Tyrimo tikslas - ištirti vilties didinimo (pagal Herth, 2001) ir savitarpio pagalbos grupių efektyvumą slaugytojų imtyje didinant vilties išgyvenimą. Tyrime dalyvavo 158 Marijampolės miesto ligoninės, Kauno Onkologinės ir Kauno Respublikinės ligoninių slaugytojos turinčios tiesioginį kontaktą su pacientais. Nubyrėjimas iš vilties didinimo (pagal Herth, 2001) intervencijos grupių sudaro 25%, iš vilties didinimo (pagal Herth, 2001) lyginamosios grupės 40%. Savitarpio pagalbos poveikio grupės 46,1%, o lyginamosios grupės 28,5%. Bendras nubyrėjimas siekė 44%. Viena tiriamųjų grupė dalyvavo penkiuose 1,5 valandos trukmės užsiėmimuose parengtuose pagal K.Herth (2001) vilties įkvėpimo programą. Kita tiriamųjų grupė dalyvavo penkiuose savitarpio pagalbos užsiėmimuose. Kiekvienai poveikio grupei buvo sudaryta ir apklausta lyginamoji grupė. Užsiėmimų metu buvo orientuojamasi į slaugytojų vilties išgyvenimą siekiant jį sustiprinti. Matavimai atlikti prieš pradedant užsiėmimų ciklą ir jam pasibaigus. Taip pat vilties didinimo (pagal Herth, 2001) poveikio grupėje atliktas papildomas matavimas po 2 mėnesių po poveikio. Tyrimo rezultatai parodė, kad slaugytojų vilties išgyvenimas iškart po vilties didinimo intervencijos (pagal Herth, 2001) yra didesnis nei prieš ją. Taip pat atsiskleidė kelios statistinio patikimumo tendencijos, rodančios, kad: iškart po vilties didinimo intervencijos slaugytojai dažniau naudoja dvasingumu grįstą strategiją; iškart po savitarpio pagalbos grupės... [toliau žr. visą tekstą] / Main aim of research is to investigate hope inspiration (according Hearth, 2001) and self help groups efficacy in health care nurses sample In research participated 158 Marijampolė City hospital, Kaunas Oncology and Kaunas Republic hospital health care nurses, which has direct contact with patients. Participants drop out from research is 44%. One group of respondents participated in five 1,5 hour lenght group activities according to K.Herth (2001) hope inspiration program. Other group participated in five self help group activities. Each intervention group has its own comparisment group. The group activities was orientated to increase nurses feeling of hopefulness. Questioning took place before and after group activities. Hope inspiration (according Hearth, 2001) group was measured two month after impact. Results of research shows, that health care nurses feeling of hopefulness after hope inspiration (according Hearth, 2001) intervention was higher than before that. Also there are a few statistic reliability tendencies, that shows that after after Hope inspiration (according Hearth, 2001) intervention nurses tend to use spiritual hope inspiration strategy more often. After self help group nurses tend to use rational hope inspiration strategy more often. Also there are statistical tendencies that shows that health care nurses level of hopefulness increases after self help group more, than after Hope inspiration (according Hearth, 2001) intervention. To establish Hope... [to full text]

Sociala medier består av digitala plattformar där integration, kommunikation och delning är möjligt mellan användare. Under de senaste åren har nya former av sociala medier växt fram och blivit ett intressant område för forskning. Det har även blivit en ny kanal för marknadsförare att nå ut till sina kunder. Pinterest startades 2010 av Ben Stilbermann med syfte att användare kan dela bilder och skapa sina egna digitala anslagstavlor. Målet med denna studie är att analysera Varför svenskar använder Pinterest för att skapa en bredare förståelse av Pinterest som nytt socialt medium samt presentera dess funktioner, styrkor och svagheter. Vidare är vårt mål att bidra med kunskap om Pinterest och för att företag och marknadsförare ska kunna få en bättre förståelse för Pinterest och dess användare. Med en teoretisk bakgrund av Kitezmann et als (2011) definitioner över sociala mediers sju funktioner samt Sashittala & Jassawalla (2014), Bolton (2013) och Chafkin (2012) forskning kring varför människor använder Pinterest, drog vi slutsatsen att Bilddelning är den viktigaste funktionen i Pinterest. Pinterests styrka bygger på att människor får inspiration av att besöka detta sociala medium. Dess svaghet var avsaknaden av andra tilltalande funktioner såsom kommunikation och platsbeskrivning, som i vår forskning var oväsentlig till varför svenskar använder Pinterest. / Social media are web-based platforms where integration, communication and sharing are possible between users. Over the recent years new forms of social media has rapidly emerged and has become an interesting field of research. It is a new area for marketers to promote their businesses. Pinterest started in 2010 by Ben Stilbermann with the idea that users should be able to share pictures and create their own mood-boards. The objective of this research is to analyse Why Swedish people use Pinterest to create a broader understanding of this new direction of social media that focuses on pictures. Furthermore, we aim to present the functionalities, strengths and weaknesses of Pinterest so that research and marketers have a better understanding of the media itself and how it is used. With a theoretical background of Kitezmanns (2011) seven social media functionalities and Sashittala & Jassawalla (2014) and Chafkin (2012) research on why people use Pinterest, we were able to propose that sharing could be Pinterest’s most significant functionality in Sweden. The strength of Pinterest is its inspirational appeal. Its weakness is suggested to be the overall lack of other appealing functionalities, such as communication and presence, which in our research was almost non-significant to why Swedish people use Pinterest.

Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises. / AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.

Denna undersökning vill vi bidra med kunskap om vad det medför att inspireras av Reggio Emilia filosofiska förhållningssätt. Studien undersöks utifrån en kvalitativ metod, där undersökarna intervjuar förskollärare som arbetar på ett par Reggio Emilia inspirerade förskolor. I denna studie utreder undersökarna utifrån ett inifrånperspektiv dels från en teoretisk kontext, där det studeras ett filosofiskt pedagogiskt sammanhang hur Reggio Emilias teoretiska förhållningssätt byggs upp; dels från ett empiriskt induktivt perspektiv, där det tas reda på vad det innebär att vara inspirerad. I denna studie studerar man innebörden av begreppet inspiration i förhållande till Reggio Emilia filosofiska förhållningssätt. I detta finner vi bland annat att: a) Inspirationen föds ur de vardagliga föreställningar som iscensätts inom den pedagogiska verksamheten; b) Inspirationen föds ur förundran och nyfikenhet.

Although flow theory (Csikszentmihalyi, 1975; being 'in the zone') arose from early observations of artists, experimental research of creative flow is lacking, particularly in the visual arts. Assumptions are made about the universality of flow in all domains; however creativity is a uniquely complex domain which may have different antecedents, experiences, and consequences related to flow. This thesis focuses on potential mechanisms and effects of feedback/goal ambiguity and the sense of control that are thought essential to flow but which have unclear relationships to creativity. Using an experimental simulation of the visual creative process, the creative mental synthesis task (Finke & Slayton, 1988), four experiments were conducted. The role of perceptual feedback (sketching) to potentially disambiguate limited mental imagery feedback, or to offload cognitive load, was explored. Also inspected were the impacts of expectation-outcome incongruence, perceived task difficulty, and access to conscious choice vs. constraint. Results show sketching significantly increased flow by decreasing perceived task difficulty, though this effect was independent of cognitive load. Factors potentially influencing perceived difficulty were explored in relation to feedback ambiguity variables such as expectation-outcome discrepancies and mental imagery vividness. Choice did not significantly affect flow, but did decrease expectation-outcome discrepancy, suggesting total autonomy and control are not essential for flow development, but choice may affect how creative ideas are selected. These experimental results were compared with fine artist and commercial designer interviews, suggesting flow in visual creativity may require adaptability, tolerance of uncertainty, and interaction with perceptual feedback to resolve ambiguity. Flow was, as theorised, strongly related to affect improvement and self-rated creativity; however no direct links to higher externally-rated or objective creativity measures were found. Although flow does not directly enhance creativity, it and factors related to it (e.g., sketching, affect) may have an indirect motivating influence which could enhance mastery over time.

"Pictures for an audition" are a visual tool I created to help in performing orchestral excerpts. I always had the aim to get deeper in the knowledge of the Zeitgeist of the composers I was facing, and as a consequence the aim to communicate this knowledge, this richness of roots, to the audience in a way as widely understandable as possible. I have been reflecting on the role of roots and background keeping as a reference point the figure of Dvořák, due to his strong connections with the Czech land and tradition. The inspiration I get from the composers’ background influences choices I do in dynamics, colors, articulation, and most of all expression. But how to get this inspiration when the situation is that of an orchestral audition, when the excerpts are so short, different in style and background, and played in a row with just few seconds between one and the other one? It is not possible for me to remember in few seconds what is more important about a particular excerpt, not even if I would prepare a written summary, since only to read that it would take at least one minute. Instead, visual memory is instantaneous, and somehow produces in me a more immediate inspiration than written concepts. Therefore, I decided to translate into visual inputs, i.e. selected pictures, photographs, or very short evocative sentences, the concepts which are for me more relevant about five excerpts which are often required in clarinet auditions. For each excerpt, these visual inputs have been put together in a A4 paper, and the outcome I called, for the sake of simplicity, the “picture for an audition”. I used this tool during my practice; after a while I recorded myself, and, finally, I used the picture as a reference point to check if in the recording it was clear enough what I wanted to express. In this comparison, the pictures made me more attentive to details I would have otherwise overlooked, and became an inspiration also to find new ways to practice the excerpts.

The study of inspiration as a psychological construct has received little empirical attention to date. In the present dissertation, I review the empirical literature on inspiration and present a theoretical model and definition of inspiration. In two studies, I tested a Value-Congruent Model of Inspiration and my proposed definition. In Study 1 (N = 134), I explored inspiration’s emotional correlates and tested whether individuals experience greater inspiration if the inspirational content is concordant with individual meaning and values. As predicted, state inspiration was positively related to state levels of admiration, awe, and elevation, and value-congruent stimuli significantly predicted self-reported experiences of inspiration. In Study 2 (N = 173), I replicated these results and tested whether value-congruent inspiration would predict behavioral intentions and volunteering behavior toward environmental preservation. The adapted measure of self-concordance for internalized values did not yield the predicted results. However, one’s level of commitment to the environment predicted willingness to sacrifice for the environment, which was partially mediated by state inspiration.

O conjunto de textos e fragmentos que compõem a obra de Blaise Pascal e também uma parte da tradição interpretativa deixam entender que há no pensamento deste filósofo certas cisões radicais. Assim, frequentemente, chega-se à conclusão de que, em maior ou menor grau, a filosofia de Pascal é fragmentada e descontínua. Por uma obra fragmentada ou descontínua, não entendemos aqui o inacabamento dos textos ou a estrutura em aforismos ou pequenas digressões aparentemente independentes (de fato presentes em Pascal), mas aquela obra a que falte um elemento comum entre os textos, a que falte o mínimo de continuidade temática e conexão argumentativa, ou seja, uma obra que careça de um solo mínimo para a leitura do conjunto de seus textos. Embora alguns temas em Pascal notadamente a doutrina das três ordens evoquem uma espécie de cisão, isso não nos parece ser verdade quando tomamos seu pensamento na totalidade. Não é claro que o pensamento de Pascal careça totalmente de organização interna. Com efeito, ao lermos com mais atenção a obra pascaliana, tomamos consciência da originalidade e importância que tem, em seus escritos, o conceito de coração, entendido como a faculdade do sentimento. O que pensamos é que, embora não torne a filosofia do nosso autor um sistema fechado (à maneira cartesiana, por exemplo), o conceito de coração, na medida em que é definido pela capacidade de sentir seja aos princípios, seja a Deus , é capital na obra de Blaise Pascal e por isso nos oferece uma chave de leitura para entendermos os textos pascalianos em seu conjunto. Da ciência à teologia, passando pelo desejo de ser feliz e o divertimento, o conceito de coração cumpre papel central na filosofia de Pascal. / The set of texts and fragments that make up the work of Blaise Pascal and also a part of the interpretative tradition lead to understand that there is in the thought of this philosopher certain radical decisions. So, often, one comes to the conclusion that, to a greater or lesser extent, the philosophy of Pascal is fragmented and discontinuous. For a fragmented or discontinuous work, we do not understand here incompleteness of the text or structure in aphorisms or small seemingly unrelated digressions (actually present in Pascal), but that work that lacks a common element between the texts, that lacks the minimum thematic continuity and argumentative connection, that is, a work that lacks a minimum ground for reading the set of their texts. Although some issues in Pascal - notably the doctrine of the three orders - evoke a kind of rupture, it does not seem to be true when we take his thoughts in full. It is not clear that the thought of Pascal totally lacks internal organization. Indeed, when we read with more attention Pascals work, we become aware of the originality and importance of, in his writings, the concept of \"heart\", understood as the faculty of feeling. What we think is that, though it doesnt make the philosophy of our author a closed system (in cartesian manner, for example), the concept of the heart, to the extent that is defined by the ability to feel - wether the principles, or God - is capital in the work of Blaise Pascal and therefore offers us a reading key to understand pascalian texts as a whole. From science to theology, through the desire to be happy and diversion, the concept of heart plays a central role in Pascal\'s philosophy.

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Review of Review of Music Inspired by Art: A Guide to Recordings. Gary Evans. 2002. 317p, 0-8108-4509-1, $60.00