Theorists who endeavor to take sociality seriously have made substantial strides, but the phenomenological immediacy of experience has not been well explored or sufficiently addressed. This dissertation proposes an approach to cultural psychology that accounts for such experience. It addresses how authors such as Hubert Hermans, James Wertsch, Ken Gergen, Derek Edwards, and Jonathan Potter have tended to propose visions of cultural psychology that do not do justice to such experience, partly because they have different analytic interests. Regardless, there is a need in current theorizing in cultural psychology to address culturally orchestrated action in a way that includes experience. This dissertation attempts to address this need. To provide an alternative view on cultural psychology, this dissertation turns to the Russian thinker, Mikhail Bakhtin, and his notion of speech genres. The inherent sociality of embodied experience that is part of Bakhtins notion of speech genres is presented in contrast to the views of above-mentioned authors. This work presents a view of Bakhtins discussion of realism in relation to experience and sociality. This discussion leads to an alternative sociocultural understanding of individual agency that is central to the ontogenetic development of selfhood. The discussion then progresses to examine what Bakhtin can contribute to a psychology embroiled in postmodernism. Where self has been treated as socially constructed and changeable such that notions like faithfulness to oneself, which is generally thought to belong in the domain of a true core self, are rendered futile Bakhtin offers a view of embodied self that both requires and clarifies these notions. The proposed alternative concludes by addressing how research could be conducted for those interested in extending the proposed cultural psychology in an empirical direction.

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This study examined College of Agriculture students' perceptions and concerns about international educational experiences. The purpose of this study was to determine students' perceptions about international educational experiences, students' interests in gaining international educational experiences, students' ratings of selected factors that may prompt them to acquire these experiences, or barriers that prohibit them from gaining international educational experiences. A stratified random sample of students (N = 153) was asked to complete an online questionnaire. The response rate was 67 percent. Participants (n = 98) included 27 from Tarleton State University and 71 from Texas A & M University. The instrument included items to measure students' interests and preferences for international educational experiences, factors that influenced (motivated or prohibited) students' desires to gain international educational experiences, and perceptions of international educational experiences. Descriptive statistics (mean, standard deviation) and correlations were used to analyze the data. The results showed that only 4 percent of the respondents had participated in study abroad programs. About 77 percent of the respondents were interested in gaining international educational experiences. Students believed that gaining international educational experiences helped them enrich their overall life experience, seek opportunities to live in another country or culture, and helped their resume. Respondents were willing to join the study abroad program held by their universities. They preferred to register for a university faculty-led study abroad, spending one to ten weeks abroad, university study abroad course as an internship, directed study, research project, or similar international experience, and register for university courses at a university study center. The barriers students faced were financial constraints -- paying for the program or funding personal living expenses and studies during the study abroad, finding affordable and adequate housing -- and language barriers. Students who believed that joining in study abroad programs would improve their competitiveness in the global marketplace were more willing to gain international educational experiences than students who didn't think that joining in study abroad programs would improve their competitiveness in the global marketplace.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references (leaves 293-300) / Microfiche. / xi, 300 leaves, bound 29 cm

Thesis (MEd in Religious Education)--University of South Australia, 1994

No description available.

No description available.

This dissertation is an investigation of visitor experiences in the Screen Gallery at the Australian Centre for the Moving Image (ACMI), in Melbourne. This thesis argues that visitors’ interaction with moving image art can yield expressions of agency which not only enrich the experience of visiting a new museum, but also find application beyond an institutionalised environment as a praxis for negotiating the conditions of everyday life. I term the articulation of this praxis a politics of movement. (For complete abstract open document).

This thesis sets out to explore the ways people use and interpret experience of music, the divine and interaction with other people within discrete musical spaces. This exploration takes place in two sites: a Pentecostal church in suburban Perth, Western Australia, and the West Coast Blues & Roots festival, a well known music festival held annually in Fremantle, Western Australia. I have nominated these two sites as “realms” because they are spaces set up for the performance and experience of music. My primary questions about these sites relate to how people interact with music, each other and the divine within these realms. This study combines socio-cultural and theological-religious studies theories to illuminate the processes, experiences and interpretations occurring within these musical realms. This has important implications for understanding how people use and interpret music in relation to the world outside the musical realm. People use these experiences to dream and imagine the shape of ideal relationships and communities with each other and the divine presence, and to escape and transform the world outside the musical realm. In this thesis I compile data from participant observation and in-depth interviews at both sites, as well as published interviews with performers. I construct two case studies of the sites, portraying a “day in the life” of a participant in both realms. For each case study I outline ten different interpretive paradigms, five from socio-cultural theorists and five from theology and religious studies. I analyse the data using the phenomenological method, taking a component of data from the fieldwork and comparing and contrasting it with theory. At the end of each chapter I summarise the process and make some remarks relating to the implications of the study. The resulting work makes important contributions to understanding how socio-cultural studies and theological-religious studies can work together in an interdisciplinary fashion to illuminate phenomena. The study sheds light on the nature of musical “realms”, as well as “proto-religious phenomena” and “methodological agnosticism”. Further, this work presents useful contributions into the ways churches may understand and interact with spiritual experience that occurs outside of religious settings. Finally, performers and artists and community workers will benefit from the conclusions of this study on the ways in which people use music and realms to escape, transform and imagine community and society.

This research project will explore American philosopher John Dewey’s theory of transaction, and Shannon Sullivan’s interpretation of Dewey’s theory, the ‘Transactional Body’, and their inherent potential for the making and reception of painting. Dewey stated (Dewey, cited in Sullivan: 1-2) that organisms live as much in processes across and 'through' skins as in processes 'within skins'. Sullivan’s ‘transactional body’ is always in a state of flux, a morphic body in perpetual motion. Within an artistic context this raises the possibility of exploring the theory of transaction as it applies to painting, using the concept of automatic intuitive art practice. Central to this investigation will be direct connection between senses, instincts, intuition, and the painting. Sullivan suggests that truth and wisdom can be pursued through somatic experience. Therefore the process will be explored by an extension of the corporeal body through the physicality of gesture, movement, rhythm, colour, and mark making. A recurring subtext throughout this investigation will be that of ‘duality’; specifically that defined as the struggle between the use of the conscious, critical mind, allowing for the transaction between artist, paint and canvas to occur naturally and intuitively. The conscious mind / intuition duality manifests at various stages during the manufacture and reception of a painting. Whilst the project relies upon automatic and intuitive praxis, conscious decisions are made regarding the size and shape of the canvas, the medium used, and through reflective analysis of the completed work.