Reflective Practice in the Arts

In creative disciplines, reflective practice is an integral and cumulative form of learning. Reflective learning generates knowledge that is specific to oneself and is a form of evidence upon which to analyse and change one’s practice. Critical reflection requires a deep knowledge of the discipline and an awareness of one’s positioning within that discipline and in relation to one’s creative performance. Meaning making through performative expression allows for personal transformation through acute awareness of and reflection on one’s own beliefs, knowledges and values through the process of creating artistic work. Self-awareness and identity are significant both in the study of the arts and in becoming an artist, as aesthetic inquiry and performance are constituted by subjective self-expression in relation to objective conditions. Reflection can be expressed using symbols or semiotic systems other than language. Depending on the disciplinary context, particular modes or forms of expression will be privileged, including material forms of practice, still and moving images, music and sound, live action and digital code. This chapter explores the problematics of what counts as reflection in the arts and how reflection is represented, expressed and performed in discursive and non-discursive ways in becoming arts literate.

Investigating online recognition for blood donor retention : an experiential donor value approach

Recognising that charitable behaviour can be motivated by public recognition and emotional satisfaction, not-for-profit organisations have developed strategies that leverage self-interest over altruism by facilitating individuals to donate conspicuously. Initially developed as novel marketing programs to increase donation income, such conspicuous tokens of recognition are being recognised as important value propositions to nurture donor relationships. Despite this, there is little empirical evidence that identifies when donations can be increased through conspicuous recognition. Furthermore, social media’s growing popularity for self-expression, as well as the increasing use of technology in donor relationship management strategies, makes an examination of virtual conspicuous tokens of recognition in relation to what value donors seek particularly insightful. Therefore, this research examined the impact of experiential donor value and virtual conspicuous tokens of recognition on blood donor intentions. Using online survey data from 186 Australian blood donors, results show that in fact emotional value is a stronger predictor of intentions to donate blood than altruistic value, while social value is the strongest predictor of intentions if provided with recognition. Clear linkages between dimensions of donor value (altruistic, emotional and social) and conspicuous donation behaviour (CDB) were identified. The findings provide valuable insights into the use of conspicuous donation tokens of recognition on social media, and contribute to our understanding into the under-researched areas of donor value and CDB.

Thoughts make the world

Thoughts Make the World is a synchronised two-channel video with sound. On the right-hand screen, a young man and woman exchange timeworn philosophical phrases and existential questions. On the left-hand screen, a guitarist plays a soundtrack that slowly builds over time. As the actors’ quest for meaning struggles toward an unresolved end, the guitarist launches into a climactic, liberating solo, eclipsing their somewhat-labored attempts to understand existence. By contrasting these verbal and non-verbal signifiers of self-reflection and self-expression, Thoughts Make the World questions how and where to grapple with enduring existential problems in a context dominated by the pre-packaged formats of popular culture and ironic modes of individualised response.

Settings, subjects and stories: Creating Australian cinema

The story of Australian cinema is often told as one of brave and often futile struggle by passionate and talented filmmakers to tell Australian stories against the backdrop of an industry dominated locally as well as globally by Hollywood and its agents. In theses narratives international interests are often cast as the villains in the valiant struggle for national filmic self-expression. But such a focus on the national aspects of Australian cinema elides the depth of the international aspect of Australian cinema. A legend has grown around the last decade of the nineteenth century as a time of intense artistic and political activity when a national sensibility welled in writing, poetry and painting. Film too played a part in creating and sharing a vision of a nation, but from the earliest days film also linked Australia to the world.

Individual process management: A first step towards the conceptualization of individual activities

Understanding activities of individuals is of major importance because their actions are the main foundation of economic activity. However, there is a lack of understanding with regard to how individual activities are characterised. Thus, we develop a first conceptual classification for individual activities extending the view on business processes. The classification scheme contains personal care, education, professional work, domestic work, leisure and travel as primary activities and individual organization, procurement, information gathering and self-expression as secondary activities. We extend mainly prior literature on customer management by structuring processes of individuals independently from their status as customer. This enables new theoretical insights in the way companies can design their offers from a strategic point of view. Companies can use IPM to systematically analyze individual processes independent from specific products and services which is assumed to foster the development of innovative product and service offers.

Words as Events : Cretan Mantinádes in Performance and Composition

Words as Events introduces the tradition of short, communicative rhyming couplets, the mantinádes, which are still sung and recited in a variety of performance situations on the island of Crete. The local focus on communicative economy and artistry is further examined in an in-depth analysis of the processes and ideals of composition. Short genres of oral poetry have been widely neglected in folklore research; however, their demand for structural and semantic coherence as well as their dialogic nature appeals to very different human needs from those of the longer poems. In contemporary Crete, poems also appear in written contexts, they are submitted to modern mass media, and people widely exchange them as text messages. By striving to understand the tradition during a period of change, this study analyzes the larger principles that ground the communication, self-expression and creativity in the genre. The aim of this research is thus twofold: to present this specific register of dialogic oral poetry as well as to create a theoretical approach sensitive to the creativity of such short registers. The study is based on long-term ethnographic fieldwork conducted in Crete between the years 1997 2009. An important aspect of the methodology was to create long-term ties with a number of key-informants who composed mantinádes. The interdisciplinary theoretical and methodological basis for this analysis is in the contemporary Finnish and international research on oral poetry and on anthropological research on communicative speech genres. These theoretical insights are extended by addressing questions of spontaneity and individual agency. Since mantinádes are at the same time a model for composition and a reserve of poems in fixed form, the aesthetics and objectives of performance and composition are also plural. In a traditional singing event, the basic motivation for the singers is to provide a meaningful contribution to a selected theme, which is the shared topic of the poetic dialogue. Consequently, similar topics giving rise to poetic associations can be encountered during various moments of everyday life: the dialogic nature is embodied in the tradition to such degree that it also arises in the performances and composition of single poems and outside of any institutionalized performance arenas. Therefore, as this study discusses in detail, even the apparently non-contextualized poems recited between locals or occurring in the contemporary mass media arenas, are understood and evaluated as utterances that provide an individual perspective within a certain dialogue.

Fyysinen varhaiskasvatusympäristö päiväkotien varhaiskasvatussuunnitelmissa

The National Curriculum Guidelines on Early Childhood Education and Care (ECEC) in Finland says that ECEC is developed holistically through observing children´s and the educator community´s activities and the ECEC environment. The background of this research was that assesment should be based on commonly agreed principles, which are recorded e.g. to unit-specific ECEC curriculum. The objective of this research was to investigate how unit-specific ECEC curriculums have descriped the physical indoor environment in day-care centres. According to the National Curriculum Guidelines on ECEC, there are four ways of acting that are peculiar to children: playing, physical activities, exploration and artistic experiences and self-expression. The descriptions of physical environment in unit-spesific curriculums were observed through above mentioned four ways of acting. In addition to that, the descriptions of four ways of acting were compared to each other, in order to find out, which are the main differencies and similarities in relation to physical ECEC environment. Research material was build on unit-specific ECEC curriculums from 18 day-care centres of Helsinki. Target of the research were the descriptions of physical indoor environment in curriculums.The method used in the research was theory-guided content analysis. The analyses were mainly qualitative. The descriptions of psysical environment varied widely both quantitatively and by substance. All curriculums contained mentions of playing and artistic experiences and self-expression, but mentions of physical activities and exploration were noticiably fewer. All four ways of acting were mentioned in research material in relation to premises and instruments. Also, principles related to the use of premises and instruments and other more common priciples were mentioned in relation to all ways of acting. Instead of that, children were not mentioned even once as an upholders or innovators of physical activities environment and children were mentioned only once regarding to exploration environment. All ways of acting included scenarios of e.g. that environment must provide possibilities of particular way of acting, and both materials and instruments must be available for children. Anyhow, research material did not include any principle or scenario that relates to physical environment that would have occurred in every unit-specific curriculum.

Indywidualizm amerykański na tle innych społeczeństw zachodnich

W dzisiejszym świecie idea indywidualizmu jest nieodłącznie kojarzona z „amerykańskością”. Czy zawsze tak było? Czy Amerykanie wynaleźli „indywidualizm”, czy idea ta narodziła się w Europie? Autorka próbuje zaprezentować najważniejsze cechy indywidualizmu amerykańskiego. Przyjrzymy się czynnikom takim, jak: interes osobisty versus interes społeczny, presja społeczna do osiągania sukcesów czy protestancka etyka pracy, które mogą wpływać na samoświadomość, poczucie własnej wartości i autoekspresję. Przedstawione zostaną główne zasady amerykańskiego paradygmatu komunikacyjnego i powszechne wobec niego reakcje. W końcu, rozmyślać będziemy nad wpływem globalizacji i kultury masowej na wizerunek siebie oraz nad problemem antyamerykanizmu, włącznie z oporem przeciwko indywidualizmowi amerykańskiemu, jako reakcji na wszechobecność kultury amerykańskiej.

CONSERVATIVE AND PROGFESSIVE ASPECTS OF THE SONATA FROM LATE BEETHOVEN TO PROKOFIEV

The term 'sonata' arose in the early seventeenth-century Baroque period and was originally used to distinguish instrumental (sonata) music from vocal music. Later. the sonata style, as a reliable yet flexible compositional framework, was extensively shaped and utilized throughout the Classical period. Subsequently, in the Romantic period, freer creative, individualistic. and expressive musical elements began to be preferred by composers in their use of harmonj., tone color, form, and rhythm. However, even during the revolutionary Romantic period in music. the compositions which did not have a pre-defined format (character pieces, etc) were often comfortably framed and limited within the recognizable boundaries provided by the Classical sonata style. The sonata format, when used as a tool in musical composition, provides logical boundaries that may serve to organize any unexpected emotional expressions on the part of the composer. Yet the sonata framework is also flexible enough to allow freedom of expression. In the Romantic period and beyond, composers had relied, some more than others, upon the sonata's adaptable blend of stability and flexibility. In my opinion, it is more persuasive to express oneself musically within the framework of an established musical style. Thus, I have chosen my dissertation topic as the performance of six pieces incorporating elements of the reliable and flexible sonata style. The sonata of each composer that I have selected clearly demonstrates a tension between logic and emotion expressed within the sonata framework. However, the compositions can be divided interestingly into two groups, such as 'conservative' and 'progressive' group. The 'conservative' group consists of composers who seemed to strive for greater freedom of self-expression within the constraints of the traditional sonata form. On the other hand, the 'progressive' group consists of composers who seemed more to rely upon the sonata form to rein in and add stability to their highly individual and emotional musical ideas. It is my hope that this project will provide a stimulating viewpoint from which to consider the evolution and utilization of the sonata style especially as it is applied to the composition and performance of these six diverse and interesting pieces.

Oppositional Political Identity in the Song Culture of the Vormärz and the 1848 Revolution in Germany

Historically political song has often been perceived negatively, as a disturbance of the peace, summed up by the legendary line from Goethe’s Faust: “Politisches Lied – ein garstiges Lied”. In the period in Germany of the Vormärz (from 1815 up to the revolution of March 1848), however, we see how this perception may be changing as it increasingly becomes a means of self-expression in public life. This was the era of restauration, in which broader sections of German society are striving for political emancipation from the princes and kings. A whole host of political themes emerge in the songs (Freiheitslieder) of that period in which a new oppositional political consciousness is reflected. The themes range from freedom of speech, freedom from censorship, and the need for democratic and national self-determination to critiques of injustice and hunger, and parodies of political convention and opportunism. Sources of reception give indications about the social and political milieus in which these songs circulated. Such sources include broadsheets, handwritten manuscripts, song collections, commemoration events, advertisements in political press, memoires, police reports and general literature of the time. In many cases we see how these songs reflect the emerging social and political identities of those who sing them. One also sees the use of well known melodies in the popular dissemination of these songs. An intertextual function of music often becomes apparent in the practice of contrefacture whereby melodies with particular semantic associations are used to either underline the message or parody the subject of the song.

'O daughter ... forget your people and your father's house': Early Modern Women Writers and the Spanish Imaginary

‘O daughter … forget your people and your father’s house’: Early Modern Women Writers and the Spanish ImaginaryAnne Holloway and Ramona WrayHolloway and Wray consider the perspectives offered by two very different seventeenth-century women (Mary Bonaventure Browne, or Mother Browne (b.1615- and Lady Ann Fanshawe (b.1625) both of whom exchanged Ireland for Spain, and both of whom record journeys both ‘real’ and imagined in their writings. Browne’s deployment of hagiographical tropes in her History of the Poor Clares may reveal the potential impact of Iberian conventual culture; her allusions to the markers of sanctity insistent on the immutability of the body, whilst accepting and anticipating spectral presence in the form of bilocation. Fanshawe’s Memoirs are considered alongside the material legacy of her ‘Booke of Receipts of Physickes, Salues, Waters, Cordialls, Preserues and Cookery.’ Her impressions both in transit and within the domus are similarly marked by receptivity and sensitivity to the host culture. Amidst a backdrop of religious persecution and political uncertainty, in both cases Spain emerges as a potentially enabling context for creativity and self-expression.Keywords: Memoir; Franciscan; Poor Clares; Fanshawe; Mary Bonaventure Browne; hagiography; life-writing; autobiography, women writers

Striking a Balance:Christianity and the Challenges of Long-Term Human Security in Zimbabwe

African evangelical/Pentecostal/charismatic (EPC) Christians-previously dismissed by scholars as apolitical-are becoming increasingly active socially and politically. This chapter presents a case study of an EPC congregation in Harare. It demonstrates how the congregation provides short-term human security by responding to the needs of the poor, while at the same time creating space where people can develop the "self-expression values" necessary for long-term human security. The case study also demonstrates that even under authoritarian states, religious actors can actively choose to balance the immediate demands of short-term human security with the sometimes competing demands of long-term human security. Policymakers can benefit from a greater understanding of how religious actors strike this balance and from a greater appreciation of the variability, flexibility, and religious resources of EPC Christians in such contexts.

Ansiedade social e assertividade na adolescência

O presente trabalho pretende caracterizar a associação entre ansiedade social e assertividade na adolescência, bem como desenvolver um modelo compreensivo e de intervenção teórica e empiricamente fundamentado acerca desta problemática. A ansiedade social é definida por medo intenso em situações sociais, associado a crenças negativas predisponentes e comportamentos de segurança ou evitamento subsequentes de situações sociais. A assertividade consiste numa resposta comportamental de auto-expressão empática, fundamentada em crenças positivas e activação emocional reduzida. Assim, estes dois conceitos parecem estar em dissonância, uma vez que, por definição, a ansiedade social surge associada a défice de comportamentos sociais adequados e a assertividade a diminuída activação ansiosa em eventos sociais. Por outro lado, ansiedade social e défice assertivo poderão fundamentar-se em mecanismos psicológicos semelhantes. Para verificar estas duas premissas, o presente trabalho utilizou uma amostra de 679 adolescentes do ensino secundário público de ambos os sexos. Para avaliar a ansiedade social nas três dimensões do funcionamento psicológico foram utilizadas a Escala de Crenças e Pensamentos Sociais e a Escala de Ansiedade e Evitamento de Situações Sociais para Adolescentes. No caso da assertividade, foram utilizados o Questionário de Esquema Interpessoal Assertivo e Escala de Comportamento Interpessoal. A análise de dados permite verificar a existência de uma associação recíproca negativa entre ansiedade social e assertividade, em todos os níveis considerados. Igualmente, os resultados obtidos indicam que esta associação poderá ser fundamentada na existência de baixas crenças sociais positivas que activam pensamentos sociais negativos e subsequentemente ansiedade e desconforto em situações sociais e reduzida frequência de comportamento assertivo. Esta conclusão fundamentou uma intervenção integrada para a promoção da gestão de ansiedade social e da prática de competências assertivas. Esta intervenção foi construída, implementada e avaliada em dois ensaios clínicos junto a 6 adolescentes. Os resultados de significância clínica indicam que o programa tem eficácia terapêutica, ainda que este estudo preliminar não exclua a necessidade de uma avaliação mais aprofundada do benefício associado a esta intervenção. Estes trabalhos assumem, assim, implicações educativas e terapêuticas, ao permitir explicitar e clarificar a associação entre ansiedade social e assertividade, e ao contribuir para o desenvolvimento e avaliação de formas de intervenção adequadas junto ao adolescente social tímido ou inibido. A compreensão e intervenção preventiva para a promoção do ajustamento psicossocial do adolescente emergem como uma realidade possível, pertinente e acessível a todos os agentes educativos.

Formação de alunos histórica e geograficamente competentes no ensino básico - contributo das imagens e dos mapas mentais

Relatório de investigação apresentado à Escola Superior de Educação de Lisboa para obtenção de grau de mestre em Ensino de 1º e 2º ciclo do Ensino Básico

Espace et récit : l’inscription des temps dans la ville : parcours stochastiques chez Julio Cortázar

De la mouvance du récit contemporain fragmenté, labyrinthique, se dégage un rapport significatif entre les personnages du récit et les lieux dans lesquels ils gravitent : lieux comme figures diverses et discontinues de l’histoire et des mythes y étant inscrits. Cette construction interactive entre lieu et sujet fait intervenir l’espace comme primordial, et, ainsi, redéfinit l’importance du temps dans l’écrit. Le temps n’adviendrait plus seulement dans le « raconté », comme le suggère Ricœur, mais dans les strates successives de son inscription dans les lieux : le lieu est vécu comme art combinatoire des expériences qui s’y rattachent. C’est par le projet continuel et imparfait du sujet à se situer, plus spécifiquement ici dans la ville et dans celles auxquelles il s’identifie, que surgit l’expression du récit. À travers trois œuvres de Julio Cortázar, le temps sera pensé comme une modalité de fragments « empilables », inscrite dans les lieux signifiants, qui saura émerger au conscient par l’entremise de la porosité de la ville, de sa capacité à susciter des « sauts », des passages. Ce qui lie les espaces architectoniques et le temps qui s’y imprime au sujet qui doit se dire pour exister, mettre en récit afin d’unifier les parties discontinues de son être, émergera dans le « devenir en mouvement », superposition du récit et de l’expérience réelle, par les tropes cortazariens de l’expérimentation, jeu, passage et langage. Là surgira dans l’acte créatif une dynamique spécifique à la ville qui envahit et guide le sujet: sa singularité plurielle.