This thesis researches the proposition that student creativity occurs as a function of misrecognition in the culturally situated context of art classrooms. Following Pierre Bourdieu??s socio-cognitive frameworks of the habitus, symbolic capital and misrecognition this study uses these concepts as a means of navigating teacher-student relationships at moments of creative origination. These concepts predict that exchanges between teachers and students are sites for transactions of symbolic capital where the teacher??s pedagogical role is objectively repressed through the mechanism of misrecognition. The study seeks evidence for creative autonomy as misrecognition as it takes place in classroom transactions and that differing levels of ??tact?? are employed in these exchanges. It emerges that the social reasoning that underscores these exchanges is inferentially sensitive to different contextual points of view, expressed in open secrets, repression, denial and euphemisation. The study finds that the artworks produced evidence degrees of originality that vary in character according to the subtlety of misrecognition that is transacted in these pedagogical exchanges. The case of an art teacher and an art class in the final year of schooling is examined in detail. The design employs an idiographic, qualitative methodology. Methods include observations and interviews which are augmented by digital records. Results are interpreted using a form of semantic analysis and triangulation. Four functions are distilled from the results. These functions govern the way in which misrecognition performs as a contradictory logic in the relationships between the teacher and students which works towards affirming the group??s belief in creative autonomy, while paradoxically, all members take advantage of the contextual inputs that are available. Creative autonomy is revealed as a fiction, nonetheless, a fiction worth nurturing for the successful realisation of creative ends. The study concludes that creativity cannot be strictly taught or learned. Nor is it innate and autonomous. Rather it encompasses a socially intelligent uptake in the culture of artmaking. What is possible is dependent on shared beliefs, desires and intentions which are transformed over time. Broader implications are suggested focusing on the significance of collaboration in creative education and the impact for educational systems, schools and undergraduate programs in art education.

This thesis researches the proposition that student creativity occurs as a function of misrecognition in the culturally situated context of art classrooms. Following Pierre Bourdieu??s socio-cognitive frameworks of the habitus, symbolic capital and misrecognition this study uses these concepts as a means of navigating teacher-student relationships at moments of creative origination. These concepts predict that exchanges between teachers and students are sites for transactions of symbolic capital where the teacher??s pedagogical role is objectively repressed through the mechanism of misrecognition. The study seeks evidence for creative autonomy as misrecognition as it takes place in classroom transactions and that differing levels of ??tact?? are employed in these exchanges. It emerges that the social reasoning that underscores these exchanges is inferentially sensitive to different contextual points of view, expressed in open secrets, repression, denial and euphemisation. The study finds that the artworks produced evidence degrees of originality that vary in character according to the subtlety of misrecognition that is transacted in these pedagogical exchanges. The case of an art teacher and an art class in the final year of schooling is examined in detail. The design employs an idiographic, qualitative methodology. Methods include observations and interviews which are augmented by digital records. Results are interpreted using a form of semantic analysis and triangulation. Four functions are distilled from the results. These functions govern the way in which misrecognition performs as a contradictory logic in the relationships between the teacher and students which works towards affirming the group??s belief in creative autonomy, while paradoxically, all members take advantage of the contextual inputs that are available. Creative autonomy is revealed as a fiction, nonetheless, a fiction worth nurturing for the successful realisation of creative ends. The study concludes that creativity cannot be strictly taught or learned. Nor is it innate and autonomous. Rather it encompasses a socially intelligent uptake in the culture of artmaking. What is possible is dependent on shared beliefs, desires and intentions which are transformed over time. Broader implications are suggested focusing on the significance of collaboration in creative education and the impact for educational systems, schools and undergraduate programs in art education.

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Ce travail de thèse s’articule autour de trois études complémentaires. La première aborde la validation française d’un test rapide d’évaluation des fonctions supérieures: le Barrow Neurological Institute Screen for higher cerebral functions (B.N.I.S). Cette étude a permis de rendre disponible en langue française un outil rapide qui évalue les fonctions cognitives classiques mais aussi les capacités émotionnelles et sociocognitives, fonctions généralement non intégrées dans ce type de test. La seconde étude, menée auprès de participants présentant un Mild Cognitive Impairment (M.C.I), a ensuite permis de mettre en évidence la nécessité de prendre en compte l’évaluation émotionnelle. Les participants M.C.I présentent un profil spécifique au B.N.I.S., notamment aux subtests d’affectivité, d’orientation, de mémoire et d’auto-évaluation de la performance mnésique. Enfin, la troisième étude analyse les performances de reconnaissance faciale des émotions et de raisonnement social au cours du vieillissement normal, le Mild Cognitive Impairment et la démence de type Alzheimer (DTA) au stade débutant. Nous observons un déclin des capacités de reconnaissance faciale des émotions et de raisonnement social au cours du vieillissement normal qui s’accentue significativement au cours de la DTA. Un profil spécifique est retrouvé pour le M.C.I avec un déclin en raisonnement social mais des capacités de reconnaissance faciale émotionnelle comparables aux sujets âgés du groupe contrôle. L’évaluation des capacités émotionnelles devrait être davantage intégrée aux bilans neuropsychologiques afin de mieux orienter les modalités de prise en charge de la population vieillissante. / This research presents three complementary studies: (1) the french validation of the Barrow Neurological Institute Screen for higher cerebral functions (B.N.I.S), developed by G. Prigatano in 1991. We have assessed 167 subjects from 15 to 84 years within a french population. The goal is :1) to promote a new short screening instrument dedicated to cognitive and emotional functions, usually emotional functions are not integrated in neuropsychological assessments ; (2) to apply the B.N.I.S to Mild Cognitive Impairment (M.C.I) subjects (N=39) in order to highlighted the importance of the emotional assessment in this type of population and found a specific profile at the substests named: affectivity, orientation, memory and self-assessment of the mnesic performance ; (3) to analyze, with more precision, the performance of emotional facial recognition and social reasoning during normal ageing (N=54), M.C.I (N=25) and Alzheimer disease (AD) at the early stage (N=17). A decline of sociocognitive capacities is observed during the ageing and seems to become more important during the course of M.C.I and the AD. A specific profile was found for each group. The assessment of emotional capacities seems relevant and should be more integrated into the neuropsychological assessments, in order to improve diagnosis and to propose the best modalities of care for the ageing population.