Introduction: Wushu, Chinese martial art, consists of modern and traditional groups of styles. Previously it was researched that modern and traditional martial arts have different outcomes. Since traditional wushu is said to be rooted in Chinese values, its environment is a unique place to research psychological collectivism. Moreover, mental toughness is a new topic in the field of martial arts, and its connection with psychological collectivism was only researched on the society, not personality level. Methods: This mixed methods research consisted of qualitative Study 1 and quantitative Study 2. Study 1 aimed to understand, what is the experience of psychological collectivism in traditional wushu training. Semi-structured interviews were conducted with eight European adult participants of traditional wushu and were analyzed using Interpretative Phenomenological Analysis. In the Study 2, 277 European adult respondents (111 modern wushu and 166 traditional wushu practitioners) filled in the Sport Mental Toughness Questionnaire and Psychological Collectivism Questionnaire. To research the relationship of practicing modern or traditional wushu with psychological collectivism and mental toughness, several steps were taken. First, the Exploratory and Confirmatory Factor Analysis were run to test both models. Next, the final model was tested using Structural Equation Modelling. Model comparisons, path analysis and effects were completed. Results: In Study 1, five themes emerged from the data. The first described how kung fu (traditional wushu) provided structure and direction for the interviewees. Also, it described how practitioners better adapted to the outer world and their ability to switch from being gentle to being ruthless. The second theme described perception of time. The third one explored the kung fu community, provided a probe into the group identity, and looked at how positioning closer to the master provided better learning options; the community served as the knowledge keeper. The fourth theme explored bridging gaps in communication. Finally, the fifth theme discovered seriousness of the practitioners, who had to endure mentally and physically torturous training. In Study 2, during the structural equation modeling the final model was confirmed as well as differences in the two groups of modern and traditional wushu. Moreover, it was found, that the number of joined competitions or years of training did not result in a significant path with mental toughness, but perceived level of skill did. The relationship between psychological collectivism and mental toughness was found only in the traditional wushu group, limited to a marginal p level. Conclusion: Psychological collectivism was explored in traditional wushu and helped to understand the structure and functioning of the wushu community. The seriousness of its members served as a commodity, to negotiate better position in the group. In the quantitative study, this seriousness seemed to be connected with the perceived level of skill. This variable resulted in the significant path with mental toughness. It is suggested that the social environment of the serious practitioners, who put themselves through demanding training, helped to develop mental toughness. This development is not based on the number of years in training, but rather on the way the practitioners perceive themselves.

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This study explored the interaction between three individual variables, need for cognition and tolerance of ambiguity, and the symbol system used in messages. Goodman's (1976) dimension of notationality of systems is proposed as the continuum of interest upon which sources of information vary. It was hypothesized that high tolerance for ambiguity and need for cognition would lead to increased numbers of interpretations of nonnotational messages over notational ones, and over people low in these traits. Methods utilized in the study are overviewed. Results indicate that subjects high in need for cognition do generate more interpretations of messages in general than do others, however no effect was found for ambiguity tolerance or for message type. Reasons for these results are offered, and directions for further research suggested.

Relationships between reading and writing -- Formation of a thought-world that is a cluster of ideas and associations related to a literacy event -- Establishment of a progression of interrelated ideas from the thought-world -- Creation of intersentence cohesion by filling of gaps.

This study looks at artists’ careers as paths defined by their relative position in a dynamic professional network where innovation and creativity are highly regarded. Today, the theoretical and empirical study of networks has demonstrated that in some professions the individuals’ position in the network can facilitate or constrain their success. In studies about diffusion of information, for instance, some authors have found that individuals connected to a greater variety of sources are more creative and perform better. I explored this idea by looking at a network of visual artists and art institutions in Miami, and found a positive correlation between position and success, though, not explained by variety exclusively. In the network, artistic success is a function of connecting both across artistic categories and a hierarchical system; therefore, in an art world, creativity and innovation are mediated by key members, who distribute information and resources through affiliation, prominence and brokerage. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2016. / FAU Electronic Theses and Dissertations Collection

A arte tem sido apontada como um possível instrumento no tratamento terapêutico de pacientes acometidos de transtornos psíquicos, na medida em que pode desencadear emoções e sentimentos represados no consciente e no inconsciente. Um instrumento que pode despertar subjetividades. Esta tese foi desenvolvida através de uma Residência Artística com pacientes adultos, de ambos os sexos, acometidos de transtornos psíquicos, internados no Hospital Ulysses Pernambucano (HUP) e que frequentavam o Centro de Atividades Terapêuticas (CAT), cujo objetivo é acolher os pacientes e estimular as várias linguagens artísticas. Para tanto, intencionamos, através da Residência Artística, identificar o uso da arte como dispositivo clínico de expressão de subjetividades para pessoas com transtornos psíquicos, com vistas à proposição desta modalidade de tratamento para esses pacientes. O método utilizado foi o cartográfico, adequado para pesquisa de campo visando o estudo de subjetividades. Também foi elaborado um Diário de Campo com o intuito de registrar o passo-a-passo da Residência Artística, do primeiro ao último momento. Fotografias e gravações foram realizadas e, neste último caso, transcrito o seu conteúdo para subsidiar a pesquisa, sendo as informações incluídas no Diário de Campo. A Residência Artística constou de sessões de pintura e desenho, três vezes por semana, no período de setembro de 2011 a maio de 2012, com participação inteiramente voluntária dos pacientes. Foram montados dois cavaletes itinerantes, inicialmente colocados na sala do CAT, sendo transferidos posteriormente para o pátio da instituição. A princípio tímidos e curiosos, os pacientes foram se chegando pouco a pouco, pintavam e desenhavam os motivos que desejavam, utilizando tintas, pinceis, lápis, madeira, papel e tecidos. Concomitante à realização das experiências artísticas, alguns dançavam, cantavam, reclamavam, contavam histórias, escreviam, xingavam, enfim, expressavam as mais diferentes maneiras de ser e estar naquele lugar; emoções represadas que iam sendo destravadas. Uma rica interação artística e interpessoal foi formada, fortes laços de amizade, confiança, motivação, companheirismo, amor. Enquanto pintavam, os pacientes conversavam sobre seus anseios, tristezas, experiências de vida, fatos e acontecimentos significantes para eles, dando contorno à palavra pela arte e à arte pela palavra aos seus diferentes estados de ser. O trabalho artístico resultou em um total de 14 telas pintadas com tinta acrílica, tamanho 2,0x1,60, abordando motivos diversos; foi realizada uma instalação de parede com madeiras pintadas, bem como jogos em madeira, diversos desenhos sobre papel. Os resultados indicam uma sensível mudança no estado psíquico dos pacientes, interação com a equipe de arte/educação, criando laços de amizade e ajuda mútua. Ficou evidente uma melhoria substancial nas atitudes, na motivação e no comportamento de muitos pacientes, denotando que a arte pode ser um importante instrumento como coadjuvante no tratamento desses pacientes. Além disso, a experiência vivida possibilitou ampliar o olhar acerca da dinâmica institucional, sob a ótica das dificuldades enfrentadas para continuar a exercer sua missão, e as modificações necessárias em direção a uma reforma psiquiátrica não excludente, voltada à dignidade de todo ser humano, independente de seus estados de ser. / The art has been implicated as a possible therapeutic tool in the treatment of patients suffering from mental disorders in that it can trigger emotions and feelings repressed in the conscious and in the unconscious. An instrument that can arouse subjectivities. This thesis work was developed through an Artistic Residency with adult patients of both sexes, suffering from mental disorders, internee in the Ulysses Pernambucano Hospital (HUP) and attending the Therapeutic Activities Center (CAT), whose goal is to host patients and stimulate the various artistic languages. To this end, we intend, through the artistic residency, identify the use of art as a clinical device of subjectivities expression for people with mental disorders, with a view to proposing this treatment modality for these patients. The method used was the cartographic, suitable for the fieldwork that aims study subjectivities. It has also produced a Field Journal in order to register the step-by-step of the Artistic Residency, from first to last moment. Photographs and recordings were made and, in the latter case, transcribed its contents to subsidize the research, and its informations included in the Field Journal. The Artistic Residency consisted of painting and drawing sessions, three times a week, from September 2011 to May 2012, with entirely voluntary participation of patients. Two roving easels were built, initially placed in the CAT room, being transferred later to the courtyard of the institution. At first shy and curious, patients were coming up slowly, painted and sketched the reasons they wanted, using paints, brushes, pencils, wood, paper and fabrics. Concomitant with the realization of artistic experiences, some danced, sang, complained, told stories, wrote, cursed, finally, at long last, they expressed the most different ways of being and living in that place; repressed emotions that were being unlocked. A rich artistic and interpersonal interaction was formed, strong bonds of friendship, trust, motivation, companionship, love. While they painted, patients talk about their anxieties, sorrows, life experiences, facts and events significant to them, giving contour to the word by art and art by the word of their different "states of being". The artwork resulted in a total of 14 screens painted with acrylic paint, size 2,0 x 1,60 , addressing various reasons; a wall installation made of painted wood was done, games in wood, several drawings on paper were performed. The results indicate a significant change in mental status of patients, interaction with the art/education team, creating bonds of friendship and mutual aid. It was evident a substantial improvement in attitudes, motivation and behavior of many patients, showing that art can be an important tool as an adjunct in the treatment of these patients. Moreover, the lived experience abled broaden perspectives on institutional dynamics, from the perspective of the difficulties faced in continuing to pursue its mission, and the necessary changes toward a psychiatric reform nonexclusive, facing the dignity of every human being, regardless of their state of being.

Made available in DSpace on 2017-06-01T18:29:29Z (GMT). No. of bitstreams: 1 ana_elizabeth_lisboa_cavalcanti.pdf: 35306573 bytes, checksum: c027a193982cbd18452e080f17330ded (MD5) Previous issue date: 2013-12-20 / The art has been implicated as a possible therapeutic tool in the treatment of patients suffering from mental disorders in that it can trigger emotions and feelings repressed in the conscious and in the unconscious. An instrument that can arouse subjectivities. This thesis work was developed through an Artistic Residency with adult patients of both sexes, suffering from mental disorders, internee in the Ulysses Pernambucano Hospital (HUP) and attending the Therapeutic Activities Center (CAT), whose goal is to host patients and stimulate the various artistic languages. To this end, we intend, through the artistic residency, identify the use of art as a clinical device of subjectivities expression for people with mental disorders, with a view to proposing this treatment modality for these patients. The method used was the cartographic, suitable for the fieldwork that aims study subjectivities. It has also produced a Field Journal in order to register the step-by-step of the Artistic Residency, from first to last moment. Photographs and recordings were made and, in the latter case, transcribed its contents to subsidize the research, and its informations included in the Field Journal. The Artistic Residency consisted of painting and drawing sessions, three times a week, from September 2011 to May 2012, with entirely voluntary participation of patients. Two roving easels were built, initially placed in the CAT room, being transferred later to the courtyard of the institution. At first shy and curious, patients were coming up slowly, painted and sketched the reasons they wanted, using paints, brushes, pencils, wood, paper and fabrics. Concomitant with the realization of artistic experiences, some danced, sang, complained, told stories, wrote, cursed, finally, at long last, they expressed the most different ways of being and living in that place; repressed emotions that were being unlocked. A rich artistic and interpersonal interaction was formed, strong bonds of friendship, trust, motivation, companionship, love. While they painted, patients talk about their anxieties, sorrows, life experiences, facts and events significant to them, giving contour to the word by art and art by the word of their different "states of being". The artwork resulted in a total of 14 screens painted with acrylic paint, size 2,0 x 1,60 , addressing various reasons; a wall installation made of painted wood was done, games in wood, several drawings on paper were performed. The results indicate a significant change in mental status of patients, interaction with the art/education team, creating bonds of friendship and mutual aid. It was evident a substantial improvement in attitudes, motivation and behavior of many patients, showing that art can be an important tool as an adjunct in the treatment of these patients. Moreover, the lived experience abled broaden perspectives on institutional dynamics, from the perspective of the difficulties faced in continuing to pursue its mission, and the necessary changes toward a psychiatric reform nonexclusive, facing the dignity of every human being, regardless of their state of being. / A arte tem sido apontada como um possível instrumento no tratamento terapêutico de pacientes acometidos de transtornos psíquicos, na medida em que pode desencadear emoções e sentimentos represados no consciente e no inconsciente. Um instrumento que pode despertar subjetividades. Esta tese foi desenvolvida através de uma Residência Artística com pacientes adultos, de ambos os sexos, acometidos de transtornos psíquicos, internados no Hospital Ulysses Pernambucano (HUP) e que frequentavam o Centro de Atividades Terapêuticas (CAT), cujo objetivo é acolher os pacientes e estimular as várias linguagens artísticas. Para tanto, intencionamos, através da Residência Artística, identificar o uso da arte como dispositivo clínico de expressão de subjetividades para pessoas com transtornos psíquicos, com vistas à proposição desta modalidade de tratamento para esses pacientes. O método utilizado foi o cartográfico, adequado para pesquisa de campo visando o estudo de subjetividades. Também foi elaborado um Diário de Campo com o intuito de registrar o passo-a-passo da Residência Artística, do primeiro ao último momento. Fotografias e gravações foram realizadas e, neste último caso, transcrito o seu conteúdo para subsidiar a pesquisa, sendo as informações incluídas no Diário de Campo. A Residência Artística constou de sessões de pintura e desenho, três vezes por semana, no período de setembro de 2011 a maio de 2012, com participação inteiramente voluntária dos pacientes. Foram montados dois cavaletes itinerantes, inicialmente colocados na sala do CAT, sendo transferidos posteriormente para o pátio da instituição. A princípio tímidos e curiosos, os pacientes foram se chegando pouco a pouco, pintavam e desenhavam os motivos que desejavam, utilizando tintas, pinceis, lápis, madeira, papel e tecidos. Concomitante à realização das experiências artísticas, alguns dançavam, cantavam, reclamavam, contavam histórias, escreviam, xingavam, enfim, expressavam as mais diferentes maneiras de ser e estar naquele lugar; emoções represadas que iam sendo destravadas. Uma rica interação artística e interpessoal foi formada, fortes laços de amizade, confiança, motivação, companheirismo, amor. Enquanto pintavam, os pacientes conversavam sobre seus anseios, tristezas, experiências de vida, fatos e acontecimentos significantes para eles, dando contorno à palavra pela arte e à arte pela palavra aos seus diferentes estados de ser . O trabalho artístico resultou em um total de 14 telas pintadas com tinta acrílica, tamanho 2,0x1,60, abordando motivos diversos; foi realizada uma instalação de parede com madeiras pintadas, bem como jogos em madeira, diversos desenhos sobre papel. Os resultados indicam uma sensível mudança no estado psíquico dos pacientes, interação com a equipe de arte/educação, criando laços de amizade e ajuda mútua. Ficou evidente uma melhoria substancial nas atitudes, na motivação e no comportamento de muitos pacientes, denotando que a arte pode ser um importante instrumento como coadjuvante no tratamento desses pacientes. Além disso, a experiência vivida possibilitou ampliar o olhar acerca da dinâmica institucional, sob a ótica das dificuldades enfrentadas para continuar a exercer sua missão, e as modificações necessárias em direção a uma reforma psiquiátrica não excludente, voltada à dignidade de todo ser humano, independente de seus estados de ser.

Text in Afrikaans / In the performing arts (music, dance and drama) affective factors do not only play a role during the performance of a work, but are present from the moment when a work is selected up to the completion of the performance. In order to analyse the continuous presence of affective factors in the performing arts, a literature study was undertaken in which the affective requirements of music, dance and drama works in different style periods were identified. The affective implications of adolescent development in a performing arts context were also researched. The most important affective factors which can influence the arts learner seem to be motivation, stress, anxiety and self-concept. A questionnaire was developed to measure these factors in a music, dance and drama context. An empirical investigation was carried out involving 297 learners. With the data obtained from the empirical investigation the reliability and validity of the questionnaire could be determined. Norms were also developed for the questionnaire. Hypotheses on the role of affective factors in the performing arts were tested statistically. The hypotheses dealt with the underlying relationship between the different affective factors, the role of affective factors in the different performing arts, the development of affective factors during the secondary school years, the relationship between affective factors and achievement in an art field as well as the role of other variables such as gender, social relations and home circumstances. Recommendations were made to teachers, parents and learners. The recommendations are aimed at the enhancement of motivation and self-concept as well as the reduction of anxiety and stress. / Teacher Education / D.Ed.

Text in English / The present paper analyses the neuroanatomical and neuropsychological backgrounds of art reception and art creation in modern visual art and creative processes. It critically presents two models of aesthetic experience to provide a comprehensive theoretical basis for the discussion. The research purpose is to show that with increasing experience and expertise the referential frame of the aesthetic judgment is changing and that neural processes involved in object recognition provide a starting point for visual aesthetics. Thus, the investigation focuses on constructing and testing neuropsychological theories that fall in the domain called 'neuroaesthetics'. These theories, in turn, serve as a starting point to formulate neural laws of art and aesthetics and aesthetic experience. Some artistic styles, such as expressionism, reflect specific neural processes. Various studies indicate correlations between hemispheric specialisation and art or creativity and show the right hemisphere plays a particular role in it. However, studies exploring the neural correlates of aesthetic preference have yielded mixed results. Furthermore, neuroimaging studies have proved that different categories of modern artworks are processed in different areas of the brain. These diverging results will be discussed in a critical assessment of the two models of aesthetic experience. Besides, the question of identifying exclusive neural correlates of aesthetic preference will be raised. Comparing amateurs and experts has revealed the more reduced the cortical activation, the more efficiently it works. Biological and neuropsychological factors of creativity point out the meaning of the activation level, cognitive inhibition and prefrontal cortex. Divergent thinking differs from convergent thinking in terms of the neural level. Neurodegenerative processes and brain injuries sometimes influence the artistic output surprisingly or even launch it. Lesion studies contributing to understanding art experience will be explained. / Psychology / M.A. (Psychology)

The present paper analyses the neuroanatomical and neuropsychological backgrounds of art reception and art creation in modern visual art and creative processes. It critically presents two models of aesthetic experience to provide a comprehensive theoretical basis for the discussion. The research purpose is to show that with increasing experience and expertise the referential frame of the aesthetic judgment is changing and that neural processes involved in object recognition provide a starting point for visual aesthetics. Thus, the investigation focuses on constructing and testing neuropsychological theories that fall in the domain called 'neuroaesthetics'. These theories, in turn, serve as a starting point to formulate neural laws of art and aesthetics and aesthetic experience. Some artistic styles, such as expressionism, reflect specific neural processes. Various studies indicate correlations between hemispheric specialisation and art or creativity and show the right hemisphere plays a particular role in it. However, studies exploring the neural correlates of aesthetic preference have yielded mixed results. Furthermore, neuroimaging studies have proved that different categories of modern artworks are processed in different areas of the brain. These diverging results will be discussed in a critical assessment of the two models of aesthetic experience. Besides, the question of identifying exclusive neural correlates of aesthetic preference will be raised. Comparing amateurs and experts has revealed the more reduced the cortical activation, the more efficiently it works. Biological and neuropsychological factors of creativity point out the meaning of the activation level, cognitive inhibition and prefrontal cortex. Divergent thinking differs from convergent thinking in terms of the neural level. Neurodegenerative processes and brain injuries sometimes influence the artistic output surprisingly or even launch it. Lesion studies contributing to understanding art experience will be explained. / Psychology / M.A. (Psychology)