The study was conducted to determine if learnings of spatial perception can be increased by the utilization of motion information experiences as measured by perceptual tests of voluminality and visualization. Perceptual change was specifically examined regarding the use of depth in paper sculpture production and the use of spatial relations in figure-completion tasks.The study's research design consisted of 77 white, lower-middle-class, fourth-grade subjects used as intact classroom groups of two pretest-posttest treatment groups, one pretest-posttest control group and one posttest-only control group.Two experimental treatments incorporating different instructional methods were implemented to promote perceptual change in subjects. One treatment provided for motion information experiences by depicting continuously changing views of several sculptures in a motion picture film. The motion information treatment also contained a monocular depth cue explanation which was applied to the film and assisted by manipulating the film projector's action. The treatment was contrasted with another which utilized stationary information presented in photographicslides indicating three views of each filmed sculpture. Since this stationary information treatment used the same procedures regarding depth cue instruction and discussion, it served to isolate the motion variable found in the other treatment. The pretest-posttest control group received no treatment but the posttest-only control group experienced the same visual and verbal communication contained in the motion information treatment.The instruments that measured pretest and posttest achievement were a Voluminal Form Test (VFT) devised by the investigator and the Spatial Relations Test (SRT) from the Primary Mental Abilities series. The former test was used by trained judges to determine the degree of voluminality displayed in sculptures produced by the research subjects. Subject's visualization ability was measured by the standardized SRT.The nonrandomized subject's scores were processed by an analysis of covariance procedure that adjusted the respective posttest group means of the pretested groups. The adjusted means were then utilized in t tests. An analysis of variance procedure was also conducted between the unadjusted posttest means of the motion information treatment group and the posttest-only control group.Results of the t tests that used VFT and SRT scores indicated nonsignificant differences existed between the three pretested groups. The differences between the motion information treatment and the unpretested control groups were also not significant, judging by ANOVA's results. These results were found regarding both voluminality and visualization data.Based on the conditions, methods and findings in the study, four conclusions were inferred concerning hypothesized change in subject's spatial perception as demonstrated in either sculpture production or visualization test performance.1. Visual motion information experiences analyzed through monocular depth cue utilization training did not affect greater spatial perception than did identical training using stationary information experiences.2. Improved spatial perception was not more affected by visual motion information experiences analyzed through monocular depth cue utilization training than by a nonvisual information-and-training experience.3. Training consisting of visually stationary information experiences analyzed through monocular depth cue utilization did not affect increased spatial perception as compared to such effects associated with a nonvisual information-and-training experience.4. When analyzed through monocular depth cue utilization training, pretested visual motion information experiences did not affect greater spatial perception than did nonpretested, but otherwise identical, motion information experiences.Due to possible validity threats from an irregularity in the procedures and the use of nonrandomized subjects, the last conclusion regarding pretest sensitization was most cautiously offered.

This thesis examines expressions of self-identity used by creative men and women in early modern Italy (ca. 1450-1650). Self-fashioning strategies were based upon contested notions of melancholy, genius, virtue and decorum which were profoundly influenced by ancient and medieval intellectual traditions ... . / Graduate / 0377 / 0453

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This dissertation explores the conflicts, contradictions and paradoxes inherent in the lives of those women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to the lives of female artists and academics. The dissertation arises from a study of my own experience as woman, writer and academic. / Inquiries into creativity and feminist, critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institution of academia, an institution originally created by, and for, men and still strongly influenced by this history. These inquiries allow a deeper understanding of the impact of this institution on the life and work of the female artist both within and beyond the academy. As a self-study, the distinctive voice of this dissertation is developed through autobiographical narratives, journals, letters and a development of personal metaphors, as well as through a dialogue with others. This is therefore a performative text in which narratives map a process of transformation that traces the artist's path from silence to voice. / This work has important implications for women in higher education as self-study is revealed to be an essential methodological instrument for the articulation of alternative, authentic perspectives of marginalized and under-represented women. Moreover, the acknowledgement of the academic/artist paradigm in teacher education opens the path for a re-viewing of the metaphors of self-denial, impersonation and masks that are part of the landscape of teacher knowledge.

This thesis draws upon an interdisciplinary approach characteristic of a performance perspective to examine the ways in which performances of identity and belonging are constituted through social dance, play and the engagement of city space. The study is based upon detailed observational and participatory data gathered over the course of one year (2005-2006) while attending indie dance parties within the urban centre of East Vancouver. The research follows the movement of Vancouver's artist-identified youth who strive to create something outside of the 'big-business' dance clubs that occupy the city of Vancouver's appointed entertainment district, weaving together an alternate, complex and mobile portrait of the city in play. The thesis begins with the concept of the mainstream and argues that though the concept manifests sometimes as an ambiguous construct that indie youth define themselves against, the mainstream is much more than an imaginary entity. The mainstream is both material and geographical while the relationship between dominant culture and some youth subcultures are mutually dependent. The concept of social space features prominently within the thesis; interviewees constitute themselves in relation to what it means to be 'in' and 'of' East Vancouver, revealing their identities as closely tied to place and also to social class. Identities are not only acquired negatively (in opposition), but are also positively acquired, through constitutive practices. Noting that social class is materially based, I argue that it is also both performed and performative, as a persistent mode of distinction within the indie scene. These complexities of performance are approached through the rubric of social dancing, a playful yet grounded practice that is productive precisely because it enables analyses that are at the same time social, spatial and embodied. Indie dance events offer the opportunity to connect participants to place (East Vancouver) and through body movement (dancing) to reaffirm membership in this group.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / "May, 2003" Vita. Includes bibliographical references (leaves 471-477). Also available on the World Wide Web.

Thesis (M.S.W.)--Smith College School for Social Work, Northampton, Mass., 2007 / Thesis submitted in partial fulfillment for the degree of Master of Social Work. Includes bibliographical references (leaves 85-86).

Thesis (M.S.)--Indiana University, 2007. / Includes bibliographical references (leaves 44-47).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaves 24-25).

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William J. Mahoney. Bibliography: leaves 125-127.