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In the work of Master both self-expression of teenagers and facilities performing songs solo have been examined. It was determined that during the stage of adolescence way of performance singing solo depends on both psychological and physiological qualities which decide child’s musical potentiality of self-expression. This kind of self-expression allows the personality to unfold and realise oneself in the activity of music. Conceptions and opinions as the key teaching form of music about singing based on various authors have been revised in the work, too. However, when performing songs solo during the stage of adolescence it evokes negative emotions. First part of the work of Master discusses psychological and physiological peculiarities and conceptions of self-expression of a teenager. It has been determined that the following factors have strong influence on teenager’s personality and possibility to express oneself through the singing solo: emotions, requirements, interests, motivation and self-confidence. Second part of the work explains the point of the singing solo as well as means and factors of the impact of an educator which allow the student to show oneself actively during the course of singing solo. Various ways of solo performance have been displayed and described. The results of empirical research are stated in the third part of the work. It has been aspired to study the possibilities of self-expression of the students of 6-8th form when performing songs solo and... [to full text]

Although the subject of pottery would appear to the layman to be one of complicated formulas and difficult technical requirements, it is possible to reduce the on- tire porcedure to a series of simple, logical processes. To do this is the purpose for which this thesis has been undertaken. It seems advisable to reduce the entire subject of elementary pottery to fifteen lessons, for two reasons. (1) The instructor who must teach the subject in one se- mester of eighteen weeks will be enabled by this plan to cover the subject logically and completely if she will adhere to the divisions which have been made. This will give ample time for outside work, tests, etc. (2) The craftsman who wishes to express himself in one more medium, or the home-maker who merely desires the diversion of self-expression, will find the directions, given in this logical sequence, so clear and untechnical that he cannot fail, with sufficient practice, to achieve definite results.

Although the subject of pottery would appear to the layman to be one of complicated formulas and difficult technical requirements, it is possible to reduce the on- tire procedure to a series of simple, logical processes. To do this is the purpose for which this thesis has been undertaken. It seems advisable to reduce the entire subject of elementary pottery to fifteen lessons, for two reasons. (1) The instructor who must teach the subject in one semester of eighteen weeks will be enabled by this plan to cover the subject logically and completely if she will adhere to the divisions which have been made. This will give ample time for outside work, tests, etc. (2) The craftsman who wishes to express himself in one more medium, or the home-maker who merely desires the diversion of self-expression, will find the directions, given in this logical sequence, so clear and untechnical that he cannot fail, with sufficient practice, to achieve definite results

This dissertation is an ethnographic study of nine different students in three American public high schools, their experimentation with alcohol and drugs, and their respective processes of identity formation. While much work has done to establish the relevant and various paths towards finding identity in the American adolescent and in the fields of American education, public schooling, and youth culture, this work attempts to offer a specific presentation of what the path towards finding identity looks like in the American classroom for students who also experiment with alcohol and drugs. The nine students are presented in this work via three different category types of identity formations: Creativity Through Chemical, Charisma Through Chemical, and Challenge Through Chemical. The presentation of the students is ethnographic in nature given the various strengths and attributes of the ethnographic approach. The classroom is a valuable location for establishing a unique perspective on adolescent self-expression, a place where students’ projections and the perceptions of others are intertwined. What students experience in the classroom as a group and individually is a meaningful element to their evolving identities. This work establishes the significance of these experiences in conjunction with the students’ experimentation with alcohol and drugs. Adolescence, as a period for young people of identifying with group culture and as an individual while differentiating between right and wrong is a significant developmental phase. This work acknowledges the communities in which these students are engaged, their respective high school communities, the relevant details of each classroom, and explicates the details of their processes of identity formation for these nine students within the context of their classroom cultures. / text

This research investigates the process of self-authorship by applying self-expression, intentionality and appropriation by South African graphic designer Garth Walker (b. 1957) in the production of the i-jusi magazine. For this purpose, selected issues and designs of i-jusi magazines are analysed. In his search for an indigenous South African design language through self-authorship, Walker works outside of the traditional clientdesigner model. He attempts to capture this unique South African voice through a number of themed i-jusi issues. In self-authorship, the intent of the graphic designer is embedded in personal conviction and expression, which are key factors to the creation of the work. Hollis (2001) describes the designer as a messenger with an eye for the aesthetic and a target market. As the country’s socio-political transformation took on a different shape post-1994, a search for a South African design language became prevalent among South African graphic designers. Writers in design such as Heller (1998), Lupton (2003), and Bierut (2007) coined the term Designer as Author in the critical discourses on self-authorship and design that is more experimental in nature. McCarthy and Melibeu de Almeida (2002) acknowledge the practice in which designers take responsibility to create content and form simultaneously, thus expanding the opportunity for self-expression. In their search for unique self-authorship, contemporary graphic designers give voice to their intent and self-expression, making use of the appropriation or borrowing of different styles, visual languages and cultural contexts. Ijusi serves as an example of self-initiation, a criterion for self-authorship, as it is produced, edited and distributed by Walker himself. In his search for a truly South African design language, Walker explores identity and individual expression to include intent and appropriation as part of the production process. / MA (History of Art), North-West University, Potchefstroom Campus, 2015

This research investigates the process of self-authorship by applying self-expression, intentionality and appropriation by South African graphic designer Garth Walker (b. 1957) in the production of the i-jusi magazine. For this purpose, selected issues and designs of i-jusi magazines are analysed. In his search for an indigenous South African design language through self-authorship, Walker works outside of the traditional clientdesigner model. He attempts to capture this unique South African voice through a number of themed i-jusi issues. In self-authorship, the intent of the graphic designer is embedded in personal conviction and expression, which are key factors to the creation of the work. Hollis (2001) describes the designer as a messenger with an eye for the aesthetic and a target market. As the country’s socio-political transformation took on a different shape post-1994, a search for a South African design language became prevalent among South African graphic designers. Writers in design such as Heller (1998), Lupton (2003), and Bierut (2007) coined the term Designer as Author in the critical discourses on self-authorship and design that is more experimental in nature. McCarthy and Melibeu de Almeida (2002) acknowledge the practice in which designers take responsibility to create content and form simultaneously, thus expanding the opportunity for self-expression. In their search for unique self-authorship, contemporary graphic designers give voice to their intent and self-expression, making use of the appropriation or borrowing of different styles, visual languages and cultural contexts. Ijusi serves as an example of self-initiation, a criterion for self-authorship, as it is produced, edited and distributed by Walker himself. In his search for a truly South African design language, Walker explores identity and individual expression to include intent and appropriation as part of the production process. / MA (History of Art), North-West University, Potchefstroom Campus, 2015

I have created art that has evolved from my own personal experiences. Life is capricious, and with the changes wrought by age, joy, and grief, I have found this self-referential work inevitable. Here, I have documented the journey that has brought me through personal wars, battles, and truces. I have come to believe that although my individual experiences may be unique, my responses to them are not. Loss and victory are universal.

This thesis is purposed to understand and mathematically formulate a model for testing the functional value of self-expression in the workplace. Starting from “pure self-expression”, this paper develops “functional self-expression” in given contexts. This development is through the lens of an idealized workplace context whose intrinsic value is profit-maximizing. This perspective is dominating and fills the entire surface to which the self can express too. The logical foundations of this paper begin anecdotal and transcend to holistic visualizations and a concluding model. In the end, we discover that the self-expression within “friendship” poses a threat to the idealized dominating context of the workplace.

Workplace authenticity for African Americans has received much attention in recent years, both in various research domains and in popular media. However, empirical research is scarce regarding what drives Blacks' decisions around whether to outwardly express their inner racial identity at work and what impact (in)authenticity has on workplace outcomes. The lack of empirical research is likely due, in part, to the fact that there are few existing measures designed to assess Blacks' workplace authenticity. Thus, the purpose of the current research was to develop and provide initial validation evidence for a situational judgment test (SJT), called the African American Workplace Authenticity Scale (AAWAS), aimed at measuring Blacks' propensity to use various identity negotiation strategies related to authenticity. Those identity negotiation strategies included identity shifting, referred to as code-switching by laypeople, avoidance, and authentic self-expression. The first phase of the research included item generation and refinement of the item pool using a web-based sample of Black working adults (n=207). For this phase, 38 items were created. Each item included one scenario and three response options each; each response option corresponded to one of the three aforementioned identity negotiation strategies, and each identity negotiation strategy is considered its own subscale. Furthermore, each scenario involved a situation wherein a Black individual was presented with pressure to conform to their White counterparts at work. An exploratory factor analysis was conducted to determine which items to retain, which resulted in a three-factor solution and the retention of 13 items. The second phase of the research involved gathering initial validation evidence for the 13-item scale, again using a web-based sample of Black working adults (n=252). For this phase, confirmatory factor analysis (CFA) and analysis of measurement invariance between genders was completed to determine whether the three-factor solution fit on a new sample and whether the scale can be used to make meaningful comparisons between males and females. Additionally, the relationships between the AAWAS and existing scales related to authenticity and response bias were explored using correlations. The CFA generally supported the three-factor solution, and metric invariance was found between males and females. Evidence for convergent and discriminant validity from the correlational analyses is presented. Moreover, the subscales of the AAWAS demonstrated good reliability according to rules of thumb for Cronbach's alpha (Identity Shifting Cronbach's α = 0.79, Avoiding Cronbach's α = 0.85, and Authentic Self-Expression Cronbach's α = 0.85). Overall, the AAWAS demonstrated promising psychometric properties thus far and has the potential to facilitate causal modeling in the area of workplace authenticity for Blacks with further validity evidence. / Doctor of Philosophy / Workplace authenticity for African Americans has received much attention in recent years, both in various research domains and in popular media. However, empirical research is scarce regarding what drives Blacks' decisions around whether to outwardly express their inner racial identity at work and what impact (in)authenticity has on workplace outcomes. The lack of empirical research is likely due, in part, to the fact that there are few existing measures designed to assess Blacks' workplace authenticity. The current research is focused on developing and providing initial validation evidence for a situational judgment test (SJT), called the African American Workplace Authenticity Scale (AAWAS), aimed at measuring Blacks' propensity to use various identity negotiation strategies related to authenticity.