In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation

My love of learning, teaching, and providing creative spaces for people to connect informs my work and my life. For me, art is like life: messy, physical, and, if done with intent, beautiful. It is more about the process than the result; it is about recognizing that although we make choices, there are many things we cannot control; it is about being so present in the moment that everything else fades away. How I live, what I do, what I believe, and my art are all the same.

The overarching aim of this thesis was to use an experimental psychopathology approach to investigate mood, stress and mental imagery in the Broad Bipolar Phenotype (BPP), defined by the experience of elevated lifetime hypomania. Daily mood reactions to stress have been well explored in psychosis, but the limited research in BD has produced mixed findings. Holmes, Geddes, Colom and Goodwin (2008) hypothesised that mental imagery in BD may amplify emotion and worsen day to day mood extremes. This thesis investigates volunteers ranging across the continuum ofthe BPP in relation to key variables from the Holmes et al (2008) model: mood, stress and mental imagery, and brings new methodology to this area. The Mood Disorder Questionnaire (MDQ; Hirschfeld et ai, 2000) was used to identify groups with high (N=50; ~ 7 symptoms) and low (N=60; :s 6 symptoms) rates of hypomanic experience i.e. high MDQ and low MDQ. A single investigation was conducted for this thesis (N=IIO) which is divided into four studies. Study I and 2 tested the hypothesis that high MDQ volunteers would report higher levels of mental imagery compared to low MDQ volunteers. Study I (N=61) found that high MDQ volunteers had higher levels of trait mental imagery and intrusive imagery of the future, replicating patient findings. Study 2 (N=49) extended these findings to additional imagery measures. In a laboratory study, study 3 tested the hypothesis that after an experimental stressor (a traumatic film) high MDQ volunteers would experience more image-based flashback memories to the film than low MDQ volunteers. Volunteers reported any flashback memories to the film via mobile phone Short Message Service (SMS) prompts for six days, plus convergent measures at follow-up. As predicted, compared to the low MDQ group, the high MDQ group experienced significantly more flashback memories to the stressor (on all measures). Study 4 used an Experience Sampling Method (ESM; momentary assessment sampling over time) to frequently monitor mood and its event-related stress context. Thus, in the context of daily life study 4 sought to explore the role of bipolarity in exacerbating mood reactions, in comparison to other hypothesised contributors: neuroticism and intrusive imagery of the future. SMS mobile-phone messages were sent 10 times a day for 6 days to capture event-related stress ratings and mood ratings. Higher bipolarity (MDQ), neuroticism (EPQN) and intrusive imagery of the future (IFES) were each associated with increased mood reactions over six days, compared to lower levels of these characteristics. In understanding which of these characteristics best accounted for mood reactions, bipolarity (MDQ) best accounted for elated mood reactions, neuroticism did not best account for any moods, intrusive imagery of the future (lFES) best accounted for sad, depressed and anxious mood reactions and both bipolarity and intrusive imagery of the future best accounted for fearful mood reactions. In summary, the aim of this thesis was to investigate volunteers ranging across the continuum of the BPP in relation to key variables from the Holmes et al (2008) model: mood, stress and mental imagery. As predicted, compared to low MDQ volunteers, the high MDQ group had higher levels of I) self-reported use of mental imagery, 2) negative flashback memory imagery after an experimental stressor and 3) daily life negative mood reactions to stress. Critically, repeatedly imaging future scenes (lFES), which flash to mind unbidden, was found to show the greatest impact on negative mood reactions in daily life. Mental imagery offers a psychological characteristic which is elevated in volunteers at the higher end of the BPP continuum and also has the potential to be a novel cognitive treatment target in clinical BD samples. For example, targeting flashback memories after a stressor or targeting intrusive imagery of the future may help regulate mood reactions in daily life. This warrants further investigation in patients with BD.

Doctor of Philosophy / Department of Geography / Kevin Blake / Jeffrey S. Smith / Hollywood Westerns have informed popular images of the American West for well over a century. This study of cultural, cinematic, regional, and historical geography examines place imagery in the Western. Echoing Blake’s (1995) examination of the novels of Zane Grey, the research questions analyze one hundred major Westerns to identify (1) the spatial settings (where the plot of the Western transpires), (2) the temporal settings (what date[s] in history the Western takes place), and (3) the filming locations. The results of these three questions illuminate significant place images of the West and the geography of the Western. I selected a filmography of one hundred major Westerns based upon twenty different Western film credentials. My content analysis involved multiple viewings of each Western and cross-referencing film content like narrative titles, American Indian homelands, fort names, and tombstone dates with scholarly and popular publications. The Western spatially favors Apachería, the Borderlands and Mexico, and the High Plains rather than the Pacific Northwest. Also, California serves more as a destination than a spatial setting. Temporally, the heart of the Western beats during the 1870s and 1880s, but it also lives well into the twentieth century. The five major filming location clusters are the Los Angeles / Hollywood area and its studio backlots, Old Tucson Studios and southeastern Arizona, the Alabama Hills in California, Monument Valley in Utah and Arizona, and the Santa Fe region in New Mexico. The filming locations spotlight majestic mountain backgrounds, impressive rock formations, dangerous deserts, sweeping plains, and place-less urban backlots. The quintessential Western is spatially set in southeastern Arizona in the 1880s and is filmed in Monument Valley. Utilizing Meinig’s (1965) Core-Domain-Sphere concept, the genre’s place-image core resides in southeastern Arizona. The Western domain includes the Borderlands, High Plains, Sierra Nevada, Slickrock Country, and central New Mexico. The sphere of Western imagery extends outward to Los Angeles, Dodge City, Mexico, Canada, and Spain. Following Wright (2014), the Western’s typical boundaries are the Missouri Breaks (north), Indian Territory (east), the Borderlands (south) and gold mining in the Sierra Nevada (west).

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Teacher educators continually strive to find ways to improve the preparation of preservice teacher candidates. In the area of mathematics education, methods courses that follow National Council of Teachers of Mathematics (NCTM) standards for professional development have been successful. This study supports the notion that a mathematics methods course can improve mathematics teaching efficacy in the constructs of personal mathematics teaching efficacy (PMTE) and mathematics teaching outcome expectancy (MTOE). Findings also suggest that mathematics teaching efficacy is developmental in its nature with PMTE developing before MTOE. Employing a quasiexperimental nonequivalent comparison groups pre- and posttest design, the present study examined the effects of guided imagery as an added component of a mathematics methods course and found no significant advantageous treatment effects on mathematics teaching efficacy. However, there were no detrimental effects on mathematics content knowledge and pedagogical skills either. Participation in a reform-based mathematics methods course did affect mathematics teaching efficacy for both groups in the study. Mathematics teaching efficacy beliefs were measured by the Mathematics Teaching Efficacy Beliefs Instrument (MTEBI), and data were analyzed by ANCOVA and paired-samples t-tests. Recommendations for further research on the developmental nature of general teacher efficacy and mathematics teaching efficacy are included.

Growth is a property that is unique to living things. Studies demonstrate that even preschool children use growth to determine whether objects are alive. However, little identifies explanations that children use to attribute growth. The goal of the present study was to investigate how people reason about growth. We hypothesized that older children would outperform younger children in understanding that growth is inevitable for living things, while adults would consistently perform at ceiling levels. Our hypothesis was partially supported. Although adults consistently outperformed children, older children rarely outperformed younger children. Still, both younger and older children performed above chance in attributing growth. Moreover, all participants were more likely to use biological explanations to explain growth. Taken together, this research qualifies the early hypotheses of Piaget (1929) and Carey (1985) that children lack a well developed biological domain before age nine, but suggests that a biological domain, though less developed, is present. Based on these findings, implications for more efficient approaches to science education are discussed. / by Aquilla D. Copeland. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Imagética motora é um processo mental que produz modulações na amplitude dos sinas de eletroencefalogramas em progresso. Os padrões presentes nestas modulações podem ser usados para classificar este processo mental, mas a identificação destes padrões não é uma tarefa trivial, porque eles estão presentes em bandas de frequências que são específicas para cada pessoa. Neste trabalho, apresenta-se um novo método para selecionar as bandas de frequência específicas para cada pessoa baseado na arquitetura do método Filter Bank Common Spatial Pattern. Para selecionar as bandas de frequência mais relevantes para cada pessoa, o método proposto aplica uma busca exaustiva para encontrar o melhor subconjunto de bandas de frequência contendo os padrões mais discriminativos dentro de um espaço de busca restrito a um tamanho fixo para este subconjunto. Esse tamanho é determinado usando validação cruzada e o método Sequential Forward Floating Selection. O método proposto foi avaliado usando a base de dados pública 2b da BCI Competition IV, mostrando melhores resultados do que todos os métodos também avaliados nessa base de dados. / Motor imagery is a mental process that when performed, produces modulations in the amplitude of ongoing electroencephalogram signals. These modulations happen following a series of patterns that can be used to classify this mental process, but the detection of those patterns is not a trivial task, because they occur in frequency bands that are specific for each person. In this work, we present a method to select these subject-specific frequency bands based on the arquitecture of the Filter Bank Common Spatial Pattern approach. To select the most relevant frequency bands for each person, our method uses an exhaustive search to find the best subset of frequency bands containing the most discriminative patterns, but with one restriction, the search space is restricted to find a subset with a fixed number of frequency bands. The number is determined using cross-validation and the Sequential Forward Floating Selection method. We demonstrate that, using the data set 2b of the BCI Competition IV, our method is more accurate than current methods evaluated on the same data set.

Esta dissertação busca mostrar as questões envolvidas no teatro de Sartre. Para tanto, partese de uma descrição da consciência em geral para atingir uma caracterização da consciência imaginante - é esta consciência que toma o objeto estético como tal, posto que tal objeto é um objeto imaginário. A partir dessa caracterização da obra de arte em geral, busca-se descrever a especificidade da obra de arte teatral, de forma a mostrar a formulação do gênero teatral proposto por Sartre, o teatro de situações, a maneira como sua descrição sobre o evento teatral lhe serve como recusa do teatro burguês e para a crítica da produção dramatúrgica de sua época, e como o teatro opera uma descrição da vivência humana concreta que a filosofia descreve de forma estrutural. / This dissertation aims at opening up questions involved in Sartre\'s theatre. Firstly, beginning with a description of the consciousness in general one comes to a characterisation of the imaging consciousness - the one that takes into account the aesthetic object as such, given that this is an imagined object. Secondly, considering this characterisation of the work of art in general one intends to point out the characteristics of the theatrical work of art. The elaboration of the theatrical genre proposed by Sartre, i.e., the theatre of situations, is a description of the theatrical event that allows him to refuse the bourgeois theatre and to criticise the dramaturgical production of his period. For the French philosopher, the theatre operates a description of the concrete human lived experience that philosophy can only describe in a structural way.

The purpose of the investigation was to determine the effects of music on self reported vividness of movement imagery. Eighty-four undergraduate kinesiology majors (42 males; 42 females) were subjects. Based on identical perceptions of precategorized music (classical and jazz), selected subjects were randomly assigned to one of three music treatment conditions (sedative, stimulative, and control) and administered the Vividness of Movement Imagery Questionnaire. A 3 x 2 x 2 (Treatment x Gender x Perspective) ANOVA with repeated measures on the last factor was employed. The results revealed that the two music conditions significantly enhanced the vividness of internal and external imagery perspectives when compared to the no music condition, and that music facilitated the vividness of males and females equally.