aaron Douglas Collection represents a portion of a larger assemblage made by the Harmon Foundation of New York City. The details of the Collection's history are discussed in Chapter One Chapters Two and Three of this thesis provide a necessary foundation to the appreciation of the artists and their works. Several of these artists have slipped into obscurity. For that reason, background information about their times, the 20s and 30s, will perhaps serve to fill in some of the inherent gaps. Chapter Four gives a basic profile of each artist highlighting, whenever possible, pertinent information about them. The end of each profile contains catalog information for each of their pieces in the Collection / acase@tulane.edu

<p> In the past few decades, parental involvement has increasingly become more noted in a child's educational journey. More administrators and teachers are recognizing the value of parental involvement. Parental involvement benefits include increased student achievement and stronger school-family partnerships. Implementing parental involvement practices is often required for schools to receive federal support such as Title I funds. Although there is supporting research that shows the positive effects of parental involvement in elementary school settings, there is limited research as to how it can affect students at the middle school level. In addition, other effects of parental involvement that stretch beyond student learning, such as multicultural awareness, have received much less attention. </p><p> The purpose of this study was to determine whether or not parental involvement at the middle school level has an impact on students' multicultural awareness and learning. Quantitative and qualitative analyses were performed to identify statistical significance and emerging themes to be used to enhance classroom practices at the middle school level. An instrument adapted from the Civil Rights Project (CRP) was used to collect data from middle school students to measure multicultural awareness. Four and five-point Likert scales were used to measure respondents' levels of awareness. A researcher-created summative assessment was used as an instrument to evaluate student learning. Additionally, qualitative questions were used to elicit students' perceptions regarding culture and family involvement. </p><p> Quantitative findings from this study did not reveal statistical significance between the control and parental involvement groups regarding student learning and multicultural awareness. Practical significance was shown in two of the survey questions, which indicated small to medium effects between group and time and small to medium effects of interactions. Practical significance was also evident in the interactions between groups based on grade level in three of the survey questions. Qualitatively, the majority of middle school students felt they were open to learning about cultures different from their own. Most students believed their parents would enjoy hearing about what they learn in visual arts classes. Other themes emerged including the misconception that culture is exclusively related to peoples of the past and the notion that cultural topics are only discussed in terms of the oppression of others. The majority of fifth and sixth grade respondents believed that art class was a venue for learning about different cultures and could recognize the benefits of learning about people from different parts of the world.</p>

Since colonial contact in North America in 1492, First Nations identity, history and culture has been displaced, erased and fictionalized by dominant colonial representations. The long history of dominance of these representations has embedded them in the consciousness of both the colonizers and the colonized, and effectively suppressed and controlled First Nations history, culture and identity. This dissertation examines how First Nations artists have resisted and critically analyzed the representation of their identity, history, and culture from the 1970s until today. Four key themes that First Nations artists have identified in the past forty years are stereotypical representations, exclusion of representation, western framing of representation, and the appropriation of representation. The research in the study employs a new method titled Ab/Originography, that is an analysis of literary, narrative and artistic accounts that come directly from the `original' source. This approach is grounded in a post-colonial analytic methodology that explores the Egocentric ideological underpinnings of representations of First Nations covering the period of colonial contact up until today, As a researcher, I propose that deconstruction and reconstruction must come directly from the First Nations voice and epistemological framework in order to give balance and validity to First Nations representation. To that end, forty artworks arc reviewed in this text with interviews of six First Nations artists. As well, I also include my own narrative, chronicling of art production in relation to my lived experience as a First Nations artist. The overall aim of this research is to raise public awareness about the predominant role of colonial ideology in the representation of First Nations peoples so that distorted constructions, habitual recycling and western ideological projections will diminish. Vltimately. this deconstructivc process provides a new space in the literary canon for the reconstruction of First Nations representation by First Nations people, especially as it pertains to First Nations art. This body of research is intended ultimately to contribute to a profound cultural and political transformation in the perception and representation of First Nations. Through this deconstruction of representation and the revealing of issues relevant to First Nations and First Nations artists in Canada, a foundation has been laid to rewrite art *story from the First Nations perspective.

<p> The purpose of this exploratory study was to examine if any relationship exists between a cross-section of 48 fourth-grade elementary-school students in one suburban intermediate school, thirty miles from a large northeast metropolitan city, and their artistic judgments regarding the seven elements of art; color, form, line, shape, space, texture, and value. Each of these elements of art affects our senses and might offer a better understanding of an individual. This study employed a mixed methods interdisciplinary approach, to identify viewpoints that were shared among children, and the works of art. Four <i> Q</i>-models emerged from the data, and were identified as: (1) Colorful and Eye-catching; (2) Perplexity and Animals; (3) Multiple Components; and (4) Nature. </p><p> Q-methodology, a form of factor analysis, was utilized for its suitability in facilitating children's participation in research. The use of <i>Q</i>-methodology allowed participants to be competent contributors regarding their behavior without speaking. These findings lead to a better understanding of students' likes; which can increase awareness and engagement; strengthen motivation; and lead to better performance in school. </p><p> Participant characteristics included: gender, ethnicity (Asian, Black, Hispanic, and White students), socioeconomic status (SES), academic and artistic ability. Findings showed that each of these characteristics were salient factors. The results of this study support the visual arts in schools; can contribute to curriculum development; teacher education; policymaking; text book visuals; and to the field of neuroaesthetics. Keywords: behavior, fourth-grade students, seven elements of art, Q-methodology</p>

Thesis (Ph. D.)--University of South Florida, 2006. / Includes vita. Includes bibliographical references (p. 107-121).

Thesis (Ph.D.) -- University of Newcastle, 2002. / Faculty of Education. Includes bibliographical references (leaves 194-222). Also available online.

Thesis (M.A. in Art Education) -- School of the Art Institute of Chicago, 2006. / The project participants from Kenya, South Korea, Turkey, Chicago and Ohio; the exhibition with the title: #510: If the shoe fits... held at Betty Rymer Gallery, the School of the Art Institute of Chicago, Mar. 10-Apr. 14, 2006. Accompanying discs includes: Exhibition videography by Daniel Merkle, Curator's tour, National Art Education Association Symposium: Fairy tales provide inspiration for interdisciplinary art class. Includes bibliographical references (leaves: 115-125)

abstract: The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and Anne Fliotsos, the thesis builds a foundation for further study of contemporary directing pedagogy. Fourteen course syllabi were collected voluntarily from members of The Association for Theatre in Higher Education (ATHE) and served at the primary source material. They were interpreted and analyzed qualitatively for components that identified the methods and philosophies of the instructor and/or institution. From these syllabi, the researcher found 11 "skill categories" which cover all potential skills and bodies of information that, according to the data, a director should master. The categories are: (1) Script and Performance Analysis; (2) Directorial Techniques and Methods; (3) Production Practices; (4) Role and History of the Director; (5) Actor Training; (6) Technical Knowledge; (7) Personal Growth, Expression, and Vision; (8) Collaboration; (9) Communication; (10) Directorial Criticism; and (11) Storytelling. The categories fall on a spectrum ranging from practical based "knowledges" to skills based in individual resources and artistry, termed "abilities." Once these categories were established, the researcher examined two case study institutions: State University of New York at Buffalo (UB) and University of New Hampshire (UNH). The researcher collected public information concerning the guiding philosophies, financial profile, and curricula for both universities. From this data, combined with the 11 categories, the researcher found that the "personality" of the institution was reflected in the pedagogical approach of their respective directing courses. In the case of UB, a research-oriented institution had a production-focused directing course. UNH, with its Liberal Arts philosophy that promotes personal exploration, had a directing course that emphasized the artistic resources of the individual. Most importantly, this work creates a foundation from which future studies can be built. Broader and deeper analysis at a national level can now be approached with a framework of evaluation and analysis, leading ever closer to an understanding of the art and craft of directing. / Dissertation/Thesis / M.A. Theatre 2010

Orientador: Luiza Helena da Silva Christov / Resumo: O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil. / Abstract: The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration. / Mestre

Made available in DSpace on 2014-06-11T19:22:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2007Bitstream added on 2014-06-13T20:49:08Z : No. of bitstreams: 1 nannini_pbr_me_ia.pdf: 1239879 bytes, checksum: ff0c0d1972a04a0b1c212184513eceb1 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil. / The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.