Les premiers peintres des vases à figures rouges ont été classés par A.D. Trendall entre 1938 et 1989. Ses recherches, associées à ceux des historiens et archéologues, constituent un remarquable outil d’analyse pour les historiens de l’art. Elles permettent d’appréhender d’un seul coup d’œil le corpus de vases italiotes collectés auprès des collections privées ou des musées. A la manière de J. BEAZLEY pour les vases attiques, A.D. TRENDALL s’est attaché à attribuer des vases anonymes et sans provenance à des peintres qu’il a lui–même nommé. Néanmoins, depuis plusieurs années, ses classements sont revus à la lumière de nouvelles découvertes et réattributions de chercheurs.Ce travail propose de revenir sur la création et le développement de ces premiers artisans en Italie du Sud entre la deuxième moitié du Ve s. et le premier quart du IVe s. av. J.-C.Le travail de réattribution des vases constitue un élément important de notre réflexion puisqu'il met à jour et affine le travail d'A.D. Trendall : il permet de comprendre dans quel contexte artistique sont apparus ces ateliers de production.Puis l'étude des lieux et contextes de découvertes permet d'apporter un éclairage supplémentaire, en observant les associations de peintres et d'ateliers dans les tombes. / Between 1938 and 1989, Trendall ranked the work of the first red figure painters of Southern Italy. His research, together with those of historians and archaeologists, is a remarkable analysis tool for scientists : it allows us to understand, in a glance, the italiote corpus from private collections and museum. Like Beazley on Attic vases before him, Trendall endeavored to assign anonymous vases and without provenances to painters he appointed. However, since years now, the ranking he created is reviewed in the light of new discoveries and reallocations of researchers.This work attempts to reconsider the beginning and development of these early craftsmen in Southern Italy between the second half of the 5th century and the first quarter of the fourth century BC.First we try to reassign vases which it is an important component of our reflexion, allowing to enhance A.D. Trendall's work. We will be able to understant the artistic's contexts in which the first workshops were developed.Then, the studies of places and archaeological contexts allow to highlight the way they produced, comparing associations between painters and workshops' vases in graves.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-06-29T14:25:10Z No. of bitstreams: 1 Felipe Franzon Vargas_.pdf: 1272368 bytes, checksum: e54aba5b5967e66d37d008e93f0387e2 (MD5) / Made available in DSpace on 2016-06-29T14:25:10Z (GMT). No. of bitstreams: 1 Felipe Franzon Vargas_.pdf: 1272368 bytes, checksum: e54aba5b5967e66d37d008e93f0387e2 (MD5) Previous issue date: 2016-03-30 / UNISINOS - Universidade do Vale do Rio dos Sinos / A co-criação envolve diferente usuários na busca por desenvolver algo novo. O processo criativo é composto por diversas etapas, englobando desde a geração de ideais até a elaboração do projeto final. Desta forma, o processo de co-criação exige dos indivíduos diversas habilidades que devem ser desenvolvidas no decorrer das etapas, permitindo que estes possam integrar aos processos conhecimentos, compartilhar experiências e desenvolver novas capacidades. O engajamento destaca-se como uma forma de não apenas envolver os indivíduos neste processo, mas sim de fazer com que estes possuam participação ativa e eficiente, possibilitando agregar valor para a organização, para o projeto e para os participantes. A pesquisa tem como objetivo identificar os elementos que promovem o engajamento durante as etapas do processo de co-criação. Para a realização da pesquisa foram utilizados workshops que consistem em processos criativos de curta duração, envolvendo a intensa atuação dos participantes nas atividades. Assim, o estudo foi dividido em duas fases para a sua realização: uma fase exploratória e a outra descritiva. A pesquisa qualitativa consistiu na observação de outros workshops e em entrevistas com professores e participantes, para o reconhecimento e percepção do campo. Já a pesquisa quantitativa utilizou um modelo de questionário baseado no estudo de Vivek (2009), que considera diferentes dimensões do engajamento do consumidor relacionadas a produtos, serviços e atividades. Esta etapa da pesquisa buscou analisar a própria experiência dos participantes, com base no engajamento nos processos de co-criação através dos workshops estudados. Ademais, foram coletados relatos dos participantes que pudessem embasar e justificar as dinâmicas vivenciadas. A partir da pesquisa realizada foi constatado que os fatores intrínsecos e extrínsecos são importantes para o engajamento, possuindo uma relação direta através da influência deste, no contexto da co-criação. Além disso, a definição das atividades é muito importante em um workshop, auxiliando a atuação dos indivíduos e a forma como estes lidam com o tema. Porém, a condução das dinâmicas em um processo criativo é o que faz a diferença, possibilitando promover o engajamento dos participantes durante suas diferentes etapas. A gestão da co-criação torna-se um fator fundamental a ser explorado para auxiliar o desenvolvimento das inovações nas organizações. / The co-creation involves different users to discover new things. The creative process consists on different phases, encompassing from the generation of ideas to the development of the final project. Thus, the co-creation process requires from the individuals abilities to develop during the phases, allowing them to integrate to the processes knowledge, sharing experiences and new capacities. The engagement is relevant not just to involve the individuals in this process, but to enable them to participate actively and in an efficient way, to aggregate value to the organization, to the project and to the participants. This study aims to identify the different elements that influence the engagement during the phases of co-creation process. For this research to be accomplished it was used workshops consisting of short creative processes, involving the intense performance of the participants in the activities. Then, the study has been divided into two stages for its implementation: an exploratory and a descriptive phase. The qualitative research consists in observing other workshops and interviews with teachers and the participants, for the recognition and perception of the study field. The quantitative research has a questionnaire based on the model study from Vivek (2009), which considers different dimensions of consumer engagement related to products, services and activities. This phase of the research aims to examine the experience of the participants, based on engagement in the co-creation process, through the workshops analyzed. In addition, reports were collected from the participants, so that they could be able to support and justify the dynamics experienced. After this process, the survey found that the intrinsic and extrinsic factors are important for the engagement, having a direct relationship through the its influence, in the context of co-creation. Furthermore, the definition of activities is very important in a workshop, assisting the performance of individuals and the way they deal with the subject. However, driving the dynamics in a creative process is what makes the difference, making it possible to promote the engagement of the participants during its different phases. The co-creation management becomes a fundamental factor to explore and to assist the development of innovation in organizations.

abstract: During the winter semester of 2018, I conducted a series of four workshops to teach parents (n = 6) strategies that could be used from home with their fourth-grade struggling readers. This study was situated in an elementary school located in North Las Vegas, NV. I invited students that scored two or more years below grade level, as indicated by the STAR Reading Assessment (a grade equivalency assessment). The purpose of this study focused on how family engagement resulting from the implementation of four small group workshops delivered by the teacher (and researcher) could affect reading performance of students who were below grade level. This mixed-methods action research study was informed by Bourdieu’s Theory of Cultural Capital (1977), Bandura’s Theory of Self-efficacy (1986), and school, family, and community partnership models. Quantitative data included pre- and post-intervention parent surveys, post-intervention student surveys, and pre- and post-intervention student reading assessments. Qualitative data included field notes and post-intervention parent interviews. A repeated-measure t-test found the difference between student pre- and post-assessment to be statistically significant, t(9) = -3.38, p = 0.008. Findings also indicated that parents utilized the skills learned, increased their self-efficacy in regards to family involvement, and overcame obstacles. / Dissertation/Thesis / Doctoral Dissertation Educational Leadership and Policy Studies 2019

All too frequently, instruction librarians’ only opportunity to teach students distills down to the fifty-minute, one-shot, make-or-break experience. We disseminate the essential information as requested—how to use the library, how to search the databases, and so on—with little time to explain why all the pieces fit together and why they are important. Worse, well-intentioned librarians often strive to cover as much as possible in these sessions, oversaturating and frustrating their student audience. Even in settings of brief duration with no follow-up, another approach is possible. Rather than attempting to demonstrate everything at once, we can interject effective, real-life motivational tactics into the session by highlighting the underlying purpose of the process demonstrated. In other words, we can focus not simply on “what” or “how” but on “why.” Providing this context and structure not only grounds students, it clarifies and demystifies the process. Understanding that purpose and method are as important as data better empowers students with strategies to pursue their own needs independently. This chapter focuses on graduate students, particularly those in doctoral programs, but with a little creative thinking, these strategies could also be adapted for application with undergraduate learners.

This I.R.B. approved study takes a look at the efficacy of small group workshops in the composition classroom and whether it is more beneficial for a student to remain in the same small groups between drafts, or whether it is better to change small groups and get a new set of eyes on a new draft. In my first-year English Composition course, ENG 103: Writing About Writing, I take a look at two different assignments, the Personal Narrative and the Research Paper, and how they changed over three drafts. Altering the group workshops for the first and second drafts, I administered surveys to scale how helpful the workshops were. To verify the results, I chose four different sets of essays to look at as case studies and break down how the drafts changed depending on the workshops. In the end, this study attempts to show how altering how small group workshops are run can be beneficial for the writer.

This dissertation focuses on the potential empowerment writing has among a homeless community in Atlanta, Georgia. Through the participation in a newly created writing workshop and a street newspaper in that community, the narrative and communication among writing participants demonstrate negotiations of self-identification as public and private writers and the situational influence writing has on their lives. The study adds to the “public turn” of writing instruction with the intention of helping to bridge the gap between traditional composition pedagogy in academia and such education in outside community. That participatory instruction reinforces the notion that writing and rhetorical performances can effect positive change in individual lives beyond that institutional space.

Source: Masters Abstracts International, Volume: 47-06, page: 3557. Advisers: Linda Lloyd; Linda Piller. Includes bibliographical references.

The design project presented here explores the relation between body and a garment. It is concerned simultaneously with the fundamental notion of a garment and the act of dressing. The project can be contextualized as a constructive design research since the aim does not involve analysis of the material world nor rational problem solving. Rather, the aim is to create new imaginary realities, and visualize them. As a startup method to construct a theory, workshops were set up using life size vertical action collages, in order to integrate the act of dressing with the aim to develop a new construction method. Two actors, one of them myself, were used to provide a greater diversity of perspectives and interpretations. A method of dressing which involved interlocking the body - limbs and waist - with vertically hanging textiles, was developed through the search for the holes, that constitute the infrastructure of a garment. The results are both artefacts, that visualize the new garment construction as well as a new routine of dressing through the novel method of garment construction. Dressing a body in textiles through interlocking which results in an intimate connection between body and the garment as the body reacts to the garment and vice versa. The motivation for exploring the act of dressing is an urge to reflect upon the fast evolving society of today which tends to emphasize a static relationship between body and a garment.

The main objective of this study is to determine main activity locations and correlation between different artifact types in an archaeological site with geographical information systems (GIS) and spatial data analyses. Knidian amphora workshops in Dat&ccedil / a peninsula are studied in order to apply GIS and spatial statistical techniques. GIS capabilities are coupled with some spatial statistical software and spatial data analysis steps are followed. Both point and area datasets are examined for the effective analysis of the same set of spatial phenomena. Visualizing the artifact distribution with the help of GIS tools enables proposing hypotheses about the study area. In exploration part of the study, those assumptions are tested and developed with the help of explorative methods and GIS. The results are discussed and assessed in terms of archaeological framework. Finally the results are compared with the archeo-geophysical anomalies and excavation results.

Mémoire (M.P.M.O.)--Université du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU