Objectives: Foster personal and professional development through implementing a 1st-professional year course focused on increasing student self-awareness related to themselves, their chosen profession, and their future careers. Method: Eighty-nine students enrolled in a required 2-credit hour Contemporary Practice of Pharmacy I course during the Fall 2013 semester. Course content aligned closely with the CAPE 2013 Self-Awareness subdomain. Topics included, but were not limited to: effective learning strategies, achievement motivation, finance and time management, professional communication and etiquette, career exploration, and professional history and visioning. Formative and summative evaluations, e-portfolio entries, and submitted assessments and reflections were used to evaluate inaugural course outcomes. Results: Early course self-reflections and self-assessments revealed students particularly appreciated increasing their self-awareness related to strengths, learning strategies, and financial management. However, mid-semester formative evaluations revealed that 75% of students perceived little benefit from the class secondary to previous exposure to course topics. Purposeful activities were used to stress differences between topic exposure and reflection upon and integration of content into one’s self-schema. Summative course evaluations were subsequently positive (median 4 or 5 on 5-point Likert scale for all items), and e-portfolio submissions and course self-reflections indicated self-reported professional and personal growth in multiple domains. Implications: Students benefitted from multiple, purposeful, authentic opportunities to develop personal and professional self-awareness through participation in the course. However, incorporation of perceivably familiar personal and professional development topics in pharmacy curricula may be met with student reservation. Integration of self-awareness opportunities throughout the curriculum may foster student buy-in regarding perceivably familiar topics.

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Book Summary: With advancements across various scientific and medical fields, professionals in audiology are in a unique position to integrate cutting-edge technology with real-world situations. Scientific Foundations of Audiology provides a strong basis and philosophical framework for understanding various domains of hearing science in the context of contemporary developments in genetics, gene expression, bioengineering, neuroimaging, neurochemistry, cochlear and mid-brain implants, associated speech processing and understanding, molecular biology, physics, modeling, medicine, and clinical practice.

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In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper. I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire. Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.

This dissertation examines lived experiences of mental disability and neurodivergency in contemporary women’s writing. It demonstrates that social forces and identifications across race, class, gender, sexuality, and disability mediate experiences with mental disability in the contemporary era. I draw from disability studies, feminist cultural studies, feminist philosophy, critical race studies, and affect studies in order to explore interdisciplinary questions about mental illness, neurodivergency, and mental disability in contemporary literature and culture. I bring an intersectional feminist disability studies methodology to the archetype of the “madwoman,” theorized by Sandra Gilbert and Susan Gubar in their groundbreaking 1979 work, The Madwoman in the Attic. Moving away from “madness” and toward “mental disability” in order to focus on how social logics and medical industrial systems produce mental disability, I argue for literary study as a way to better understand disability as a lived experience. I read Claudia Rankine’s poetry, Joyce Carol Oates’s and Dorothy Allison’s novels, and Amy Bloom’s and Esmé Weijun Wang’s short stories in order to investigate race, class, and sexuality across a range of feminine and nonbinary experiences with mental disability and neurodiversity in the contemporary era. I choose women as a primary category of analysis because they, in particular, have been hystericized, pathologized, and even incarcerated due to disabilities. These violences and inequities disproportionally affect women of color. I reveal how social logics, such as racism, and systems, such as the medical industrial complex, cause harm to those with mental illnesses and neurodivergencies. In some ways, mental disability may be an identity; in other ways, it may be a trauma; in other ways, it may be a stigmatizing force.

Le handicap est aujourd’hui de plus en plus présent dans le monde de l’art. Ce phénomène est le plus souvent analysé dans la perspective de l’Art thérapie, dans laquelle le théâtre est envisagé comme un outil thérapeutique au service du patient.Cette thèse s’ancre dans une perspective très différente : elle étudie la question de la visibilité du handicap mental via une approche esthétique et politique, inspirée du courant anglo-saxon des disabilty studies, dans lequel le handicap est notamment analysé comme un phénomène social et culturel. La première partie est consacrée à un historique de la mise en visibilité de l’anormalité en général, ˆ travers les phénomènes de foire et les cas pathologiques entre le XVIe et le XXe siècle, en Europe et aux États-Unis. Elle souligne que la visibilité de ce qui est aujourd’hui appelé handicap a toujours joué sur l’ambiguïté entre la présentation et la représentation. La deuxième partie se concentre sur le théâtre contemporain et analyse les conditions de mise en audibilité du handicap mental dans trois spectacles des années 2010 : Le Bizarre Incident du chien pendant la nuit mis en scène par P. Adrien, L’Empereur c’est moi mis en scène par V. Poirier et Rendez-vous gare de l’Est mis en scène par G. Vincent. Interprétées par des comédien.ne.s considéré.e.s comme valides, ces trois propositions artistiques prennent le handicap pour thème et le présentent sous la forme d’un partage d’expérience. Il y apparaît comme un écart à une norme sociale, qu’il contribue alors à mettre en question. La troisième partie est consacrée à des spectacles exclusivement interprétés par des comédien.ne.s en situation de handicap mental, dans lesquels celui-ci devient une ressource esthétique, tant au niveau de la dramaturgie, que du jeu d’acteur ou de la mise en scène. Des créations de la Compagnie de l’Oiseau-Mouche, de l’Atelier Catalyse et du Theater HORA, ainsi que les discours portés sur elles, sont ainsi analysées et comparées. / Disability is nowadays increasingly present in the art world. This phenomenon is usually analyzed in the context of art therapy, in which theater is used as a way to improve the patient’s health. This dissertation adopts a very different perspective: inspired by disability studies, in which disability is considered a social and cultural phenomenon, it focuses on the visibility of mental disability through an aesthetic and political lens. The first part is an historical contextualization of abnormality in general. It studies how the freaks and the pathological cases gained visibility between the 16th and the 20th century, in Europe and in the United States. It stresses that what is nowadays called Ôdisability’ was always represented rather than merely exhibited. The second part focuses on contemporary theater and examines how mental disability can be heard, through the analysis of three performances created in the 2010’s : The Curious Incident of the Dog in the Night-Time directed by par P. Adrien, I am the Emperor directed by V. Poirier et Meet me at East Train Station directed by par G. Vincent. Played by able actors and actresses, these performances take disability as a theme and show it as a sharing of experience. Disability is portrayed as a deviation from social norms, which it enables to question. The third part is devoted to performances entirely played by actors and actresses with mental disabilities, in which disability becomes an aesthetic resource regarding dramaturgy, playing and staging. Creations by La Compagnie de l’Oiseau-Mouche, Atelier Catalyse and the Theater HORA, as well as the discourse about these companies, are analyzed and compared to each other.

Le chamanisme, exprimé dans l’art contemporain des Premières Nations du Canada, opère comme un puissant marqueur ethnique. Il symbolise l’espace sacré où se joue la résistance culturelle, avec les engagements politiques qui la sous-tendent. Il représente aussi un référent identitaire. L’analyse de ce courant esthétique actuel soulève des questions essentielles : de quelle manière le chamanisme est-il abordé par les artistes, à la fois comme concept et comme pratique artistique ? Quelle est la mission de l’art d’inspiration chamanique contemporain, du point de vue de son rôle social, en tant que gardien de l’identité et de la spiritualité mais aussi comme catalyseur du processus de guérison collective et individuelle ? Dans le contexte artistique postmoderne, le chamanisme peut être considéré comme une source de pouvoir et d’inspiration, une terre sacrée que les artistes autochtones explorent avec détermination. En puisant dans les racines profondes de la tradition, et en s’engageant dans une expérience moderne, les artistes se donnent pour mission de raviver la sagesse des anciens et de se relier à la cosmogonie autochtone.Leur pratique a pour but de réduire le clivage psychique entre nostalgie des origines et indianité contemporaine. Ainsi, le statut d’hybridité donne naissance à une force de transformation d’une grande créativité. Cette thèse analyse les enjeux philosophiques et politiques auxquels l’art d’inspiration chamanique est confronté, en s’appuyant sur un point de vue anthropologique et esthétique. Après un rappel du contexte socio-historique canadien, nous abordons les deux missions essentielles des chamanes de l’art : la réécriture de l’histoire et la reconquête de leur identité, qui dessinent, à travers la reconnaissance de leur différence, l’architecture d’une nouvelle Amérindie. / Shamanism in contemporary native art in Canada is becoming one of the most relevant ethnic markers. It is the sacred place, the major source for cultural resistance, with strong roots and political implications underneath. It works as a powerful identity referent. As we analyse the aesthetic phenomenon from a modern perspective,different issues are emerging : how shamanism is acknowledged, both as a concept and as a practice by the First Nations artists ? Which social functions and philosophical involvements are assumed by the contemporary “shamanic art”, considering its symbolic part as the keeper of identity and spirituality, or/and performed or seen as a healing process ?In the postmodern artistic context, shamanism may be considered as an essential source of power and inspiration, a sacred land that most of the native artists are now exploring, defining therefore a new ontology. From the deep roots of the traditional knowledge, their legacy, and through their own contemporary experiment, these artists are trying to bring back the original wisdom in order to reconnect themselves with the native cosmogony and consequently, to reduce the psychic schism between traditionalism’s nostalgy and contemporary indianness (nativeness). Therefore the status of “betweenness”, that is specifically attributed to the native artists, is shifted into a power of creative transformation. This thesis analyses the process of shamanistic inspiration in contemporary native art, through the philosophical and political issues as well as with an anthropological and aesthetics point of view. The historical and sociological contexts are explored before defining th! e two main missions of the “Shamen of Art” : the rewrighting of the History and the Conquest of Identity, drawing through the recognition of their alterity, the architecture of a new “Amerindia”.

There have been many studies conducted on television and its effects. Since the 1950's, when television emerged, there has been an influx of patterns and behaviors associated with television viewing and programming. Many researchers are fascinated with television and the reactions of those who are directly affected by it. People have been known to act out in many ways as a result of something they saw on television. Many believe that television viewing directly affects a person's mind. An analysis of the results of this qualitative study indicates that college students perceive television has an impact on viewers. Throughout the course of both the focus group and individual interviews, several themes were strongly developed among participants. These included: 1.College students do not believe that television influences the way they individually dress, act, and eat, but it does influence the same behaviors of other people their age. However, these same students reported that they recognized that television has an influence on their lives, and in combination with how they were raised in their families, it made them who they are today. 2.College students continue to believe there is too much violence on television. 3.Television often does not depict reality.

Through the analysis of Judy Baca's mural, The Great Wall of Los Angeles, Baca's reevaluates muralism to create her revisionist take on the Mexican tradition of muralism. The piece combines different cultural and historical perspectives that convey the diversity of California, and bring people together through shared experiences. In addition to portraying the histories of minority races, ethnicities, religions and sexuality, the piece was created by a diverse team of community members who each contributed their own viewpoints to the piece. Unlike the traditional practice of muralism, Baca works with community members to create a mural that includes a varied sense of identity so as to facilitate social change and foster community.