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Thesis (Ph. D.)--University of California, Santa Cruz, 2001. / Typescript. Includes bibliographical references (leaves 54-59).

Thesis (DClinPsychol)--Salomons Centre. BLDSC no. DX208359.

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This thesis investigates ideas of interiority and thought in relation to the building of self identity. I express them through the visual means of text and photography, resulting in a conceptual self-portrait by way of installation. Concerned with what thought terrain might look like and the way information perceived though the senses is stored, I explore the overdetermined evidence provoked by the unconscious. By the study of my own inner monologue in response to everyday rituals, I bring attention to the fragmented and overwhelming anxieties, fears, associations and fabrications of the mind - moments that often go unnoticed, but help concretize my experience of being in the world. The thesis is made up of 80% practice and 20% written exegesis.

With the growing use of digital camera and internet album, it brings a new internet visual culture called as ¡§internet self-portrait culture¡¨ in Taiwan. Internet users take digital self-portrait photos, upload self-portrait onto personal websites like blog or internet album, and communicate with people in this way. This culture is much popular especially among the adolescents (aged form 12 to 24) in Taiwan. This research refers to what kind of effects this new internet visual culture brings to the adolescents, especially focusing on the effect it brings to self-identity development and social relation. And interview is adopted in this research. According to the result, first, internet self-portrait culture could be seen as an adolescent sub-culture. In this subculture, the adolescents develop a series of communicative methods like ¡§to see¡¨ and ¡§to be seen¡¨. In this way, the adolescents chase for chances and stages for ¡§showing oneself¡¨, and the ¡§beautiful looks¡¨ is the main point of the show. ¡§Chasing for aesthetics of body¡¨ and ¡§everyone having equal and unique prettiness¡¨ are the two important values in this subculture. As for self-identity, participating in internet self-portrait culture brings the adolescents the experience of alternative role playing experience. Moreover, it helps build up self-confidence and positive self-identity on looks. As for social relation, it helps the adolescents keep in touch with the old friends and brings them new friends who help the adolescents build self-confidence on looks. Besides, participating in internet self-portrait culture could be seen as a way for the adolescents to retrieve ¡§freedom of making friends¡¨ and ¡§freedom of managing one¡¦s own body¡¨ from their parents.

No description available.

This thesis investigates ideas of interiority and thought in relation to the building of self identity. I express them through the visual means of text and photography, resulting in a conceptual self-portrait by way of installation. Concerned with what thought terrain might look like and the way information perceived though the senses is stored, I explore the overdetermined evidence provoked by the unconscious. By the study of my own inner monologue in response to everyday rituals, I bring attention to the fragmented and overwhelming anxieties, fears, associations and fabrications of the mind - moments that often go unnoticed, but help concretize my experience of being in the world. The thesis is made up of 80% practice and 20% written exegesis.

Thesis advisor: Stephen Pfohl / Self-identity formation and how we learn to express that identity to others is a lifelong process for so many people. My research explores the potential ways that the medium of music plays a role in the formation and expression of a self-identity. Through my qualitative data analysis from 12 interviews with college students who are self-defined as ‘music lovers,’ I argue that music does in fact play an integral role in the formation of this self-identity for some people. The ways in which that identity is expressed to others, whether it be physical manifestations of the music or the behaviors of the individual, can be centered around an us vs. them narrative, desire to find others like themselves, or aim to control the ways in which they are perceived through their music engagement, among other justifications. Additionally, I illustrate that individuals use music to mold a personal, almost autobiographical narrative of their own lives, weaving integral memories, people, and experiences together through their relation to music. / Thesis (BA) — Boston College, 2023. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: Sociology.

A quick search in Google Scholar for documents containing both keywords “Japan” and “collectivism” revealed 28,100 results. This fact alone is enough to support the notion that collectivism is a commonly reoccurring descriptive in discussions about Japanese society. This is also enough to give serious consideration to the impact of collectivism when thinking about the development of educational programs that foster the development of creativity. More specifically it raises the question: if some people within Japan believe in the collectivist nature of themselves and their society how does that belief influence creative self-identity and creative self–efficacy? Since creativity and innovation require the ability to think divergently, understanding the impact of the alleged pressure towards conformity on creativity should be a top priority. Furthermore, understanding this relationship becomes important when considering methodologies and potential barriers to learning in the creativity classroom or workshop. With this in mind, a questionnaire was given to 50 Japanese participants of various ages and backgrounds. Using open-ended questions and a Likert scale, the questionnaire examines the collectivist self-identity, the collectivist social-identity, creative self-identity, and creative self-efficacy. Through narrative qualitative analysis of the open-ended questions and quantitative analysis of the scaled questions the relationships between the four categories were examined to see if any influenced the others. From this study we can see that the quantitative data and the qualitative data both showed the similar findings. Within the group the majority did not identify as having a collectivist self-identity, the results on collectivist socialidentity were split down the middle, and a majority of the participants did identify with having a creative self-identity. It is also clear from both the qualitative and quantitative data that creative self-identity and creative self-efficacy are linked. It appears that if the person does not believe that he or she is a creative person then that same individual is very likely to believe they do not have the capacity to do creative things.