Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript.

No description available.

An exhibition thesis from Xiao Han, who presents large photographs as ‘stills’ from a fictitious movie set in late 20th century China, after the suppression of the Tiananmen Square Protest and the inauguration of the one- Child policy. The artist plays multiple roles in sites that are specifically gendered, to expose the exceptional impact the population control laws had on women. Traumatized social and psychic perspectives emerge from the political turmoil, registering as uncanny absences and repressed delays.

Thesis (M.S.)--University of Michigan, 1976.

Thesis (M.S.)--University of Michigan, 1976.

No description available.

The purpose of this study was to show the effect of creativity on adults as a means of coming to terms with parental rejection experienced in childhood. The study was done according to a practical theological interpretation of the three-phase hermeneutical model of Ricoeur, namely: ? understanding according to Scriptural perspectives (basis-theoretical), as well as on a metatheoretical level by means of a literature study; ? interpreting by means of an empirical research in the form of interviews with respondents; ? change by means of practical theoretical guidelines for the creative adult who processed parental rejection experienced in childhood by the pursuing of person-directed creativity. Understanding on the basis-theoretical level showed the following: With the fall in paradise, man rejected God and tried to fulfil his / her own needs independently. The arts were also contaminated and artists moved away from God, the Creator and Source of their creativity, to pursue their art in a self-centred and arrogant way. Creativity is being used with wrong motives as a method of selfhealing to process unresolved pain from the past. The honour which God deserves is lost and without Him mankind, as well as art, deteriorates. Art does show therapeutic value if it is directed towards God, but otherwise the success is temporary and superficial. The literature study of ten well known creative individuals showed that the therapeutic effect of the pursuit of creativity to process parental rejection in childhood, failed sadly and ended in disillusionment for all of them. Their lives were a continuous search for healing and wholeness, as well as peace, meaning and happiness, whereas their personal relationships were destructive and / or broken and unhappy. The empirical research with creative adults who experienced parental rejection in childhood, and used their creativity as a means of processing it, provided an explanation for the effect of this on these creative adults. Their creativity was directed at the self instead of at God and failed to process the hurt of childhood, as well as bringing about inner peace for a healthy relationship with God, the self and others, especially loved ones.. To effect change, practical theoretical guidelines were established to guide the creative man or woman, who experienced parental rejection in childhood, by the use of their creative medium, to embark on the road to recovery and healing with God?s help. The main goal of the practical guidelines is bringing redemption to the creative person through Jesus Christ so that he / she will use his or her creativity in future to honour and praise God, as well as to serve the fellowman. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2011.

The purpose of this study was to show the effect of creativity on adults as a means of coming to terms with parental rejection experienced in childhood. The study was done according to a practical theological interpretation of the three-phase hermeneutical model of Ricoeur, namely: ? understanding according to Scriptural perspectives (basis-theoretical), as well as on a metatheoretical level by means of a literature study; ? interpreting by means of an empirical research in the form of interviews with respondents; ? change by means of practical theoretical guidelines for the creative adult who processed parental rejection experienced in childhood by the pursuing of person-directed creativity. Understanding on the basis-theoretical level showed the following: With the fall in paradise, man rejected God and tried to fulfil his / her own needs independently. The arts were also contaminated and artists moved away from God, the Creator and Source of their creativity, to pursue their art in a self-centred and arrogant way. Creativity is being used with wrong motives as a method of selfhealing to process unresolved pain from the past. The honour which God deserves is lost and without Him mankind, as well as art, deteriorates. Art does show therapeutic value if it is directed towards God, but otherwise the success is temporary and superficial. The literature study of ten well known creative individuals showed that the therapeutic effect of the pursuit of creativity to process parental rejection in childhood, failed sadly and ended in disillusionment for all of them. Their lives were a continuous search for healing and wholeness, as well as peace, meaning and happiness, whereas their personal relationships were destructive and / or broken and unhappy. The empirical research with creative adults who experienced parental rejection in childhood, and used their creativity as a means of processing it, provided an explanation for the effect of this on these creative adults. Their creativity was directed at the self instead of at God and failed to process the hurt of childhood, as well as bringing about inner peace for a healthy relationship with God, the self and others, especially loved ones.. To effect change, practical theoretical guidelines were established to guide the creative man or woman, who experienced parental rejection in childhood, by the use of their creative medium, to embark on the road to recovery and healing with God?s help. The main goal of the practical guidelines is bringing redemption to the creative person through Jesus Christ so that he / she will use his or her creativity in future to honour and praise God, as well as to serve the fellowman. / Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2011.

There appears to be little doubt about the nature of the relationship between the fashion model and the young girl in contemporary Western culture. Dominant literature, emerging from medico-psychological and feminist research, situates the model as a disorderly influence, imbued with the capacity to infect and, hence, distort the healthy minds and bodies of 'suggestible' young girls. Opposing these perspectives is a smaller, more recent body of literature, emerging from post-feminist work that argues that the model-girl relationship is a delightful influence. Thus, the contemporary field of scholarship reveals an increasingly dichotomous way of thinking about fashion model influence: the model influences young girls in ways that are disorderly or delightful, never both. This thesis argues that to assume that the model-girl encounter is 'neatly' disorderly or delightful is shifty at best. It suggests that, in their rush to judge the fashion model as either pernicious or pleasurable, existing literature fails to account for the precision with which young girls know the fashion model. Using poststructuralist theory, the thesis argues that 'influence' may be more usefully thought of as a discursive effect, which may produce a range of effects for better and worse. Following Foucault (1972), fashion model influence is interrogated as a regime of truth about the model-girl encounter, constituted discursively under specific social, cultural and historical conditions. In so doing, the thesis makes different sense of fashion model influence, and questions influence as an independently-existing 'force' that bears down on vulnerable young girls. Drawing on a poststructural conceptual architecture, this thesis re-conceptualises the model-girl encounter as a pedagogical relationship focused on the (ideal) female body. It suggests that the fashion model, as an authoritative embodied pedagogue, transmits knowledge about 'ideal' feminine bodily conduct to the young girl, as attentive gazing apprentice. Fashion model influence is re-interrogated as the product of certain forms of disciplinary training (Foucault, 1977a), with young girls learning a discursive knowledge about how to discipline the body in ways that are properly feminine. Such a perspective departs from the notion that fashion model influence is necessarily disorderly or delightful, and makes possible a re-reading of influence in terms of learning outcomes. A problematic arises conceptualising the fashion model in this way. To consider the model as a 'good' teacher breaches a number of discursive rules for best pedagogical practice in postmodern times: She is not a pedagogue of the mind; she is not student-centred, facilitative, asexual, interpersonally engaged, relational, or authentic. To create a space for thinking differently about the model as a teacher, then, the thesis looks to ancient historical times and places in which female-to-female and body-to-body pedagogies were practised and understood. The first phase of the research project embedded in this thesis defamiliarises pedagogical work using historical texts from ancient Greece. It examines in particular the erotically embodied pedagogical relationships conducted between older, authoritative elite prostitutes known as hetairae, and their younger female apprentices. The discursive rules governing these pedagogical relationships are examined with a view to diagnosing the model-girl encounter in terms of these rules. These rules are then used to interrogate ethnographic data generated through observation of the model-girl encounter in situ in a modelling course, and through focus group interviews with groups of young girls. Working through notions of corporeal embodiment, self as art, desire, discipline, stillness, spectacle, the gaze and the conduct of conduct, the study interrogates the model-girl encounter as a contemporary pedagogical encounter. To avoid reaffirming more traditional binaries, the reading of data is ironic, working within and between binaries such as disorder/delight. Three ironic categories of femininity are produced out of the analysis: unnaturally natural, stompy grace and beautifully grotesque. These categories 'speak' the fragmentation, fissure, contradiction, inconsistency and absurdity that permeate the talk of young girls and model-girl pedagogy in the modelling classroom. Thus, the thesis offers up an analysis of the model-girl encounter that refuses the neatness and uni-dimensionality that characterises existing literature.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis is a personal, poststructuralist study of the researcher’s mapping of the self. The researcher refers to her art practice as an action of research and at the same time, a process of reality production. The images that are created through the art making processes, feeds back into reality. The argument for the production of reality images, relies specifically on the non-representational ‘model’ of Deleuze and Guattari. The foundation of this study is based on a theoretical and practical study of the role of personal space and objects in this complex network of production. This thesis argues for the consideration of self as an ‘open’ map and to expand the fiction and idea of representation. / AFRIKAANSE OPSOMMING: Hierdie tesis is persoonlike, poststrukturalistiese ondersoek na die navorser se kartering van die self. Die navorser verwys veral na haar kunspraktyk as aksie van ondersoek en tergelykertyd ’n proses van werklikheidsproduksie. Die beelde wat deur die kunsmaakpraktyk/-proses geskep word, voer terug na die werklikheid. Die argument vir die produksie van werklikheidsbeelde steun veral op Deleuze en Guattari se nie-representasionele ‘model’. Teoretiese en praktiese studie van die rol van persoonlike ruimtes en objekte in hierdie komplekse produksienetwerk vorm die grondslag waaruit die studie voortspruit. In hierdie tesis word uiteindelik geargumenteer vir die beskouing van die self as ‘oop’ kaart ten einde die fiksie en idee van representasie oop te maak en uit te brei. kartering, objekte, roetes, versamelings, werklikheidsbeelde, poststrukturalisme, beelde, tekening