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Research in positive psychology continues to contribute to the understanding of the significance of human virtues as well as the value that experiencing positive emotions has on individual well-being, including building strengths, broadening resources, and increasing mental health. The benefits that the creative arts have on increasing psychological health and creating positive emotions are also an important but understudied area of research. The purpose of the current study was to examine, in a manner similar to the written disclosure paradigm, how the creation of mandalas while reflecting on the positive emotions of love and joy related to increased psychological well-being, and continued positive affect in a college sample. It was also hypothesized that the mere act of expressing personally felt emotions, regardless of positive or negative, while creating mandalas would reveal a significant increase in psychological and physical health relative to the control condition. Benefits to participants were measured in terms of changes in the variables of post-traumatic stress severity symptoms, depressive symptoms, anxiety, spiritual meaning, the frequency of physical symptoms and illness, as well as positive and negative affect. A series of one-way analyses of covariance (ANCOVA) comparing the experimental and control groups were conducted for all outcome measures at Time 2 and at 1-month follow-up. Results revealed no significant differences between the groups on any of the health measures. Next, a series of ANCOVA were also conducted comparing the experimental and control groups for general positive and negative affect and basic positive and negative emotion before and after each drawing session at Time 1, 2 and 3 as well as at the 1-month follow-up. Although sustained positive emotion was not supported between Time 3 and the 1-month follow-up, participants felt higher general positive affect and basic positive emotion after each drawing session focusing on love and joy. Implications of these results and further research will be discussed.

This thesis centres its analysis upon the fascination for the collective at the potential cost of a delimitation of individual expression, within the confines of the Movimento dos Trabalhadores Rurais Sem Terra (MST). From the perspective of an applied anthropology, and to the end of contributing a constructive critique of the MST, the thesis seeks to ascertain how the movement has structured itself through the micro-actions of its membership around the domain of collective tropes of identity and where this complex set of understandings is leading the movement, both in the immediate, and more long-term, futures. To these ends, the principal focus of analysis is how actors within the movement construct and understand experiences of movement logic and emotion, as they perceive it, in and around their ambit. The thesis is thus orientated from an ethnographic perspective; throughout, actors’ accounts and experiences are privileged to attempt to throw light upon the manifold processes that being a member of the MST renders part of daily life. The thesis argues that in this extraordinarily dynamic time in Brazil, with socio-economic conditions so different to when the movement was founded, flexibility is going to be key as to whether the MST can endure, remaining relevant to its members and in a position where it can attempt to address its strategic aims. The thesis suggests that the movement faces a signal dilemma regarding the very device on which it has built its success, the unified collective front into which MST members’ identities can be subsumed. This fascination for the collective and its correlates, a hostile attitude to the media and the polarisation that can separate MST members from wider society, is explored through a series of differing contexts and the thesis closes with conclusions embedded within the framework of an applied anthropology; in pragmatic terms, how can the MST best achieve its stated goals at this historically significant point of its trajectory.

This thesis deals with the artistic expression of handicapped children. The first part is devoted to the theoretical background of the topic. Provides basic information about children's artistic expression. It deals with the use of creative expression for educational and therapeutic purposes. Describes some of the current knowledge about artistic expression of children with disabilities. A substantial part is devoted to research in the field of artistic expression of children with disabilities. The survey has a qualitative character and features of action research. It focuses on a specific group of children of primary school age. It seeks to describe and identify any specifics in their artistic process and outcome. Findings of fact submitted by the stories of children that reflects their individual expression (not only artistic). The work also showcases the contemporary art form of special education in the chosen institution. Based on interviews with teachers and personal experience with art education for children with disabilities writer looking for a suitable pedagogical approach. He is also the curricular document analysis and tries to formulate recommendations to improve the current practice of art education for children with disabilities. .

Este trabalho tem como objetivo principal analisar de que modo a multiplicidade de espaços existente na Síria forma regiões de expressões artísticas diversas. As músicas e as danças desse país contêm, intrínsecos às suas escalas e gestos, os elementos do espaço percebido pelo homem. Nesta pesquisa, ressalta-se que o espaço interfere, mas não determina estas escolhas; outros fatores - aqui abordados - também contribuem para a elaboração artística. No presente trabalho, o espaço, constituído da paisagem mais as relações nela estabelecidas, não é considerado neutro. Ele age sobre as pessoas, assim como estas agem sobre ele; o homem está em contínua - e nem sempre consciente - relação com os atributos do seu meio. Como se analisa aqui, a estrutura espacial, a temperatura e a umidade de uma região, sua paisagem sonora (conjunto de sons ao qual um lugar está submetido), os sons e os gestos do cotidiano e outras estruturas maiores interferirão no repertório de sons que é escolhido para fazer música. Além disso, estes elementos imprimirão marcas posturais e de tonicidade muscular, que afetarão os movimentos utilizados para dançar. / This work has as its main objective to analyze how the multiplicity of spaces that exists in Syria forms regions of artistic expressions different among them. The music and dances of this country have, intrinsic to their scales and gestures, elements coming from the space noticed by the man. In this research, it is emphasized that the space interferes, but do not determines theses choices; other factors considered here also contribute to the artistic elaboration. In this work, the space, constituted by the landscape plus the relations set in it, is not considered neutral. It acts on people as they act on him; man is in continuous - and not always conscientious - connection with his environment attributes. As we analyze here, the special structure, the temperature and the humidity of a region, its sonorous landscape (sounds to which a place is submitted), the daily sounds ahd gestures plus other major structures interfere in the sounds repertoire that is chosen to make music. Furthermore, these elements will impress postural marks and marks of muscular tonus that affect movements used to dance.

Under the auspices of Article 10 of the European Convention on Human Rights the right to freedom of expression is said to be held by everyone and to include the freedom to hold opinions and to receive and impart information and ideas without interference by public authority, subject to the limitation clauses outlined in Article 10(2). Whilst the text of Article 10 therefore makes no explicit reference to specifically artistic expression, the European Court of Human Rights has, in its interpretation of ‘information and ideas’, nevertheless accepted that artistic expression does indeed fall within the ambit of Article 10’s protection of freedom of expression. However, despite the Court recognising artistic expression as a form of expression within the framework of Article 10, conclusions reached in the early case law concerning the issue of controversial artworks would appear to suggest the judicial creation of an implicit hierarchy of expression under which artistic expression is seen to enjoy a relatively low level of protection. Given the non-differentiated articulation of the right to freedom of expression enounced in the text of Article 10, the creation of such a hierarchy of expression is therefore a cause for doctrinal concern. In seeking to assess this misnomer the thesis’ analysis of the treatment of artistic expression under Article 10 of the European Convention on Human Rights may be distilled in to two component parts. Firstly, a theoretical basis will be established from which artistic expression may be located within the context of the discourse pertaining to freedom of expression more generally. Having confirmed that, whilst of a distinctive, sui generis nature, artistic expression may indeed constitute ‘expression’ for the purposes of freedom of expression doctrine the second part of the thesis will examine the particular question of artistic expression’s treatment under Article 10 of the European Convention on Human Rights.

The purpose of this study was to investigate the effectiveness of a series of perceptual training and drawing lessons on the drawing behaviour of children of eight years of age, in year three classes in some South Australian middle income schools. A literature search revealed that the drawing behaviour of children is responsive to perceptual training and drawing classes, and furthermore that an improvement in drawing ability has resulted from such programmes. Children of eight years of age were selected for two reasons. Their drawing development has generally become schematic, which means that a certain degree of stereotyping is used in their drawing. And in addition the perceptual development of eight year olds is considered by many perceptual theorists to be sufficiently advanced for a series of training lessons. Also as a result of perceptual development children of eight years of age are able to participate in a drawing test which involves the drawing of objects or models based on the observation of such objects or models. A pretest-posttest with control group design was used in this study. The experimental and control groups were selected from a sufficiently large sample of schools. The groups selected were randomly assigned to be experimental or control groups in the study. A Salome modified drawing test was administered to each experimental and control group in the study. This drawing test which consisted in the subjects being required to draw three objects, was administered as a pretest and a posttest to all groups by the researcher. The experimental groups received a treatment which consisted of six weekly sessions involving perceptual training and drawing exercises. The control group continued with their normal art lessons with their class teacher. The test drawings were scored by three judges on a Salome modified rating scale. A scoring procedure was devised so that the judges were unaware whether the drawings to be scored were pretest, or posttest, control group or experimental group. The following statistical tests were conducted on the drawing scores using an SPSS computer programme: a t-test for age a t-test to determine whether there was a significant difference between the mean scores of the experimental and the control groups. an analysis of variance to determine whether there was a significant difference between the gain scores of the experimental and control groups. - and Pearson Product Moment Correlation Coefficients for rater inter-reliability. All statistical tests demonstrated that the experimental groups gained significantly higher posttest drawing scores. All statistical tests produced results as the 0.05 level of significance. The implications for curriculum design, and the practice of teaching drawing in primary schools, are that interventionist drawing programmes of the kind used in this study do aid drawing development. Drawing is a basic skill in art, thus a perceptual training and drawing programme which aids drawing development will also improve other modes of artistic expression.

The study is holistic, comprehensive, integrated analysis concerning artistic expression of contemporary architectural trends in Lithuania, influences of different Modern architecture trends and their interactions with each other. / Apibendrinantis ir holistinis tyrimas atskleidžia ir įvardina iki šiol Lietuvos architektūrologijoje netyrinėtas XX a. antros pusės architektūros kryptys atspindinčias nagrinėjamo laikmečio sociokultūrinius ir politinius procesus. Tyrimo medžiaga nustato Lietuvos architektūros meninės raiškos vietą pasauliniame kontekste,tuo pačiu išryškina vietinės architektūros savitumus. Naujai įvardintos kryptys ir tendencijos sukuria teorinį pagrindą tolesniems Lietuvos architektūros meninių procesų aiškinimams.

Apibendrinantis ir holistinis tyrimas atskleidžia ir įvardina iki šiol Lietuvos architektūrologijoje netyrinėtas XX a. antros pusės architektūros kryptys atspindinčias nagrinėjamo laikmečio sociokultūrinius ir politinius procesus. Tyrimo medžiaga nustato Lietuvos architektūros meninės raiškos vietą pasauliniame kontekste,tuo pačiu išryškina vietinės architektūros savitumus. Naujai įvardintos kryptys ir tendencijos sukuria teorinį pagrindą tolesniems Lietuvos architektūros meninių procesų aiškinimams. / The study is holistic, comprehensive, integrated analysis concerning artistic expression of contemporary architectural trends in Lithuania, influences of different Modern architecture trends and their interactions with each other.

Este trabalho tem como objetivo principal analisar de que modo a multiplicidade de espaços existente na Síria forma regiões de expressões artísticas diversas. As músicas e as danças desse país contêm, intrínsecos às suas escalas e gestos, os elementos do espaço percebido pelo homem. Nesta pesquisa, ressalta-se que o espaço interfere, mas não determina estas escolhas; outros fatores - aqui abordados - também contribuem para a elaboração artística. No presente trabalho, o espaço, constituído da paisagem mais as relações nela estabelecidas, não é considerado neutro. Ele age sobre as pessoas, assim como estas agem sobre ele; o homem está em contínua - e nem sempre consciente - relação com os atributos do seu meio. Como se analisa aqui, a estrutura espacial, a temperatura e a umidade de uma região, sua paisagem sonora (conjunto de sons ao qual um lugar está submetido), os sons e os gestos do cotidiano e outras estruturas maiores interferirão no repertório de sons que é escolhido para fazer música. Além disso, estes elementos imprimirão marcas posturais e de tonicidade muscular, que afetarão os movimentos utilizados para dançar. / This work has as its main objective to analyze how the multiplicity of spaces that exists in Syria forms regions of artistic expressions different among them. The music and dances of this country have, intrinsic to their scales and gestures, elements coming from the space noticed by the man. In this research, it is emphasized that the space interferes, but do not determines theses choices; other factors considered here also contribute to the artistic elaboration. In this work, the space, constituted by the landscape plus the relations set in it, is not considered neutral. It acts on people as they act on him; man is in continuous - and not always conscientious - connection with his environment attributes. As we analyze here, the special structure, the temperature and the humidity of a region, its sonorous landscape (sounds to which a place is submitted), the daily sounds ahd gestures plus other major structures interfere in the sounds repertoire that is chosen to make music. Furthermore, these elements will impress postural marks and marks of muscular tonus that affect movements used to dance.