The term resilience is overused and under theorized. This dissertation challenges prevailing resilience discourses, exploring the tensions of embodied and experiential relationships with resilience that complicate the overly reductive and overly positive notion of resilience as a virtue of neoliberal subjects. Understanding resilience in the context of contemporary Western society necessitates unraveling the societal conditions shaped by the dominant neoliberal capitalist ethos of production. To address these problems, I explore how resilience is lived in the impasse of the crisis ordinary. Guided by affect theory, critical phenomenology, and queer theory, my study centers on ambiguity, subjectivity, and normativity in order to contend with the complexities and contradictions of resilience. Through a novel impassive bricolage methodology, I explore the lived and embodied experiences of resilience through relational, reflexive, and creative processes of autohistoria-teoría, flashpoint methodology, heuristic inquiry, and a participatory, reflexive thematic analysis. This study engaged with three women co-researchers who have recently completed graduate programs in design-related fields. Data collection included written reflections, interviews, focus group recordings, and creative works. Analysis revealed three central themes: disorientation, movement, and disconnection. For these co-researchers, resilience emerged as a complex and ambiguous phenomenon, responding to the push and pull between self and the normative world. Reconceptualizing resilience as emerging from and including queer affects, I redirect focus from linear progression, attending instead to ambiguous and awkward movements of the impasse. By unraveling resilience, my project opens up ways to live the impasse by loosening attachments to good-life fantasies and embracing happiness without guarantees.

This study developed new mapping techniques and methodologies for understanding creativity in terms of connectivity and interaction between human and non-human actors in a design classroom. The researcher applied qualitative methods of data collection combining both observation of classroom activities and focus group interviews in order to map a creativity network. The findings indicate that creativity is a complex weather-like system (or what I call "creative climate") composed of many sub-networks and diffused networks. Four interactions emerged from the study: (a) the creative climate is composed of the circulation of bodies and objects forming networks and sub-networks, (b) centers and corners/edges are a measure of connectivity and interaction in classroom space design, (c) roundness is a measure of classroom style and the space of connectivity usage, and (d) plugs-in creativity is a measure of technology consolidation. This study attempted to fill the gap in the literature on creativity and classroom design by explaining the role of non-human actors in shaping the creative climate in the classroom, especially the role of the classroom space itself as an actor. The implication of this study in art education opens a new opportunity for research in designing innovative classrooms. Also, it will allow future investigation of the phenomenon of creativity as a climate system based on the interaction between human and non-human actors.

The purpose of this study was to describe in-service Saudi Arabian art education teachers' (a) philosophies of education before and after an issues-based art education (IBAE) workshop, (b) perceptions of the IBAE workshop and its products, (c) perception of the importance of IBAE approach, reasons, topics, and challenges after the workshop, and (d) perception of IBAE within the Saudi Arabian context. A mixed-methods approach was followed. The qualitative portion of the study utilized a post-workshop questionnaire and reflective essay completed by 37 participants, and personal teaching journal protocol and focus group discussion from 18 participants who attended the workshop and implemented the IBAE lesson in their classrooms. Analysis of the data confirmed that art teachers' perspectives towards IBAE positively increased after attending the IBAE workshop. Specifically, in the quantitative findings, participants indicated a positive attitude toward the teaching philosophy of social reconstruction after the IBAE workshop. These results demonstrate that the tenets of social reconstruction align with the IBAE approach. In addition, the quantitative data suggests that teacher participants' overall perception of the importance of addressing social issues in the art curriculum was positive, with 91.9% of respondents agreeing. Overall the qualitative findings, indicated a positive attitude toward the IBAE workshop. Further, the analysis confirmed that these teachers had positive perspectives toward incorporating social issues in their art education again in their classroom of the IBAE approach especially within the Saudi Arabian context.

West Dallas AR is an interactive location-based app, using the power of multimedia and augmented reality to highlight the stories shared by West Dallas residents.

This research seeks to explore how the metal arts are taught to women in Kuwait in an undergraduate setting, making the call for the use of feminist pedagogy when teaching the metal arts to women in Kuwait. This research is achieved using the qualitative methodology of analytic autoethnography. The theoretical framework is a feminist lens bridging the social construction of gender with the gendering of objects and feminist standpoint theory. The data comes from the experiences of creating three of my own pieces of artwork as well as the pieces themselves in tandem with historical, political, and cultural contexts. The analysis from this research is then bridged with feminist pedagogy in order to begin to develop an inclusive metal arts curriculum for women in Kuwait.

This diploma thesis focuses on creating an art series on a theme of garden for primary school children. The thesis has got a theoretical and a practical part. In theoretical part, it focuses on the history of garden art and theme of garden in genre and intermedia production. The following chapter combines the theme of the garden with the use of curriculum documents. The next part takes the garden as a motive and medium for art education at primary school. The next chapter deals with the method of project teaching and use of art series in the art education. In practical part, this thesis focuses on the creation of a thematic series, which contains organization and implementation of five lessons created on the theme of the garden. The aim of this series is to bring children closer to the enviroment of the garden through the use of art activities.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. 78-82. Document électronique également accessible en format PDF. CaQCU

The thesis follows up processing of art project with topic concert as part of art education at primary school. The overall concept reflected interdisciplinary relations like art education, music and drama. The designed project was realized at one of the primary school in České Budějovice and it is documented in project part of thesis. The theoretical part show relationship between visual art and music in progression of culture. Thesis is developing issue of concert scene in context theatre technology and scenic design. The next part of thesis describe interactions between art education and music in viewpoint curricular documents and it focus on artistic-project methods in art education.

My graduation theses are comparing the drama education at basic and art schools in different towns and regions. The first part is dealing with different approaches to drama education from the aspect of different authors. The second part is about comparing drama education at basic schools and art schools. A questioner that reveals different approaches at different schools for both children and teachers and is added.

No description available.