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While the criminological literature has devoted great attention towards examining prison programs and interventions, the research has largely overlooked arts-based initiatives within prison. To gain an understanding of the impact that prison theatre has on the lives of criminalized individuals, this thesis represents a case study on Canada’s only inmate-run prison theatre, William Head on Stage (WHoS). Through qualitative interviews with 15 incarcerated WHoS participants and 6 former WHoS participants, this study explores the experiences of individuals with this long-standing theatre initiative. By implementing an integrative conceptual framework that captures the prison backdrop to which prison theatre operates, this study draws on Goffman’s (1961) total institutions as well as conceptual understandings around the prison culture (Ricciardelli, 2015; 2014b). Through the analysis of the participants’ experiences, the emerging themes in this study collectively reveal how the impacts of WHoS stem from the contrasting nature of prison theatre to both the structural and social systems of prison. While this research study helps substantiate the significance of arts-based initiatives like WHoS, it also helps bridge the gap within the literature between the arts and criminology.

The diploma thesis analyses the concept of creativity and concepts that are closely related to it. It describes major developments in the definition of aims of education throughout the history of philosophy of education. Also, the aim of fostering creativity is identified in present Czech curricular documents The aim of the thesis was to point out the importance of creativity and its fostering as the aim of education.

Made available in DSpace on 2016-06-02T20:30:55Z (GMT). No. of bitstreams: 1 5153.pdf: 1533597 bytes, checksum: 4d50c160cb28cf78883c1c4b06d79d88 (MD5) Previous issue date: 2013-03-15 / Financiadora de Estudos e Projetos / Counterfactual thinking (CT) corresponds to the idea of mental constructions of alternatives for past event and serves an important function in an individual s adaptation and emotional coping. The aims of this study were to: (1) produce material to access and evaluate the counterfactual thinking of adults and (2) investigate the counterfactual thinking of depressed and non-depressed people, in order to determine if there are differences in how these two groups think about alternatives to reality. Five stories were prepared, using materials extracts from studies of counterfactual thinking, newspaper report and magazines articles. For each story, we formulated questions about thoughts related to the content read and about how these stories might have been different. The alternatives were formulated using aspects of reality most commonly modified by people, according to the literature: action or inaction, obligation, time and unusual events. Judges evaluated the texts and the questions, and ranked the alternatives provided according to aspects of reality that were modified. These materials were then used with 42 adults (85% female, mean age of 43 years). Subjects belonged one of two groups: depressed and non-depressed. Individual interviews were conducted. Initially, participants indicated their reactions to the stories then indicated modifications they would make, and then selected one of a pre-determined list of possible changes. The verbal responses of both groups were categorized using content analysis, and the frequency of responses, for each category, was compared using Student s t-Test. There were similarities in the CT for both groups. The majority of the CT was categorized as upward, subtractive, self-directed and refered to modifications in action or inactions. Few differences between the two groups were observed, mostly found through directed modifications. / O pensamento contrafactual corresponde à ideia de construções mentais de alternativas para eventos passados e apresenta uma importante função adaptativa e de elaboração de sentimentos. Este estudo teve como objetivos: (1) elaborar um material para acessar e avaliar o pensamento contrafactual de adultos e (2) investigar os pensamentos contrafactuais de pessoas com indicativos de depressão e sem indicativos de depressão, a fim de verificar se há diferenças na forma como essas pessoas buscam alternativas para a realidade vivenciada. Para a elaboração do material buscou-se estórias retiradas de estudos da literatura e de jornais e revistas, tendo sido selecionadas cinco estórias. As estórias foram adaptadas e, para cada uma, foram formuladas questões abertas sobre pensamentos evocados pela leitura e, ainda, quatro alternativas de modificações do curso da estória. As alternativas foram formuladas a partir dos aspectos da realidade mais comumente modificados pelas pessoas, de acordo com a literatura: ação/inação, obrigação, tempo e evento não usual. Após a composição do material, foi feita uma avaliação de juízes, quanto à redação e classificação das alternativas de acordo com os aspectos da realidade. Em seguida foi realizada a coleta de dados, sendo a amostra de participantes composta por 42 adultos, 85% do gênero feminino e com idade média de 43 anos. Os participantes foram divididos em dois grupos: com indicativos de depressão e sem indicativos de depressão, sendo cada grupo composto por 21 pessoas. A coleta foi realizada com cada participante individualmente. As modificações a respeito das estórias foram feitas, em um primeiro momento, por meio de relato livre, em seguida por meio de modificações direcionadas e, por fim, por meio de escolha de alternativas previamente elaboradas. As respostas abertas foram categorizadas por meio da análise de conteúdo e as frequências de pensamentos contrafactuais entre os grupos com e sem indicativos de depressão foram comparadas por meio do Teste-t de Student. Os resultados apontam estilos similares entre pensamentos contrafactuais de pessoas com e sem indicativos de depressão. A maioria dos pensamentos encontrados foram categorizados como ascendentes, subtrativos, autorreferentes e modificavam um aspecto referente à ação/inação. Foram observadas poucas diferenças significativas entre os grupos, sendo a maioria encontrada por meio de modificações direcionadas.

Creative Writing as a teachable artistic practice, and reinforcing its identity with an appropriate pedagogical approach, has been a vibrant research area for some years now. Yet, despite a strong increase in writing courses all over the globe, there has been little research into how creative practitioners can actually contribute to facilitate the process of skill development in higher education learners, especially in the public sector universities across Sindh, Pakistan. In an effort to introduce Creative Writing as an academic discipline to government universities in Sindh, the present research sought to observe the impact of a training programme on English fiction on a sample of native learners. A total of thirteen students volunteered for this project. The research sample was selected from a population of second year undergraduates, enrolled in literature courses at the Institute of English Language and Literature (IELL) in the University of Sindh, Jamshoro, Pakistan (USJP); wherein Creative Writing had hitherto been a non-existent area of studies. Students were offered a twenty-nine session modular-workshop, aimed at exploring and expediting their artistic abilities in the short time span of a single semester. To ensure the trustworthiness of findings, the entire procedure was documented under the guidance of the researcher’s supervisory team. A post-workshop evaluation survey was also used for attaining student feedback. The setup of assessment items and analysis constructs of students’ narrative portfolios were adapted from validated sources and aligned with the context of this study. However, neither the feedback nor the assessment of students’ work was counted as the findings of this research. Unlike non-artistic inquiries, the post-training creative output gathered from project participants was interpreted as the final research outcome. Methodologically, this process was conducted following a matrix of three practice-oriented research paradigms; whereas “performative research” was selected as the principle data creation and presentation strategy. The resulting research insight has exhibited an in-depth understanding of approaches that could facilitate fiction composition abilities of learners from different language backgrounds, while writing in English. It also allows practitioners to consider non-typical methods of research to contribute holistically to the existing body of knowledge in the field.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / nÃo hà / A pesquisa intitulada - Artesania da cena Teatral ContemporÃnea: Trabalho Imaginativo e AutoformaÃÃo resulta de uma anÃlise reflexiva sobre o conceito de artesania da cena teatral com vistas a sua resignificaÃÃo O trabalho imaginativo a dimensÃo autoformativa a autonomia e a partilha de saberes em processos teatrais colaborativos emergiram como elementos centrais do estudo com base em uma compreensÃo profunda do ator/artista sobre as diversas fases de composiÃÃo da cena criada no contexto do grupo de pertenÃa O aporte metodolÃgico da etnopesquisa crÃtica norteou a descriÃÃo densa do processo criativo realizado por mim e por dois outros artistas da Companhia Pà de Teatro (sujeitos da pesquisa) durante a escrita dramatÃrgica do texto Iracema via Iracema, sua adaptaÃÃo encenaÃÃo e representaÃÃo mediante o formato da intervenÃÃo cÃnica intitulada Noiada em Fortaleza entre 2009 e 2010 A articulaÃÃo entre os conceitos de artesania da cena imaginaÃÃo e memÃria como categorias centrais para a anÃlise desse modo artesÃo de conceber a cena teatral como campo empÃrico dependeu das aÃÃes e reflexÃes realizadas pelos artistas participantes do cotidiano desta composiÃÃo cÃnica como processo fundante de um fazer artÃstico considerado em toda a sua dinamicidade Esta pesquisa se situa no Ãmbito dos estudos em educaÃÃo fronteiriÃos com os estudos da Ãrea teatral e em diÃlogo com Ãreas complementares como a Fenomenologia e a Antropologia entre outras no que tange à natureza artesà e formativa preponderante em tais Ãreas A ideia de artesania da cena objeto de estudo desenvolvido inicialmente nos estudos de Mestrado tendo como foco a apropriaÃÃo tÃcnica e sensÃvel das diferentes fases e elementos da criaÃÃo teatral segundo uma concepÃÃo artesà de criaÃÃo foi redimensionada numa perspectiva complementar a este conceito com base em minha participaÃÃo direta na feitura e representaÃÃo de Noiada Considerei tal percurso como exercÃcio de autonomia e de autoformaÃÃo enquanto atriz professora de teatro e pesquisadora em formaÃÃo Por outro lado as relaÃÃes de trocas de saberes entre eu a dramaturga e o diretor alÃm dos demais parceiros da Pà foram demarcadas por aÃÃes e reflexÃes assumidas por cada um neste contexto entendido como processo colaborativo e portanto diferenciando-se de uma concepÃÃo de que o diretor à o âmestreâ (aquele que pensa e cria a encenaÃÃo) e os atores/artistas sÃo âdiscÃpulosâ (aqueles que obedecem e executam as ordens do diretor) Ao invÃs disso tais sujeitos consideraram-se âmestres de siâ assumindo o hibridismo e a interdisciplinaridade das funÃÃes e saberes necessÃrios à composiÃÃo da cena. O trabalho imaginativo se configurou neste caso como elemento integrante da ideia de dar forma à cena de acordo com os substratos da escrita dramatÃrgica da encenaÃÃo e dos movimentos de criaÃÃo e representaÃÃo de Noiada e portanto, para alÃm da produÃÃo de imagens imaginadas transubstanciando imaginaÃÃo experiÃncias e memÃrias do vivido em objeto artÃstico Outra maneira de relatar a realidade vivida e suas relaÃÃes com o fazer teatral como percurso autoformativo O conceito de autoformaÃÃo foi norteado pelas reflexÃes sobre alguns recortes de nossas histÃrias de vida e de modo especÃfico sobre a minha trajetÃria de formaÃÃo e prÃtica como atriz e professora de teatro mediada pelas interaÃÃes com o coletivo Pà minhas experimentaÃÃes corpÃreas expressivas e atos imaginativos durante o processo criativo da personagem Noiada (heteroformaÃÃo) e pela compreensÃo crÃtica sobre esse processo (ecoformaÃÃo) que me tornou provisoriamente aquilo que sou em movimentos de aprendizagem artesà partilhados com os parceiros de criaÃÃo

My research focuses on the philosophy of imagination. Within the analytic tradition, there recently has been a growing interest in imagination. The current research lies at the crossroads of various sub-disciplines of philosophy, including aesthetics, moral psychology, ethics, epistemology, and philosophy of mind. My work joins this choir as a voice from within philosophy of mind. My dissertation addresses two questions within philosophy of imagination. What I call the Relation Question asks what is the proper relation between supposition and imagination, and what I call the Unification Question asks what is the imagination. With regards to the Relation Question, philosophers answer it in one of two ways: either supposition and imagination are distinct mental capacities (what I call two-nature views) or supposition is a kind of imagination (what I call one-nature views). I argue that both views fail to explain all of the features central to the relation. With regards to the Unification Question, many philosophers doubt it has an answer because there is no clear way to unify the disparate activities of imagination. I argue that this skepticism is the result of mischaracterizing the relation between imagining and supposing. Thus, I answer both the Relation and Unification Questions by arguing that both imagining and supposing (as we typically understand these terms) are both instances of what I call the as-if-true attitude. I call this the as-if-true attitude view of imagining. The explanatory payoff of this is that my view can explain all of the features central to the relation without positing two distinct mental capacities (as two-nature views do) and without getting facts about supposition wrong (as one-nature views do). It also gives us a way of seeing how we might unify the different activities of imagination. Finally, I demonstrate that my view has application to what is known in the literature as the phenomenon of imaginative resistance. This phenomenon has to do with competent imaginers failing to comply with invitations to imagine certain propositions. It has been noted in the literature that there is variation to this phenomenon, where some people experience it and some do not. Some philosophers attempt to explain this by appealing to contextual factors. Thus, I call them Contextual Variant Views. I argue that these views fail to account for all of variation. I show that from my as-if-true attitude view comes another view that I call Constraint Variant View. I argue that this view can account for all of the variation of imaginative resistance.

A turn away from language and the human mind as the dominant (or only) determinants of reality can be identified within many disciplines, including anthropology, philosophy and literature, reflecting a growing acceptance of human and non-human, living and non-living entities as real, complex and partially withdrawn agents in the world. In Object Oriented Ontology the definition of object is extended to include humans, who have no special ontological status. Timothy Morton proposes rhetoric as a means of drawing closer to other objects, of contacting the ‘strange stranger’; objects cannot be known directly, or fully, but can be explored through imaginative speculation. Drawing on Object Oriented Ontology, my project explores making - an intimate engagement between body and material - as a means of thinking the body as a (strange) object within a mesh of strange objects. Facture is documented as image and language, prompting a series of shifting, speculative questions: • Can writing be brought to making to generate new new approaches to craft production? • How might writing in response to making, or objects, be reintroduced into a making process as a form of feedback? • Can writing_making methods generate new approaches to writing (about) making and materials? • How might a combination of production, documentation and reflection be displayed as artwork/research? • Can making be seen as a means for contacting the ‘strange stranger’?

The aim of this paper is to examine the intersection of tourism and memoirs in the United States specifically how specific travel memoirs function as tourist attractions. This investigation employs performer-centered analysis as a method of inquiry in order to gain insight on tourist experience as well as concepts of travel, imagination and embodiment. The paper also employs MacCannell’s Semiotics of Attraction as a framework to illustrate the presence of the following categories: tourist, sight, and marker. The presence and the relationships established between these categories establish Into Thin Air and Almost Somewhere: Twenty-eight Days on the John Muir Trail can both be defined and function as tourist attractions.

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