Talking about spirituality can be uncomfortable. The topic is especially precarious within the sphere of education. Despite the discomfort and precarity, many scholars argue that there may be room in the postmodern curriculum for safe, open, and generative dialogue about religion and spirituality as cultural phenomena. These curriculum theorists (see Slattery, 2013; Doll, 2002; Huebner, 1991; Noddings, 2005; Whitehead, 1967a/1929; Wang, 2002) propose a sensitive critique of spirituality and religion that can lead to cultural healing, re-membering, re-integration and re-collection (Huebner, 1991). In an increasingly fractured world (Slattery, 2013), where spiritual and religious underpinnings cause an array of conflict, this study works toward critical dialogue in a secondary level public school art classroom. Through art-making, writing, and class discussions, the teacher and student researchers explored, critiqued, and de/constructed their own spirituality<&mdash> with the aim of aggregating, accommodating (Rolling, 2011) and appreciating ways of thinking, being, and practicing that were different from their own. The project adopted A/r/tography as a qualitative research methodology, which views art-making, writing, and conversations as generative pools of data that can produce new understandings, meanings, and potentialities (Irwin et al., 2006; Irwin & de Cosson, 2004; Irwin & Springgay, 2008).

OVERGROWN discusses the music elements found in the thesis composition of the same name. OVERGROWN was written for soprano solo, flute, bass clarinet, soprano saxophone, baritone saxophone, trumpet, trombone, vibraphone, percussion, cello and double bass. The text was written by Matthew Raymond Smith.

The past decade has been an exciting time for American fiction in general and Southern Appalachian fiction in particular. Rock Big and Sing Loud by Tamara Baxter is a significant addition to this surge of new writing. Writing truly about the world of eastern Tennessee Baxter also writes about the world at large, about humanity. Her narratives can make you laugh or break your heart, and sometimes they do both at once. She has given us the stories of some of the most afflicted and addicted, the most failed and failing, individuals on the planet, and also some of the strongest and most enduring people we are ever likely to meet. These stories take us to places we did not expect to go, and just when we think we have seen what is strangest, most absurd, most alien and outrageous, we recognize something of ourselves. - Robert Morgan, author of Gap Creek and Brave Enemies / https://dc.etsu.edu/alumni_books/1021/thumbnail.jpg

Secondary art education programs primarily offer courses in traditional mediums like drawing, painting, sculpture, and ceramics. In addition to valuing these traditional art forms, art education research supports integrating new technologies and media in the classroom. However, the possibilities of creating an exclusively contemporary, new genres curriculum have yet to be explored. This study examines the affordances and limitations of a high school-level new genre curriculum and describes how students reacted to these new genres and how their perceptions of art, student-peer relationships, and artist identities changed over time. By introducing students to new genres, the author found students expanded their definitions of art, became excited about art, and created personally relevant and meaningful artwork. The results of this case study may be valuable to art educators desiring to integrate more contemporary art into their curriculum.

Secondary art education programs primarily offer courses in traditional mediums like drawing, painting, sculpture, and ceramics. In addition to valuing these traditional art forms, art education research supports integrating new technologies and media in the classroom. However, the possibilities of creating an exclusively contemporary, new genres curriculum have yet to be explored. This study examines the affordances and limitations of a high school-level new genre curriculum and describes how students reacted to these new genres and how their perceptions of art, student-peer relationships, and artist identities changed over time. By introducing students to new genres, the author found students expanded their definitions of art, became excited about art, and created personally relevant and meaningful artwork. The results of this case study may be valuable to art educators desiring to integrate more contemporary art into their curriculum.

As a first-generation Georgian to be born the year after Soviet Union collapsed, I carry the weight of the uncertainty and the shared memory of the years before my birth that is engraved in the minds of the people around me. Through the years of chaos that had to come later, I always thought that me and my country grew up and matured together, as the peers of same age. Transition from a strictly Atheistic society into predominantly fundamental Orthodox Christian nation has been the process that I witnessed while growing up. Being raised by an Orthodox iconographer father, working on frescoes and icons have left the permanent mark on my identity as an artist. My work, through the range of media, deals with this clash of radical ideologies, while drawing from Orthodox iconography and compositions, I transport the images into a neutral, sterile state where they are re-examined and re-evaluated. Even though my work deals with social issues in Georgia, I see most of it as an autobiographical narrative that addresses the local space that I come from.

Denna uppsats handlar om hur fyra olika musikproduktionsprocesser påverkas två olika arbetsmetoder. Jag utgår från 4 st. egna refräng-idéer inom pop/contemporary-genren. Idéerna innefattar melodi och viss text. Låt A1 och A2 måste jag skriva klart helt och hållet, gällande melodi, text, ackordik och form, innan jag får gå vidare till arrangering. Vid arrangeringen får jag lägga maximalt 3 minuter på att hitta ett ljud för det instrument jag ska lägga till. Jag får under dessa minuter justera reglage på instrumentet men får inte lägga till mixningsverktyg så som EQ, kompressor eller modulationseffekter. Låt B1 och B2 ska jag ta vidare genom att direkt producera dem. De instrument och ljud jag lägger till ska jag direkt börja forma så attt ljuden blir precis så som jag vill att de ska låta i slutproduktionen. Jag får inte lägga till ett nytt instrument innan jag är helt klar med ljudet på det föregående. Jag har, under och efter arbetet analyserat hur min inspiration, trivsel, effektivitet, resultat och beslutsihållighet påverkats av de olika arbetsmetoderna. Det har visat sig att att metoden jag använt för låt B1-B2, nämligen att producera medan jag skriver och arrangerar generellt är bäst. Dock kan den ibland vara inspirationshämmande Nyckelord arrangering, contemporary, pop, musikproduktion, komposition, låtskrivande

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The purpose of this study was to determine the attitudes, opinions, and beliefs of Utah residents concerning what role, if any, the L.D.S. Church should play in Utah politics; if they believe in the concept of a separation of church and state; whether they feel a separation of church and state exists in Utah; and how much influence they perceive the predominant faith of the state has on its politics. Thus, the four following hypotheses were designed: 1. Utah residents will perceive that churches should be involved in moral, but not political issues. 2. Utah residents will perceive that there should be a separation of church and state. 3. Utahns will perceive that a separation of church and state does not exist in Utah. 4. Utah residents will perceive that the predominant faith of this state has considerable influence on Utah politics. In order that these hypotheses could be tested, an instrument was designed and pre-tested; a random-systematic sample was drawn from all Utah telephone directories; interviews were conducted; responses were recorded and computerized and reported in this study.

Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.