My thesis aims to delve into Immanuel Kant&rsquo / s formulation of the faculty of imagination in his Critique of Pure Reason and Critique of the Power of Judgment. In relation to the First Critique, it specifically concerns the relation of the &ldquo / mysterious&rdquo / function of imagination to the object and its representation as one of the fundamental steps of the emergence or production of theoretical knowledge. As regards the Third Critique, it scrutinizes the relation of imagination to reflective, as opposed to determinative, judgment and seeks to specify its role in aesthetic appreciation and artistic creativity. The thesis first provides us with a background to Kant&rsquo / s philosophy, delineating the specific issues at hand and briefly introducing important Kantian fundaments, along with imagination, by making use of secondary literature. It then views imagination as has been theorized throughout the history of philosophy up until the age of Enlightenment and examines Kant&rsquo / s two Critiques with a focus on imagination. Thirdly, it evaluates the aspects of Kantian imagination through the works of scholars whose differing interpretations are compared and disputed. Taking mainly the discussions of the previous chapter into account, the conclusion chapter constitutes my own interpretation of the disputes and possible solutions related to the imagination within the broader frame of Kantian philosophy.

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Many architects report about mentally visualizing 3D aspects of their design ideas while simply working with 2D sketches of them. Indeed, in architecture, the general practice of conveying 3D building information by means of 2D drawings bears on the assumptions that every architect can mentally visualize a building in 3D by looking at its 2D drawings or sketches and that architects, as many report, can capture the 3D aspects of a building design during such 3D mental visualization practices. Additionally, many intuitively believe that the levels at which architects perform such 3D mental visualization practices is highly correlated to their spatial visualization abilities as defined by existing measures of spatial visualization ability. This thesis presents the outcomes of protocol studies and analyses that were conducted with the aim of developing an in-depth understanding about such 3D mental visualization practices and capabilities of architects on the basis of four research questions. First, what might be the nature of the 3D mental visualization phenomena that architects claim to experience: what are the features of these 3D mental visualizations as evidenced in specific tasks; and what might be the nature of the mental representations created during these visualization processes? Second, can every architect carry out these 3D mental visualization practices; might there be individual differences among architects' performances? Third, might 3D mental visualization of buildings be only an architectural skill; can non-architects, who can read 2D architectural drawings, visualize a building in 3D based on its 2D drawings and can they do so to the same levels of performance of those of architects? Fourth, might performance in 3D mental visualization tasks be related to/predicted by spatial visualization ability? The major conclusions of this thesis with regard to the first research question include that (1) architects can be visualizing the buildings in one of the two major forms or by alternatively switching between them: by imagining themselves situated within (almost) the actual size 3D building environment or by imagining a 3D small scale model of the building; (2) the mental representations they create during these visualization processes capture the various visual and spatial aspects of the buildings with a structure similar to that of an actual size or small scale model of the visualized space/form, yet the way they capture these aspects is not like the way these aspects would be captured from a certain viewpoint in reality; and (3) what they experience during these visualization processes is not like the continuous holistic visuospatial experience that one would have when looking at a building or walking inside/around a building. With regard to the second, third and fourth research questions this thesis concludes that (question 2) architects differ in their 3D mental visualization skills; (question 3) 3D mental visualization is an architectural skill in that it relies on certain abilities that become heightened in architects, possibly during education; and (question 4) 3D mental visualization skills are not related to spatial visualization ability as defined by the standard paper-folding test of spatial visualization ability.

Reproduction de : Thèse de doctorat : Psychologie et psychopathologie clinique : Lyon 2 : 2005. / Titre provenant de l'écran-titre. Bibliogr. Index.

Thesis (D. Min.)--Ashland Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 138-142).

ABSTRACT THE USE OF IMAGINATION FOR EXPOSITORY HERMENEUTICS AND HOMILETICS Barnabas Youn Soo Kim, Ph.D. The Southern Baptist Theological Seminary, 2014 Chair: Dr. Robert A. Vogel The purpose of this dissertation is to discover the value of imagination for expository preaching. The thesis of this dissertation is that a rightly developed evangelical theory and use of imagination will improve the practice of expository hermeneutics and homiletics. In the introductory chapter, the challenging nature of imagination is examined. Despite its subjective challenging nature, imagination is an important subject for expository preaching. Imagination is necessary in order to improve both hermeneutics and homiletics. The second chapter provides an overview of expository preaching. Essential elements of expository preaching, author-centered hermeneutics and audience-focused homiletics, are discussed to form the backdrop against which imagination is to be examined. Second, the concept of imagination is introduced and explained. Chapter 3 demonstrates how the New Homiletic methodology deals with imagination in preaching. After a brief introduction to the basic philosophy of the New Homiletic, the work of two new homileticians, Paul Scott Wilson and Thomas H. Troeger, is discussed. They are important, because they were one of the first to devote an entire work to imagination and preaching. This chapter concludes with a critical evaluation of their methods in light of evangelical expository preaching. Chapter 4 presents suggestions for the use of imagination in expository hermeneutics. In particular, the role of imagination in specific steps of the exegetical process is explained. Furthermore, boundaries are discussed that ensure imagination is used in way that is faithful to the biblical text and the author's intention. Chapter 5 suggests how imagination can be used in homiletics. Committed to a hermeneutic that is faithful to the text and the author's intention, preachers can find in imagination a rich resource to convey God's truth to people.

Fenomenologinė filosofija tampa galimybe atskleisti Nijolės Miliauskaitės poezijos gelmes, naujai ir esmiškai pažvelgti į jos kūrybos jutimiškumą, subjektyvumą, skirtingų kokybių susiliejimą, intensyvius intencionalius santykius. Nemažai lietuvių literatūros kritikos tyrinėta N. Miliauskaitės kūryba iki šiol nesulaukė išsamesnio fenomenologinio žvilgsnio. Analizei pasirinkti visi poetės eilėraščių rinkiniai: „Uršulės S. portretas“ (1985), „Namai, kuriuose negyvensim“ (1988), „Uždraustas įeiti kambarys“, „Širdies labirintas“ (1999) ir kūrybiškumo turintys N. Miliauskaitės laiškai rašyti buvusiai Marijampolės internato-mokyklos literatūros mokytojai Liudai Viliūnienei. Magistro darbe aprašomi charakteringiausi, poetės kūrybos fenomenus sutelkiantys tekstai. Tyrinėjamas kūrybinės sąmonės atvirumas skirtingiems vaizduotės būdamas – sapnams, svajonėms, troškimams, pasakoms, šių įsivaizduojamų tikrovių svarba kalbančiajam, poetinė fenomenologinė jų specifika. Aprašomi lyrinio subjekto patyrimo galimybes plečiantys susitikimai su daiktais, per daiktus, daiktuose. Analizuojamas erdvėlaikį formuojančio, subjektą apibūdinančio judėjimo fenomeno reikšmingumas N. Miliauskaitės kūryboje. Aprašoma fenomenologinė praeities kaip gelmės raiška poetės tekstuose, iškeliami jutimiški erdvėlaikio sutelktumą ir intensyvumą liudijantys ženklai. Tyrinėjama lyrinio „aš“ kalbinė savimonė, analizuojamas lyrinio „aš“ atvirumas rašto objektams. Fenomenų pasirodymų būdus ir prasmę aprašanti... [toliau žr. visą tekstą] / Phenomenological philosophy becomes a possibility to reveal the depths of Nijole Miliauskaite’s poetry, to have a new and essential look at her creation’s sensuality, subjectivity, coalescence of different qualities, intensive intentional relations. N. Miliauskaite’s creation was studied by many lithuanian literature reviewers, but still it did not receive more comprehensive phenomenological view. For analysis were chosen all poetess verse collections: „Uršulės S. portretas” (“A Portret of Uršule S.”) (1985), „Namai, kuriuose negyvensim“ (“A House Where We will not Live”) (1988), „Uždraustas įeiti kambarys“ (“The Forbidden Entrance Room”) (1995), „Širdies labirintas“ (“The Labyrinth of Heart”) (1999) and N. Miliauskaite’s letters to Marijampole boarding-school ex-teacher of literature Liuda Viliūnienė. In this master’s work the most characteristic texts which recruit poetess creation phenomenon are described. There is studied the openness of creative consciousness to different ways of imagination – dreams, fantasies, wishes, tales, the importance of this imaginary reality to a speaker, its poetical phenomenological specific. There is described a meeting with things, through things, in things, which expand lyrical subject’s experience possibilities. Also there is analyzed importance of moving phenomenon in N. Miliauskaite’s creation, which forms space-time and describes a subject. It is described phenomenological past as the depth expression in poetess texts, thrown up... [to full text]

This thesis proposes that an investigation into the phenomenon of doubling may engage architecture with a type of desire that has deep rooted connections with the complexities of human nature, with the very human condition of desiring to know who/what/where/when/how we are. It proposes that an experience of doubling is suggestive of a specific kind of affective space that tests this relationship, expanding into the interval we have formed between our body, its being and space. The proposal is to explore the material, spatial, and psychological characteristics of such a phenomenon - to understand the virtual space created through this doubling and its architectonic characteristics. The design ambition of this thesis is to construct an architectural fiction that engages with this doubling. If architecture has the capacity to embody the ambitions and anxieties of society, the work produced attempts to invoke, through choreographed doublings manifested by the movement of figure and light through constructions in time, that human condition of desire that is concerned with finding/defining itself in the unknown, not to provide an answer for what the unknown is, but to engage with its enigmatic nature. By engaging in the protean dynamics of doubling and desire, this thesis attempts to poeticize the interval between the body and its built environment.

In the current literature review I examine false memory research, including variables that affect memory accuracy, instrumentation, and analyses used to assess false memory construction, as well as possible frameworks accounting for the development of false memories. Do errors in memory occur during encoding of an event or during retrieval of a memory? I discuss two models of false memories, both born from the source-monitoring framework, to highlight the important cognitive processes leading to crucial errors in memory recall. In the study that follows I investigate whether repeated imaginings of an implausible autobiographical event will lead to the creation of false memories. Plausibility, in the form of prevalence ratings, and visual imagery are manipulated for six suggested events that could have occurred during childhood. A model proposed by Pezdek and colleagues supports the roles of plausibility and imagination in false memory construction (Pezdek, Finger & Hodge, 1997; Pezdek, Blandon-Gitlin & Gabbay, 2006). However, their model is based on research conducted using a Life Events Inventory, a survey that assesses a belief rather than a memory construct. In the present study, I use the Autobiographical Belief and Memory Questionnaire, a survey instrument that distinctly measures plausibility, belief and memory (Scoboria, Mazzoni, Kirsch & Relyea, 2004). Confirmatory factor analysis is employed for instrument validation, followed by a 2 (plausibility: high or low) x 3 (number of imaginings: 0, 1, 5) x 2 (time: pre or post) within subjects ANOVA to test the Pezdek model of false memory construction. Both belief and memory ratings increase significantly when imagination is employed, regardless of event plausibility. However, memory ratings increase as the number of imaginings increase. Belief ratings only increase with one imagining. Present results provide insight into the role of visual imagery on memory accuracy, and inform researchers of appropriate survey instruments and statistical analyses to detect false memories. False memory research is valuable for informing therapeutic techniques, evaluating the reliability of eyewitness testimony, and advising interrogation procedures used by law enforcement and legal officials.

The purpose of this qualitative study was to investigate the use of storytelling as a teaching strategy in the classrooms of three experienced elementary school teachers. Storytelling is defined in this study as the use of a narrative, spoken or written, in prose or in verse, true or fictitious, related so as to inform, entertain, or instruct the listener or reader. This research answers questions concerning; (a) what constitutes storytelling in these teachers’ classrooms, (b) teachers’ purposes for using storytelling, and (c) factors that have encouraged these teachers to employ storytelling in their teaching practices. Framed within constructivist theory, the study provides insight into how these three respondents teach content through storytelling and bridge information from teller to listener. Data collection included classroom observations, interviews of teacher-participants, and the collection of teacher-generated artifacts such as lesson plans and teacher notes. Portraiture is used as a method for writing up the data in order to record the perspectives and experiences of the participants in this study by documenting their voices, visions, and wisdom in a detailed exploration into the feelings about and use of storytelling in their teaching practices. The instructional strategies reported through this qualitative inquiry support a socio-cognitive interactive model of literacy and demonstrate its importance in learning content in an elementary school environment. The data were analyzed continually through a search for emerging patterns and through constant comparison analysis. The researcher found that the teachers used stories and illustrations in an impromptu manner and that storytelling served both cognitive and affective purposes. Cognitively, storytelling was employed to form connections to students’ prior knowledge and new knowledge being introduced. Storytelling was used as a mnemonic device to help students transfer storied information to new situations. Affectively, storytelling served to engage students in an enlightening and entertaining manner. Students responded to the use of stories through actively participating in classroom discussions and sharing stories of their own. Storytelling assists these teachers in their critical roles as negotiators and facilitators of meaning construction in the text and social context of the classroom.