Studiens övergripande syfte är att undersöka förutsättningarna för ämnet teater/drama inom kulturskolan. Till grund för uppsatsen ligger tre fokusgruppsamtal med lärare i teater/drama i kulturskolan i en svensk stad samt ett stödjande dokument för kulturskolorna i samma stad och ett styrdokument för Norges kulturskola. Allt material har bearbetats och granskats utifrån en socialkonstruktivistisk ansats genom diskursanalytiska glasögon.  Informanterna är eniga om att ämnet teater/drama i kulturskolan i Staden inte betraktas som en konstform, utan huvudsakligen som verktyg och metod. De beskriver en verksamhet som har knappa resurser att nå konstnärlig höjd och beskriver ett ämne som på grund av okunskap kring praktikens tidskrävande processer är marginaliserat i kulturskolans verksamhet. Det framgår att ämnet är i stort behov av att formuleras verbalt. Det tycks nödvändigt att skapa en gemensam terminologi för att möjliggöra en konstruktiv kommunikation mellan lärare i teater/drama och chefer i syfte att utveckla en hållbar verksamhet.

Thesis (Ph. D.)--Oregon State University, 2006. / Printout. Includes bibliographical references (leaves 119-125). Also available on the World Wide Web.

The diploma thesis deals with the main personalities dealing with the applied arts concerning metal used between 1895 and 1915. The aim of this thesis is to focus on their artistic creation and to evaluate its contribution to the stylistic development of the applied arts in the Czech countries in the given period and to try also to evaluate the specificity of Czech artistic creation with regards to the main European art centers that influenced the Czech countries. Apart from this main goal, the thesis will deal with the role of education in the development of applied arts in the Czech countries. It will attempt to outline the mutual relationships and benefits between schools and artists. It will mainly focus on the School of Applied Arts as a center of artistic development of applied arts in the Czech countries.

The theme of this thesis is History of School of Applied Arts studios in Prague between 1885 and 1910. The thesis focuses mainly on style development at the crucial point of turning of the century. This period was the turning point when advanced school's art manifested and also time of generation change that transformed overall school atmosphere. A specific contribution of this thesis lies in outlining less known specialized schools, with inclusion of female element, which are factors that were not previously described elsewhere, as well as in attempt to find methodical and development analogies between Prague and Vienna School of Applied Arts. The aim of my thesis was to assess exceptional status of the school, especially in context of Czech educational system of decorative arts, and to evaluate historical context based on detailed archive research. I included in the thesis a comprehensive list of students of general and specialized schools of decorative arts, thus creating a foundation for future researchers on individual artistic personalities. Study of development of School of Applied Arts is an analytical synthesis presenting the specific role of decorative arts and crafts in pre-WWI era.

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En 1988 s’ouvrait à Paris la première session de l’Institut des Hautes Études en arts plastiques fondé et dirigé par Pontus Hulten. Ce dernier, des artistes comme Daniel Buren, Sarkis et l’écrivain Serge Fauchereau y furent enseignants. Jusqu’en 1995, l’IHEAP accueillit de jeunes plasticiens, venus du monde entier. Dans la lignée des cafés de Montparnasse, des institutions avant-gardistes, le Bauhaus et le Black Mountain College, cet institut éphémère expérimenta une pédagogie éloignée des traditionnelles écoles des beaux-arts. Son fonctionnement et ses pratiques d’enseignement ont été étudiés d’après archives et témoignages. Plus largement, l’histoire de cet institut permet d’étudier les enjeux réels et imaginaires de l’enseignement et la transmission de l’art à l’époque contemporaine. À l’heure où les écoles d’art réfléchissent et mettent en place le 3ème cycle du cursus LMD, conformément au processus de Bologne, la thèse met en œuvre une réflexion historique et critique sur un précédent exemplaire. / The first session of the “Institut des Hautes Études en Arts Plastiques” founded and managed by Pontus Hulten took place in Paris in 1988. Artists like Daniel Buren, Sarkis, and the writer Serge Fauchereau were teachers there. Until 1995, IHEAP welcomed young artists coming from all over the world. In the tradition of “cafés de Montparnasse”, institutions “d’avant-garde”, such as the Bauhaus and the Black Mountain College, this ephemeral institute experimented a new pedagogy far from traditional schools of fine arts. Working methods and teaching practices have been observed from archives and testimonies. Even more, the history of the institute gives the opportunity to study the real and imaginary issues of education and transmission of the art in contemporary era. At the present time when schools of fine arts deliberate and organize the third stage of LMD in accordance with Bologna process, the PhD presents an historical and critical analysis of a perfect precursor.

With obesity in adolescents becoming a major health problem in the United States, there has been an expansion in the use of nutritional education programs as intervention. Effective nutrition education can decrease the incidence of obesity and other diet-related chronic diseases, type-2 diabetes, cardiovascular disease, and hypertension. This dissertation in practice proposes to design a nutrition education program, integrating farm and culinary activities into a nutrition education curriculum. The program is designed as a stand-alone program, but for this practice, implementation integrates the nutrition education program into the Film @ 6 after-school program – a STEM-focused program designed to assist sixth graders in their first year of middle school – at Southeast Middle School in Salisbury, Rowan County, North Carolina (NC). This experiential nutrition education program will provide instruction and activities in order to increase nutritional knowledge, improve culinary techniques, and increase consumption of fruits, vegetables, and minimally processed foods of sixth grade students as a means to address the overweight and obesity risks of middle school children. Children and adolescents are considered the priority population for intervention strategies because 70% of obese adolescents become obese adults and it is difficult to reduce excessive weight once established (Dehghan, Akhtar-Danesh, & Merchant, 2005).

La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècle. / The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China.