Thesis (Ed.D.)--Teachers College, Columbia University, 1970. / Typescript; issued also on microfilm. Sponsor: Mildred L. Fairchild. Dissertation Committee: Phil C. Lange. Includes bibliographical references.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4215. Adviser: Elizabeth M. Delacruz. Includes bibliographical references (leaves 282-307) Available on microfilm from Pro Quest Information and Learning.

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2000. / Includes bibliographical references.

Thesis (M.A.)--Ohio State University, 2005. / Includes bibliographical references (leaves 173-194). Available online via OhioLINK's ETD Center

Thesis (M.A.)--University of Wisconsin--Madison, 1983. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 122-125).

Thesis (M. Ed.)--Kutztown State College, 1980. / Source: Masters Abstracts International, Volume: 45-06, page: 2771. Typescript. Abstract precedes thesis as preliminary leaves 2-6. Includes bibliographical references (leaves 50-53).

The purpose of this study was to gain insight into creativity and creative talent development in order to address the problem of underachievement of creatively talented females. The experiences of ten female visual artists were investigated from a feminist, interpretive perspective using open-ended interviews and a focus group, which was observed by a reflecting team. Using grounded theory, the data analysis identified seven themes. The themes are: educational experiences, urge to create, gender issues, talent is not enough, connections, obligations and expectations, and need for support. Results revealed that talent alone is not enough to ensure realization of potential. A variety of supports are critical to the development of talent. Strategies to promote talent development included mentor programs and career-training programs specific to the needs of creatively talented females. There is also a need to provide professional development for teachers in both art and creativity. A further result demonstrated that while life and work may, at times be distinct, they are not separate. They are inextricably linked and influence each other in reciprocal ways. As such, in determining how to support talent development, one must consider supporting life choices. A model of creative female talent development was developed to represent the intersection and influence of professional and personal lives of the participants. It is in the form of the two rails that make up the double helix framework of the DNA molecule. One rail represents aspects of personal life and the other rail represents career components of creatively talented females. The rails connect the various parts of a life together. The rails are meant to convey the fact that the career development of creatively talented females is not a linear process. There may be many ups and downs, twists and turns. The two strands are ultimately connected and, as such, events or developments in one area, can affect the other.

This qualitative case study focuses on the development of an interdisciplinary program in a Massachusetts urban elementary school over a fourteen month period as it moved from a teacher-directed approach to a student-directed one. An underlying assumption in this study is that integration of the arts supports learning. The interdisciplinary approach employs collaboration of teachers from different disciplines. The researcher in this study is also the art specialist. This study is a teacher's story viewed through a researcher's lens. One question which intrigued this researcher is: Who should choose the interdisciplinary connections, topics, and related arts projects--teachers or students? The naturalistic methodology of qualitative research utilized in this study included data collected through a researcher's journal, participant observer field notes, formal and informal interviews, researcher-made survey questionnaires, videotapes, and student projects. The study examined three focuses: different approach styles, effect of collaborating teachers' role on the learning environment, and factors affecting students' choices when deciding topics and interdisciplinary connections for projects. One conclusion drawn from data revealed that the development of the program was unique to each collaborating team. Although seven approach styles unfolded, the same style used with some teams developed differently. Factors included prior experiences, comfort level, constant reflection and feedback. Concerns inhibiting development included time to plan and scheduling limitations. The effect of the collaborating teachers' role on the learning environment disclosed both interpersonal and intrapersonal characteristics. Collaborating teachers experienced leader, assistant, co-leader, and facilitator roles. Teachers were flexible and adaptable in each role although, at times, the roles felt uncomfortable. The program's development influenced personal teaching strategies and styles, and fostered companionship among members. One concern to emerge was the learning environment itself. It appeared that the location (classroom or art room) effected the choices and effort students put into their projects. Another conclusion drawn from this study is that students should have a voice in the process of learning. Grade four students favored choices in the decision making process and experiences which involved movement or manipulation of materials. These conclusions support elements of brain-based learning and learning through the arts.

The life of Ansel Adams is presented as a case study of the photographer's impact on wilderness appreciation. Adams' impacts through his involvement with the Sierra Club, as well as his impacts as an individual, are discussed. Adams' effectiveness in promoting wilderness appreciation is assessed, and implications for contemporary landscape photographers are drawn.

<p> This dissertation utilized a Delphi methodology in discovery of the perceived outcomes and teaching strategies that are common for art history survey courses taught at higher education institutions throughout the United States. A group of art history faculty, chairs, and current researchers focused on studying teaching and learning within art history weighed in on their perspectives through three mixed method survey rounds, ranking the importance of various themes developed through the responses. The results discover that there is still a strong preference for a Socratic seminar teaching strategy, while the participants also highlighted other outcomes and strategies that are important areas for future research in the discipline.</p>