The purpose of this study was to investigate how teachers are utilizing school sponsored art clubs after the school day ends. The research was comprised of two parts of data collection. The first was an electronic questionnaire that was dispersed to the entire visual art faculty in Round Rock Independent School District, Round Rock, Texas. The second part of the research consisted of semi-structured interviews with selected qualified participants. This research is intended to better prepare current art club sponsors and encourage other art educators to take on the responsibility of art club sponsorship at their school. Using mixed methodology, an investigation was made into art club purposes, curriculum, programs, activities, benefits and impacts on students, sponsors and schools. Through this research I have gained insight into how art clubs function in one specific suburban school district in Texas. I believe the information gained from this research can be helpful to other districts and art clubs for the benefit of both art club sponsors and art club members. / text

Thesis (M.A.)--University of Adelaide, Dept. of Womens Studies, 1997. / Includes bibliographical references (leaves 78-87).

Diss.--Philosophie--Leipzig, 1981. / Bibliogr. p. I-XXXXIV.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.Arch.)--University of Hong Kong, 1997. / Includes special report study entitled : In search of performance space. Includes bibliographical references. Also available in print.

Thesis--University of Pennsylvania. / Includes bibliographical references (leaves xvi-xlv).

Cette thèse se propose d'étudier une histoire culturelle et sociale de la culture cinématographique du mouvement ciné-club à travers le prisme de la sociologie de l'expertise afin de poser la question de l'existence d'une « cinéphilie ciné-club ». Il s'agit dans un premier temps de définir un espace cinématographique spécifique (réseau associatif d'éducation populaire) sur une période donnée (de la Libération jusqu'à la fin des années 1990) afin de pouvoir identifier les différents acteurs qui gravitent au sein de cet espace en recouvrant différents statuts : administrateurs de fédérations, rédacteurs de revues, « théoriciens » du ciné-club, animateurs et adhérents. De cette analyse émerge trois notions qui constituent la clé de voûte de ce travail : « l'idéal ciné-club », le « modèle ciné-club » et les pratiques des ciné-clubistes. La première renvoie à ce que devrait être le ciné-club selon les principaux représentants du mouvement, soit un moyen de former le spectateur amateur par et pour le cinéma tout en lui donnant la parole dans une perspective d'émancipation culturelle et sociale. La seconde notion représente l'ensemble des méthodes (schéma « présentation-projection-discussion », etc.) et la documentation (fiches, manuels pour animateurs, revues spécialisées, etc.) qui permettent de diffuser un tel idéal tout en constituant un savoir cinématographique légitime. La troisième notion questionne les pratiques effectives des adhérents et des animateurs qui se développent au sein du mouvement. Il s'agit donc de confronter ces trois aspects pour questionner l'existence d'une culture cinématographique commune à l'ensemble du mouvement ciné-club / This thesis suggests studying a cultural and social history of the movie-club movement through the prism of the sociology of the expertise to ask the question of the existence of a "movie-club cinemaddiction" which would be appropriate to the movie-club movement . It is a question at first of defining a specific film area (popular educational associative network) over a period given (of the Liberation till the end of 1990s) to be able to identify the various actors who revolve within this space while multiplying the statuses: administrators of federations, writers of review, "theorists" of the movie club, the organizers and the members. Of this analysis emerge three notions which constitute the keystone of this work: "the movie-club ideal", the "movie-club structure" and the practices of movies-club members. The first one sends back to the fact that should be the movie-club according to the main representatives of the movement, is a way to form the amateur spectator by and for the cinema while handing over to him in a perspective of cultural and social emancipation. The second notion represents all the methods ("presentation-projection-discussion", etc.) and the documentation (index cards, manual workers for organizers, reviews, etc.) which allow to spread such an ideal while establishing constituting a film justifiable knowledge. The third notion questions the effective practices of the members and the organizers who develop within the movement. It is thus a question of confronting these three aspects to question the existence of a film culture common to the whole movement movie club

This research examines the dynamics and workings of bridging social capital through a comparison of the Cleveland and Portland City Clubs. Bridging social capital differs from most common conceptions of social capital (often referred to as bonding social capital) in that the associational connections seek to cross an important boundary that has marked an association at a particular point in time. Each of these clubs excluded women until the 1970's; both have also sought to build a cohort of young professionals over the last decade. The goal of this research is to understand the processes behind integrating these two populations into their respective clubs to expose the development of bridging social capital. Scholars have increasingly noted that associations which can build viable bridges often experience transformative outcomes - including the broadening or re-visioning of an association's mission and its impact within the community. However, due to certain structuralist methodological and theoretical predispositions, most bridging research can often point to the existence of these outcomes but cannot explain how they transpired. How bridging relations operate and produce transformative outcomes is still poorly understood. This dissertation uses a historicist approach to address those shortcomings. It reveals that bridging relations are far more dynamic then previously presented. Bridging relations can often mitigate, and be mitigated by, politics. How they do this is crucial to their success and the outcomes they produce. I argue that acts of power articulation and capacity development are important elements in building successful bridges. Institutional variations, the creative agency of actors, and the histories of these clubs within their communities help form the playing field through which these elements unfold. To understand this complex nexus and how it produces transformative outcomes, scholars need to study bridging relations over time and within the context from which they emerge.

Far from upholding the domestic ideal of the Victorian Era, the Moorhead Woman’s Club helped establish the first public library in the city and strove for changes in education through active engagement in the public “sphere.” The club women, helped women gain a foothold in local government by applying maternalistic arguments for women’s involvement and leadership in reform activities.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on September 30, 2009). Department of Philanthropic Studies, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Frances A Huehls. Includes vita. Includes bibliographical references (leaves 51-53).