3 TITLE: Ways of creativity development in elementary mathematics education SUMMARY: This thesis deals with creativity - from a general concept to a more specific perspective - creativity in mathematics lessons and textbooks at elementary schools in relation to the curriculum method and transformation of a number of textbooks towards unique teaching methods. The aim of this thesis is to describe the current situation on a selected sample of experimental groups - elementary school classes (two of them second year and three of them fourth year) which specialize on integration of pupils with specific learning and behavioral disabilities as well as extraordinarily talented pupils and thus provide the broadest possible range of pupils, which enables to find possible links between the used methods and creative teaching approach including creating one's own teaching materials and consequently searching for possible ways to develop creativity of pupils in relation to used methods, textbooks, other materials and forms of work. This thesis uses the following research methods: quantitative and qualitative research, empirical methods - observation, description, analysis. KEYWORDS: creativity, talent, imagination, originality, diagnosis, motivation

Comment l’Egypte ancienne s’inscrit-elle dans la mémoire collective ? La constitution d’un imaginaire de l’Egypte ancienne est à inclure dans un courant culturel et artistique parfois fait d’emprunts sélectifs au répertoire antique, tout en étant simultanément redevables à d’autres traditions artistiques et notamment à l’égyptomanie. L’égyptomanie acquiert alors dans la bande dessinée une dimension propre, caractérisée par des codes et un vocabulaire tout à fait spécifiques, favorisant l’invention narrative et graphique. Saisir les mystères de l’Egypte ancienne dans la bande dessinée revient à composer une « grammaire de la civilisation » des pharaons. Ainsi, la construction d’un cadre signifiant permet de dresser les lieux de mémoires (signifiants, significatifs, moins évocateurs ou carrément absents), le topos exotique (mytho-géographie, image de l’autre, références bibliques comme marqueur d’une distinction), l’image d’une société hiérarchisée (prédominance de Pharaon et des puissants sur le peuple de la vallée) et le tableau d’une religion et de croyances fascinantes (attraction du polythéisme et de l’univers des mythes égyptiens, illustration des rites funéraires, de la mort et de l’au-delà) comme autant de rouages structurels dans l’agencement d’une mémoire de l’Egypte ancienne. Cependant, il convient de ne pas négliger l’intégration dans la fabrique de l’imaginaire de l’Egypte ancienne des processus dynamiques qui s’opèrent dans la constitution d’un laboratoire d’imageries plus ou moins stéréotypées. Réfléchir sur la généalogie des images et distinguer les sources d’influences sur lesquels s’appuient les auteurs (sources héritées de l’Egypte ancienne et/ou sources puisées dans l’histoire des arts) démontre que les représentations qui nourrissent l’imagination des artistes ne naissent pas ex-nihilo mais sont le fait d’un long cheminement historique. Les auteurs recréent et réinterprètent l’Histoire avec des référents et des attitudes mentales qui leur appartiennent tout en laissant libre cours à des fantasmes parfois difficiles à décrypter. / How does ancient Egypt remain etched on the collective memory ? The construction of an imagination of ancient Egypt is to be included in an artistic and cultural trend which is sometimes made of selective borrowings from the repertoire of antiquity as well as being indebted simultaneously to other artistic traditions, in particular egyptomania. Egyptomania acquires, then, in comics, a dimension of its own which is characterized by codes and very specific vocabulary, favouring narrative and graphic inventiveness. Grasping the mysteries of ancient Egypt in comics comes down to working out a “ grammar of the civilization” of Pharaohs. Thus, the construction of a signifying framework allows us to list places of memories (which are signifying, significant, less evocative or altogether lacking ), exotic topos (mytho-geography, image of otherness, biblical references as marker of distinction), the image of a society organized into a hierarchy ( the predominance of the Pharaohs and the mighty over the people in the valley) and the depiction of a religion as well as fascinating beliefs ( attraction to polytheism and to the universe of Egyptian myths, illustrations of funerary rituals, death and the beyond), all these structuring the construction of a memory of ancient Egypt. However, one must not neglect the integration of dynamic processes in the construction of the imagination of ancient Egypt. Those dynamic processes are at work in the building up of more or less stereotyped imagery. Reflecting on the genealogy of images and distinguishing the sources of influence on which the authors rely (sources inherited from ancient Egypt and / or sources out of the history of the arts) demonstrate that the representations that nurture the artists’ imagination are not born out of nothing but are the result of long historic development. Authors re-create and reinterpret History with reference points and mental attitudes of their own while giving free rein to a fantasy world which is sometimes difficult to decipher.

In this project I have explored the situation for unaccompanied refugees in the ages 15-22 years. Being seen as part of a homogenous group was something that the girls described as frustrating and prohibiting. They, as all youths, have a need to talk about them selves, on their own terms. My design proposal is an exercise for students and teachers in high school where you are given an arena in the class room to talk about your self, your values and the norms in society. By choosing a role model and create something to wear, challenge the preconceived ideas of what is expected, create positive forward looking conversations and an opportunity to give a glimpse of who you are.  I have looked at the relations between the individual, the unaccompanied refuge girl, and the people working in the Swedish welfare system. With the help of materiality I have explored the notion of individuality, personal space and respect.  How to challenge societal norms, prejudice and expand the idea of what is possible? / I detta projekt har jag undersökt situationen för ensamkommande flyktingtjejer i åldrarna 15-22 år. Tjejerna gav uttryck för att det var begränsande och frustrerande att bli sedd som en del av en homogen grupp. De, liksom alla ungdomar, har ett behov av att få prata om sig själva på sina egna villkor.   Projektet resulterade i ett designförslag i form av en övning för alla studenter och lärare på högstadiet som skapar ett utrymme för att prata om värderingar och de normer vi har i samhället. Genom att välja en förebild och att skapa något att bära, kan man i klassrummet utmana förutfattade meningar om vad som förväntas av en, skapa positiva framåtsyftande samtal och ge de personer som finns runt dig i vardagen en liten skymt av vem du är. Jag undersökt relationerna mellan de ensamkommande tjejernana och personer som jobbar i välfärdssystemet. Med hjälp av materialitet har jag utforskat begreppen individualitet, att ta plats och respekt. Hur kan vi utmana våra fördomar, rådande normer och vidga tanken på vad som är möjligt?

Master of Arts / Department of Communication Studies / Charles J. G. Griffin / Space commentators and government officials draw on a variety of themes that shape how the public perceives space efforts. By constructing particular visions of outer space and the future of humanity, political leaders have inspired children to become astronauts and consoled the nation after a major tragedy. The future of space exploration and development will likely occur as an extension of existing paradigms that shape the material development of space transportation, space stations, and eventually living in space. Through qualitative interviews, this study illuminates the paradigms of persons working to advance the cause of space exploration and development. In particular, the study analyzes perspectives from individuals in the private sector. It seeks to highlight themes, such as leadership and possible material benefits, so that researchers may begin to construct theories about the specific conditions under which the future of space exploration and development may be shaped or evolve. This enhances our understanding of how themes operate to sustain or alter existing paradigms. In turn, a thematic analysis will generate new understandings of how envisioning seemingly impossible futures and social realities can transform those realities by drawing on conceptions of the past to inform the present and potential futures. To this end, this study employs imagination studies as a theoretical lens to understand how interviewees describe these future social realities. Specifically, the study discusses Engen’s (2002) theory of communicative imagination and seeks to refine it to encompass a process-based approach and flexibility. The presence of communicative imagination is explored in transcripts from qualitative interviews with persons employed in private businesses involved in the research and production of materials and services for space exploration and development. Results from the study reveal five dominant themes: leadership, inspiration and support, core motives, material benefits, and potential futures. Understanding how these themes interact in the process of communicative imagination illuminates the role communication plays in shaping social realities in a variety of circumstances.

Merciless Parallel Lines: Railways in European Literature 1830-1914 (Mgr. Michal Špína) Abstract The doctoral thesis addresses the so far underexplored subject of early literary depictions of railway, investigating the cultural impact of the new, mechanized means of transport, as reflected in fiction. The introduction explains the reasons to focus geographically on Europe (as opposed to the different social context of American and colonial railways), to limit the time span to the 1830-1914 period (after which railway gradually loses its leading role in transport) and the topic to the "look from the outside" (i.e. not the act of travelling itself or the interiors of railway stations and trains). Following up to Wolfgang Schivelbusch and Wojciech Tomasik, railway is seen as the paramount agent of industrialization and modernization. Further, spatial relations and the phenomenon of infrastructure are accentuated. The following four chapters each study two interconnected issues: the construction of railway lines and their linearity; the images of the ruining of the idyll in connection to railway noises; the signal box topos in connection to fatefulness; and the fully developed railway system, acquiring the function of a peculiar environment in the short story collection Mugby Junction by Charles Dickens and...

Thesis advisor: Jane E. Regan / This dissertation considers adolescent girls and what they need from an all-girls’ Catholic school that will prepare them, not just for college and career, but for life in a world that marginalizes girls and women. More than simply trying to make a case for single-sex schooling for girls, it suggests that the single-sex school is an important site for conversations about what it means for adolescent girls to be adolescent girls. This project names the patriarchal forces that marginalize girls and calls for a pedagogical approach that is rooted in the theological affirmation that adolescent girls are created in the image of God and called to exercise a prophetic imagination. Chapter one introduces the history of all-girls’ Catholic secondary schools, a history rooted in the story of women’s religious orders and the ministries of these women religious as educators at a time when the education of girls was not valued. Today’s all-girls’ Catholic schools are informed by this history and the Catholic Church’s commitment to honoring the dignity of each student, thus grounding a commitment to a caring and liberative educational approach. Chapter two argues that contemporary adolescent girls, including those who attend these all-girls’ Catholic secondary schools, are growing up in a cultural milieu that makes them vulnerable to the effects of the conflicting and impossible expectations to which girls and women are held. Chapter three investigates the imago Dei symbol as a theological foundation for fighting this toxic cultural milieu. Taking a cue from feminist theologians who have explored embodiment and relationality as central expressions of the imago Dei, this chapter proposes that creating communities of God’s hesed (loving-kindness) and resisting injustice are two ways that the imago Dei symbol can be expressed so as to best include adolescent girls. Chapter four suggests that, in order to realize this goal of affirming the imago Dei in adolescent girls by creating communities of God’s hesed and resistance to injustice, a feminist prophetic imagination is needed. Drawing on Walter Brueggemann’s identification of the prophetic imagination as the twinned process of denouncing the oppressive forces of the dominant culture and announcing a new and more just way of being in the world, it proposes a feminist prophetic imagination that engages in a feminist critique of the cultural milieu that girls experience and the construction of communities based in hesed and resistance to injustice. Chapter five takes up the pedagogical challenges of teaching with and for a feminist prophetic imagination. The liberative pedagogy of Paulo Freire and the caring pedagogy of Nel Noddings provide the resources for educating adolescent girls to participate in communities of God’s hesed and in practices of resistance to injustice. Chapter six returns to the concrete situation of all-girls’ Catholic secondary schools and imagines how these schools can speak to a commitment to educating for a feminist prophetic imagination in their mission and reflects on how a feminist prophetic imagination can be expressed and formalized in all Catholic schools.

M.A.--University of the Witwatersrand, Faculty of Humanities, Film and Television / Scholarly discourses on documentary film have focused on the debate between documentary’s claims of ‘objectivity’ and ‘truthfulness’ versus the reality of its subjective ontology. At the turn of the 21st century, there seems to be appreciation of the constructiveness of documentary film. This development is taking place at the backdrop of emergence of more subjective documentary films produced by a new crop of filmmakers who do not shy away from exposing their subjective production thoughts and processes, contrary to earlier documentary filmmakers. This renewed interest is interesting and points to something that calls for an investigation in order to understand fundamental reasons behind it. In this report, I investigate the relationship between this development and the concept of ‘Creative Imagination’ normally associated with fiction film. Particularly, the paper investigates why ‘Creative Imagination’ may be understood to deploy aspects of realism style which manipulates time, space, character, and characterisation, in the production and analysis of documentary films. Through a production of a documentary film The Zulu Mask, this report hypothesises that documentary just like fiction film utilises the logic of creative imagination of the mind and aspects of realism style’ to mimic the real. Documentary and fiction, I argue are thus the products of the same thought process and desire.

This manuscript is a collection of short fiction pieces workshopped in creative writing classes throughout my undergraduate and graduate career at Florida Atlantic University, influenced by the experimental and form-driven nature of some of the writing workshops as well as other courses I took during my years at the university. This work is especially preoccupied with the opposed and intertwined natures of genre fiction and literary fiction. Other themes include human nature, humor, food and cooking, tabletop games, and exploration of form in short fiction. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Orientador: Márcia Regina Capelari Naxara / Resumo: O objetivo deste trabalho consiste em interpretar um conjunto de fotografias, fotorreportagens e enunciados sobre o interior baiano, perscrutando as construções de paisagens associadas ao sertão e, em especial, à caatinga. Com foco específico na produção geográfica e no fotojornalismo desenvolvidos entre os anos 1946 e 1960, sustento a tese de que tais práticas estavam ligadas, de um lado, aos novos valores estéticos estabelecidos pela fotografia documental, e, de outro lado, à conjuntura política nacionalista e desenvolvimentista do pós-Guerra. Os sertões baianos, enquanto espaço e paisagem, configuraram-se a partir de conceitos e convenções visuais que atravessavam a linguagem de geógrafos e fotógrafos. Tendo isso em perspectiva, minhas análises centram-se sobre recortes espaciais, como o rio São Francisco e Canudos, e sobre olhares fotográficos, como os de Tibor Jablonsky, Stivan Faludi, Pierre Verger e Marcel Gautherot. Esses fotógrafos contribuíram significativamente para a construção de uma visualidade dos sertões baianos associada à dimensão nacional que, por sua vez, circunscrevia o Brasil como unidade territorial resultada de diversidades regionais. Na base dessas interpretações encontra-se um quadro teórico que concebe fotografia e paisagem como artefatos da cultura, que ganham sentidos conforme determinados suportes, contextos e circuitos sociais. / Abstract: The point of this work consists on reading a set of photographs, photoreports and statements about the Bahia’s backland, peering the constructions of landscapes associated to sertão, especially the caatinga. With a specific focus on the geographic production and photojournalism developed between 1946 and 1960, I sustain the thesis that such processes were connected, on one side, to the new aesthetics values stablished by the documentar photography, and on the other side, to the post-war nationalist and developmentalist political conjucture. The sertões baianos, while space and landscape, set up from visual concepts and conventions that went through the language of geographers and photographers. Having this in perspective, my analysis focused on spatial cutting, like São Francisco River and Canudos, and on photographic looks like the ones of Tibor Jablonsky, Stivan Faludi, Pierre Verger and Marcel Gautherot. These photographers had contributed significantly to the construction of a visuality of the sertões baianos associated to the national dimension that, on the other hand, circumscribed Brazil as territorial unit resulted from regional diversity. On the basis of these interpretations, a theoretical board that conceives photography and landscape as cultural artifacts, that have meaning according to certain supports, contexts and social circuits is found. / Resumen: La finalidad de este trabajo consiste en interpretar un conjunto de fotografias, fotoreportajes y enunciados sobre el interior de Bahia, examinando prolijamente, la construcción de paisajes relacionadas al sertão, en particular la caatinga. Enfocado especificamente en la producción geográfica y en el fotoperiodismo desarrollado entre los años 1946 y 1960, sustento la tesis de que tales prácticas estaban enlazadas; por un lado, a los nuevos valores estéticos establecidos por la fotografia documental, y por otro lado, a la coyuntura política nacionalista y desarrollista de la Posguerra. La región agreste de Bahia se configura, tanto en espacio como en paisaje, a partir de conceptos y visiones de la realidad, que atraviesan el lenguaje de geógrafos y fotógrafos. Considerando esto, mi análisis se basa en recortes de espacios geográficos como el rio São Francisco y Canudos, y también toma em cuenta la mirada fotográfica de grandes nombres como los de Tibor Jablonsky, Stivan Faludi, Pierre Verger y Marcel Gautherot. Estos fotógrafos contribuyeron significativamente en la construcción de una imagen representativa para los sertões baianos, asociada a la dimensión nacional; que a su vez, definía el Brasil como una unidad territorial resultante de las diversas regiones. Tomando como base estas interpretaciones nos encontramos con un cuadro teórico que comprende a la fotografia y al paisaje como mecanismos de cultura, y toman sentido con determinados soportes, contextos y circuitos soci... (Resumen completo clicar acceso eletrônico abajo) / Doutor

Este trabalho versa sobre o problema do desencadeamento para a psicanálise e toma por fio condutor alguns casos freudianos. O tema sublinhado foi concebido como um ponto clínico fundamental, que remete o psicanalista tanto à questão diagnóstica quanto à investigação etiológica. Neste sentido, destacamos que o surgimento de sintomas e do surto psicótico mereceu particular atenção ao longo de nossas linhas. Verificamos que, depois de Freud, a presença de uma conversão histérica ou de um delírio paranóico logo indicava uma direção para o tratamento e também indagava a psicanálise acerca das causas precipitadoras de tais quadros. Pois bem, sobretudo nos intrigou a pesquisa sobre as dimensões causais de um desencadeamento. Para realizá-la seguimos primeiro Freud e sua complexa teoria da causalidade psíquica e depois Jacques Lacan, que, de maneira peculiar, soube destacar o inédito freudiano e postular uma noção de causalidade que designamos como própria à psicanálise e pertinente ao desencadeamento. / This work seeks to explore the question of triggering off in psychoanalytic theory by examining some Freudian cases. The theme was conceived as a key clinical aspect which poses for the psychoanalyst the questions of diagnosis and of etiological investigation. In this sense, we highlight that the emergence of symptoms and of psychotic breakdown were particularly important to this work. We verified that since Freud, either the hysterical conversion or the paranoid delirium indicated the direction of the treatment; and raised concerns about the emerging causes of these conditions. In this study the causal dimensions of triggering off was particularly intriguing. To accomplish this investigation, we first drew upon Freuds theories of the psychic causality and proceeded to the study of Jacques Lacan who in a particular manner highlighted Freudians findings and postulated a notion of causality that is central to psychoanalysis and strongly related to the idea of triggering off.