Peter and the Wolf (1936) is a transmedial work based on a Russian fairy tale composed and written by Sergey Prokofiev . Prokofiev’s purpose with the work was amongst others to introduce children to the instruments of the symphony orchestra. This study examines the possibility of creating a new Afrikaans versification of the text in order to introduce this work to Afrikaans-speaking children. The creative product of the research consists of a picture book and a corresponding soundtrack together with the original music and a recitation of the text. The researcher cooperated with other artists in order to achieve the final product. Since the realisation of a creative product forms an integral part of this study, practice-based research has been utilised. The framework for practice-based research by Scrivener and Chapman (2004) has been used for the design of the study, the implementation thereof (theory and practice), as well as for the structure of the dissertation. The first step of the framework of Scrivener and Chapman (2004) entails the pre-project reflection, i.e. the identification of issues, as well as the concerns and interests of the researcher. It is important to the researcher that children are exposed to the instruments of the symphony orchestra, and she is also interested in picture books and fairy tales. Research revealed that there is no recent Afrikaans version of Peter and the Wolf. She consequently decided to do a versification of the text. The identification of the source domains relevant to the research theme and the creative project forms the second step of the framework. The initial source domains that were identified and studied were the theoretical concepts of intertextuality, intermediality and creative adaptation (Chapter 2). Peter and the Wolf originated as an intermedial work and thus the intermedial creative product is also a creative adaptation of the original work. As the study progressed, additional domains for research have been identified and examined. These are music, narrative poetry, children’s book illustrations, developmental psychology, cognitive narratology and information regarding the listener or reader (Chapter 3). Insight into the art forms and media can positively influence the progress of the creative product and can aid in creating an improved understanding of the intermedial effect of the total creative product. Because the target audience of the picture book is children between the ages of six and eight years, research was done on the developmental psychology of the child in the middle childhood years. In combination with this, cognitive narratology was studied to determine the reception of the creative product, and to assist with the analysis of the existing texts of Peter and the Wolf. Thereafter three existing editions of Peter and the Wolf were studied, based on the theoretical framework, and the intermedial interplay and creative possibilities for different medial combinations were examined (Chapter 4). These texts are: 1) a picture book, translated by Lydia Pienaar (1975); it is an equivalent translation of the original Russian text and has become a classical edition of the work in Afrikaans; 2) a poetic version by Philip de Vos of a performance text with the original music (2003); and 3) an alternative modern edition with musical arrangement, text and illustrations by Gavin Friday and Bono (2003). The latter combination of text, music, illustrations and recitation, was also used for the creative work in this study. Cycles of production and work reflection form part of the creative phase of practice-based research. In Chapter 5, the different phases of the versification process are discussed by analysing different versions of the manuscript. There is also a report on the co-operation with the other artists, and the development of the different media (the illustrations, the music realisation, the recitation and the sound mixing). In the post-project reflection the interplay between the theoretical research and the creative work was examined, as well as the contribution of the different research fields to the final creative project and the intermedial interplay between the different media that were used in the creative work. It was found that practice-based research is a very successful research method for a postgraduate study in which a creative project forms part of the study. The research method is not only advantageous for the development of the creative project, but also for thorough theoretical research. Furthermore, the researcher came to the conclusion that an improved understanding of the complex theoretical approaches develops when they are practically applied. This understanding is not necessarily based on theoretical research, but on the experience that was gained throughout this study. The creative product of this study can expand the horizon of the child in an intermedial way that will benefit the listener. Insight has been obtained on the way in which such a project can be undertaken. Furthermore, other intermedial projects can flow from this project. A translation of the poetic text can make this book and CD accessible to a large number of South African children. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

Peter and the Wolf (1936) is a transmedial work based on a Russian fairy tale composed and written by Sergey Prokofiev . Prokofiev’s purpose with the work was amongst others to introduce children to the instruments of the symphony orchestra. This study examines the possibility of creating a new Afrikaans versification of the text in order to introduce this work to Afrikaans-speaking children. The creative product of the research consists of a picture book and a corresponding soundtrack together with the original music and a recitation of the text. The researcher cooperated with other artists in order to achieve the final product. Since the realisation of a creative product forms an integral part of this study, practice-based research has been utilised. The framework for practice-based research by Scrivener and Chapman (2004) has been used for the design of the study, the implementation thereof (theory and practice), as well as for the structure of the dissertation. The first step of the framework of Scrivener and Chapman (2004) entails the pre-project reflection, i.e. the identification of issues, as well as the concerns and interests of the researcher. It is important to the researcher that children are exposed to the instruments of the symphony orchestra, and she is also interested in picture books and fairy tales. Research revealed that there is no recent Afrikaans version of Peter and the Wolf. She consequently decided to do a versification of the text. The identification of the source domains relevant to the research theme and the creative project forms the second step of the framework. The initial source domains that were identified and studied were the theoretical concepts of intertextuality, intermediality and creative adaptation (Chapter 2). Peter and the Wolf originated as an intermedial work and thus the intermedial creative product is also a creative adaptation of the original work. As the study progressed, additional domains for research have been identified and examined. These are music, narrative poetry, children’s book illustrations, developmental psychology, cognitive narratology and information regarding the listener or reader (Chapter 3). Insight into the art forms and media can positively influence the progress of the creative product and can aid in creating an improved understanding of the intermedial effect of the total creative product. Because the target audience of the picture book is children between the ages of six and eight years, research was done on the developmental psychology of the child in the middle childhood years. In combination with this, cognitive narratology was studied to determine the reception of the creative product, and to assist with the analysis of the existing texts of Peter and the Wolf. Thereafter three existing editions of Peter and the Wolf were studied, based on the theoretical framework, and the intermedial interplay and creative possibilities for different medial combinations were examined (Chapter 4). These texts are: 1) a picture book, translated by Lydia Pienaar (1975); it is an equivalent translation of the original Russian text and has become a classical edition of the work in Afrikaans; 2) a poetic version by Philip de Vos of a performance text with the original music (2003); and 3) an alternative modern edition with musical arrangement, text and illustrations by Gavin Friday and Bono (2003). The latter combination of text, music, illustrations and recitation, was also used for the creative work in this study. Cycles of production and work reflection form part of the creative phase of practice-based research. In Chapter 5, the different phases of the versification process are discussed by analysing different versions of the manuscript. There is also a report on the co-operation with the other artists, and the development of the different media (the illustrations, the music realisation, the recitation and the sound mixing). In the post-project reflection the interplay between the theoretical research and the creative work was examined, as well as the contribution of the different research fields to the final creative project and the intermedial interplay between the different media that were used in the creative work. It was found that practice-based research is a very successful research method for a postgraduate study in which a creative project forms part of the study. The research method is not only advantageous for the development of the creative project, but also for thorough theoretical research. Furthermore, the researcher came to the conclusion that an improved understanding of the complex theoretical approaches develops when they are practically applied. This understanding is not necessarily based on theoretical research, but on the experience that was gained throughout this study. The creative product of this study can expand the horizon of the child in an intermedial way that will benefit the listener. Insight has been obtained on the way in which such a project can be undertaken. Furthermore, other intermedial projects can flow from this project. A translation of the poetic text can make this book and CD accessible to a large number of South African children. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2015

Doctor of Philosophy / Department of Apparel, Textiles, and Interior Design / Sherry J. Haar / Research about military wives has been limited. In academia, most research centers on the soldier and/or the family as a unit. When literature does address only the wife’s perspective it rarely presents a positive portrayal of her life. However, it is not just literature that shows a gap in exposing the voice of the military wife. Art-based works rarely focus on her perspective; and methodologies, such as practice-based research, rarely utilize actual voices as inspiration. The aim of the current study was to discover the voice of the military wife, examine it through a feminist lens, and then translate those voices into artwork that represented the collective, lived experience of the women interviewed. Three methodologies were utilized to analyze and translate the voices of military wives into textile art. These three methodologies: practice-based research, phenomenology, and feminist inquiry provided a suitable structure for shaping the study to fulfill the project aim. Interviews conducted with 22 military wives revealed two overarching themes: militarization and marriage; as well as multiple subthemes. Three subthemes were recognized as being the most prominent: relationships, separation, and collective experience. These themes were used as the inspiration for the creation and installation of three textile art pieces. The current study serves to fill the gaps in both the literature and the artistic process by presenting both the positive and negative aspects of the military wife’s lived experience and using that lived experience as inspiration for textile art.

This practice-led research project explores English and French sentimental jewellery of the Victorian period. ‘Sentimental jewellery’ or ‘message jewellery’ denotes jewellery created to function as a tangible expression of feeling between donor and recipient, mediated through complex narratives relating to its exchange. These artefacts codify emotion through use of complex visual languages, employing the symbolic and coded use of gems, human hair, emblems, words and wordplay. The research has expanded to encompass memorial garments known as ‘widows weeds’. The aims of the research have been threefold: firstly, to add to understanding and interpretation of aspects of Victorian sentimental jewellery and associated craft practices; secondly, to explore the metaphors and narratives inherent within them; thirdly, to test the visual and technical possibilities of knowledge thus gained to address human feeling through art. Outcomes take the form of a body of new artwork and a written thesis, which are designed to be mutually informing. Together, they articulate my response to the project’s central question: can consideration of the ‘grammar of sentiment’ at work in Victorian sentimental jewellery yield new possibilities, through fine art practice, for communicating love and loss in the 21st century? The four artworks that are a main output of the research take the forms of: REGARD:LOVEME, an artist’s book exploring gem codes and wordplay; Plocacosmos, a set of hairworking trials; The Cyanotypes, which reflect upon the materiality and aesthetic of the amatory locket; and Widows Weeds, a large format photographic installation, which considers the materiality and lineage of mourning cloth. Collectively, they explore the typology of the sentimental artefact through development of text/image vocabularies that are conceived as providing a ‘grammar of sentiment’ through which to articulate aspects of human feeling. It is this exploration that constitutes my main contribution to knowledge.

Non-fiction film shares a long and relatively uncharted history with the museum. Today, filmmaking is a widespread yet critically neglected area of modern museological practice. This practice-based PhD situates itself within these critical gaps to examine the knowledge producing potential of film archives and film practice at the Manchester Museum. Its primary historical sources are a group of taxidermy objects at the Manchester Museum, an archive of 16mm acetate films at the North West Film Archive and a collection of travel journals at Cheshire Archives and Local Studies. These diverse collections were generated by Maurice Egerton, the 4th Baron of Tatton in Cheshire during his travels in Africa in the first decades of the twentieth century. This thesis brings all three together for the first time since their moment of production. These collections recur throughout the thesis as I ask how film archives can complicate and enrich our understanding of collections and how filmmaking practice might continue to bring new types of knowledge into the museum and archive. Two research films are submitted with and discussed within the thesis. The first, 'Living Worlds at the Manchester Museum', adapts observational methods from visual anthropology to record objects and staff during the re-display of the mammal gallery at the Manchester Museum in 2011. The second, 'Articulating Archives' is the result of a creative collaboration in 2014 with Year 8 secondary school students and the institutions and archives named above. Within the production and analyses of these films I draw on diverse critical sources to suggest that film can illuminate properties of materiality, embodied knowledge and performed engagement that textual accounts fall short of capturing.

Made available in DSpace on 2016-03-15T19:21:46Z (GMT). No. of bitstreams: 1 Turna Beck.pdf: 10326392 bytes, checksum: fdcb8d1f815aecd04b62aec2a61050e8 (MD5) Previous issue date: 2011-08-25 / Fundo Mackenzie de Pesquisa / This dissertation addresses, in its first part, the practice-based research problems in the academic research s architectural area. The purpose is to verify in what proportion research methods, that evolve non-textual analysis process, show up and to interpret them as academic elements of argumentation. The intention is to contribute to the reflection on academic knowledge production and its communication in practice-based areas X required patterns in the academic context. To set a boundary to this research, were analyzed Brazilian academic work (theses and dissertations) attended by about design methods and / or visual approach of the architectural work of Frank Lloyd Wright. Through these studies, a gap was identified: the lack of a deeper iconographic analysis about the influence of the Japanese art and architecture in the North American architect work. The second part of this dissertation, therefore, presents and emphasizes the role of images when the Japanese culture resonance on Frank Lloyd Wright's work is approached. The purpose of this effort has two-fold: the first one is to illustrate and to emphasize the importance of the visual or non-textual material employment, in the academic argumentation construction in the architectural area, which purposes are, for example, to detect or discuss projectual influences. The second intention is the contribution to supply the gap mentioned before, which is, the little attention given by Brazilian academic works about Japanese art s influence on Wright s work. The analysis of the academic works has helped to a better comprehension of which elements and resources, and how they must be employed in an academic research that has the practice-based characteristics. The construction of the exercise in the second part of this work uses the association of text and image, pointing, this way, to evidences that, if the use of non-textual resources, sometimes may be essential to the substantiation of an argumentation, on the other hand, this same argumentation cannot does without the text to be clearly enounced. / Esta pesquisa aborda, em sua primeira parte, a problemática da prática projetual na produção acadêmica na área de arquitetura. O objetivo é verificar em que medida comparecem métodos de pesquisa ligados a processos não textuais de análise e ponderar sobre seu papel como elementos de argumentação acadêmica. A intenção é contribuir para a reflexão sobre produção de conhecimento acadêmico e sua comunicação nas áreas de prática projetual X padrões exigidos no contexto acadêmico. Para limitar o âmbito da pesquisa foram analisados trabalhos acadêmicos brasileiros (teses e dissertações) que contassem com métodos projetuais e/ou visuais na abordagem da obra arquitetônica de Frank Lloyd Wright. Ao proceder com as leituras desses trabalhos foi identificada uma lacuna: a ausência de análises iconográficas mais aprofundadas sobre a ressonância da arte e arquitetura japonesa na obra do arquiteto norte-americano. A segunda parte deste trabalho, portanto, apresenta e enfatiza o papel das imagens quando se fala sobre a ressonância da cultura japonesa na obra de Wright. O objetivo deste esforço tem dupla intenção: a primeira é ilustrar e enfatizar a importância do emprego de material de natureza visual, e não-textual, na construção de argumentações acadêmicas na área de arquitetura, que visem, por exemplo, detectar ou discutir influências projetuais. A segunda é a contribuição para suprir a lacuna identificada acima, qual seja, a pouca atenção dada pelos trabalhos acadêmicos brasileiros sobre Frank Lloyd Wright à ressonância da arte japonesa em sua obra. A análise dos trabalhos acadêmicos buscou contribuir para a melhor compreensão da dinâmica entre os elementos e recursos textuais e não-textuais na elaboração da argumentação acadêmica. A construção do exercício na segunda parte do trabalho utiliza a associação de texto e imagem, apontando assim, para efeito desta investigação, indícios de que se a utilização de recursos não-textuais por vezes se mostra essencial na substanciação de uma argumentação, por outro lado, esta mesma argumentação não pode prescindir do texto para ser claramente enunciada.

Made available in DSpace on 2016-03-15T19:22:00Z (GMT). No. of bitstreams: 1 Andraci Maria Atique.pdf: 21482689 bytes, checksum: 6ee126ec8d344ee9185922f26d0bfd47 (MD5) Previous issue date: 2013-05-02 / The goal of this dissertation is to contribute to the public awareness with regards to the production and communication of academic knowledge in the field of design process, as well as present examples on how this type of work is being conducted in Brazil. It takes into consideration, the speculation on the validity of employing non-textual elements such as images, mock-ups, diagrams and other nontextual resources which are commonly used in this practice. The methodology in this research involved the analysis, both individually and comparatively, of eight scientific research projects in the area of design process which were conducted under the Architecture and Urbanism Graduate Program at the University of São Paulo and are available in the library of the School of Architecture and Urbanism FAUUSP - at the same university. These analyses are presented in the form of summaries and comparison tables. The conclusion, considering all the different characteristics found in these research projects which relate to their goals, methods, the text/image ratio and iconographic resources used therein, is that they all respond the academic research practice and effectively standards contributing to the production of knowledge in the area of design process in architecture. / Esta dissertação busca contribuir para a reflexão sobre a produção de conhecimento acadêmico e sua comunicação em áreas de prática projetual, bem como expor os modos como esse trabalho vem sendo encaminhado no Brasil. Aborda, dentre outros fatores, a discussão da validade do uso de elementos não textuais, como imagens, desenhos, diagramas e demais elementos que formam parte dessa prática. A metodologia desta pesquisa envolveu a análise de oito trabalhos acadêmicos em áreas de prática projetual, individual e comparativamente, desenvolvidos no âmbito de Programas de Pós-Graduação em Arquitetura e Urbanismo brasileiros e disponíveis no acervo da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo FAUUSP. Estas análises são apresentadas em forma de fichas e quadros comparativos. Conclui-se então, considerando as diferentes características encontradas nesses trabalhos com relação aos seus objetivos, métodos, percentual de texto/imagem e recursos iconográficos utilizados, que todos eles se encaixam nos moldes do rigor acadêmico e contribuem para a produção de conhecimento na área de processo de projeto em arquitetura.

The focus of this qualitative, arts-based inquiry was to understand how disabling illness might be transformed through art. A/r/tography -- art/research/teaching and writing, was the method used to explore and understand the meaning(s) held within the art: Border Crossings -- a conceptual, figurative, sculptural installation. The installation embodied the experience of disabling illness, symbolically depicting power relationships, identities, subjectivities and the multi-dimensional nature of being, of one coming up against the institution, the illness and the self. Guided by the work of Heidegger (Hermeneutic Circle), Deleuze and Guatarri (Rhizome and The body without Organs) and Foucault (Power Relationships), the A/r/tographer examined the installation through the lens of the poststructural feminist writers Grosz, Davis, Gatens, Weedon, Moss and Dyck with a focus on the body/subjective to explore notions central to understanding being in a body. A further analysis through art theorists Eisner, Allen and A/r/tographers Irwin and Springgay’s aesthetic perspectives, explicated the nuance of how art transformed the ill researcher and larger community. The results of the inquiry revealed a multi-dimensional, generative process of opening multiple thresholds of complexity, understanding and transformation of the experience of disabling illness for inquirer, and the art participant/observers/larger community. The research illuminates the value of A/r/tography as a potent means of inquiry into lived experience and how art enhances the understandings and possibilities for the transformation of the experience of disabling illness/lived experience. / Graduate

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

I takt med att befolkningen lever längre och åldersstrukturen förändras har samhället genomfört en satsning för att äldre ska kunna bo kvar hemma så länge som möjligt, den så kallade Kvarboendeprincipen. Följden är att vårdrelaterade insatser har ökat i hemmet där bostadsanpassning är en insats som möjliggör kvarboende längre. För att få en bostadsanpassning krävs det att en arbetsterapeut, eller annan sakkunnig, intygar att behovet finns genom att bedöma personens funktionsnedsättning relaterat till det som utgör ett hinder för aktivitetsutförande. Syftet med denna studie är att beskriva arbetsterapeuters kunskaper och erfarenheter av sin roll i bostadsanpassningsprocessen samt hur arbetsterapeuten involverar klienten i denna process. Tio arbetsterapeuter med minst två års arbetserfarenhet inom bostadsanpassningsområdet intervjuades genom semistrukturerade intervjuer. Resultatet framhäver arbetsterapeutens olika roller gentemot klienten och bostadsanpassningsenheten. Resultatet belyser även etiska dilemman och vikten av den praxisbaserade kunskapen. Vidare skulle en tydligare processbeskrivning och ökad vetenskaplig grund bidra till en mer jämlik vård för klienten, där både vetenskap och beprövad erfarenhet används. / As people live longer and the age structure changes, society has carried through an initiative to allow older people to live at home as long as possible, the so-called principle remaining living at home. The consequence is that health care related activities have increased in the home where housing adaptation is an initiative that enables remain living at home longer. To get a home modification requires that an occupational therapist, or other expert, certify that the need exists by assessing the person's disability related to that constitutes a barrier to occupational performance. The purpose of this study is to describe occupational therapists knowledge and experience of its role in the home modification process and how the occupational therapist involves the client in this process. Ten occupational therapists with at least two years of work experience in the field of home modifications were interviewed through semi-structured interviews. The result highlights the occupational therapist has different roles towards the client and home adaptation unit. The result also highlights the ethical dilemmas and the importance of the practice-based knowledge. Furthermore, a clearer process description and increased scientific basis would contribute to a more equitable care for the client, where both science and proven experience in use.