subject:(ways of seeing)

Brunel University

1. Nader, Myrna. Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath.

Degree: PhD, 2010, Brunel University

URL: http://bura.brunel.ac.uk/handle/2438/5439 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535933

► This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional.… (more)

▼ This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.

Subjects/Keywords: 810; Surrealism; Liminality; Myth; Religion; Ways of seeing

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APA (6^th Edition):

Nader, M. (2010). Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath. (Doctoral Dissertation). Brunel University. Retrieved from http://bura.brunel.ac.uk/handle/2438/5439 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535933

Chicago Manual of Style (16^th Edition):

Nader, Myrna. “Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath.” 2010. Doctoral Dissertation, Brunel University. Accessed February 27, 2021. http://bura.brunel.ac.uk/handle/2438/5439 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535933.

MLA Handbook (7^th Edition):

Nader, Myrna. “Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath.” 2010. Web. 27 Feb 2021.

Vancouver:

Nader M. Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath. [Internet] [Doctoral dissertation]. Brunel University; 2010. [cited 2021 Feb 27]. Available from: http://bura.brunel.ac.uk/handle/2438/5439 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535933.

Council of Science Editors:

Nader M. Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath. [Doctoral Dissertation]. Brunel University; 2010. Available from: http://bura.brunel.ac.uk/handle/2438/5439 ; http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535933

RMIT University

2. McDonagh, N. In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice.

Degree: 2010, RMIT University

URL: http://researchbank.rmit.edu.au/view/rmit:6399

► At a time when, arguably more than ever before in human history, the human mind needs to become more adaptive, and adapting, to meet the… (more)

▼ At a time when, arguably more than ever before in human history, the human mind needs to become more adaptive, and adapting, to meet the increasingly complex, ambiguous, uncertain conditions of the world in which we live, any practices that can effect lasting expansion of our ways of seeing, thinking and acting in relation to self, others, and the world may be considered a useful and valuable contribution to human knowledge and practices. This practice-led research conducted over a span of eight years demonstrates the capacity of an arts-based system of knowing and knowledge production to give rise to just such effects. Creative contemplationÂ® is a methodology of material meditation originated and evolved within an experimental, transdisciplinary, commercial design practice - a methodology that proves able to generate self-reflexive spaces for myself, and for others who are neither trained nor practised in creative arts, and it is able to do so within the context of everyday practices. This bricolage system of knowing and knowledge production primarily derives from the arts but also variously derives from Australian Indigenous cultural practices as well as psychology, somatic therapy, Western and Eastern philosophy, and traditions of meditation - most particularly Japanese forms of Zen. As such, the transdisciplinary nature of Creative contemplationÂ® accesses and activates a continuum of somatic and intellectual ways of knowing that at once both transcend and extend habitual ontological and epistemological frameworks. This investigation draws on the experience and knowledge gained in a highly successful, five year collaboration with a courageous organisation that risks engaging me to create and conduct extensive learning fora in which Creative contemplationÂ® is used to increase individual and collective capacity of environmental scientists, and other staff, grappling with the complex matter of sustainability, and the uncertain future of the natural environment and humanityâ€™s prospect inextricably interwoven within it. In situating my work in relation to the orthodoxy of investigating and cultivating mind in the area of business known as organisational learning and development, and in relation to the emerging field of arts in business, its significant contribution to knowledge and practices in this arena come clearly into view, but, by its very nature, such transdisciplinary practice-research transcends boundaries of any single field allowing contributions to knowledge and practices to be far more broadly inferred. Through studio inquiry, and practice-led and literature-based research the philosophical, theoretical, methodological and practical frameworks are created that support, and make explicit, the ontology and operations of Creative contemplationÂ® methodology, the learning fora with others that I conceive as a species of performative installation, and my agency and role as practitioner within these fora that I cast as being (an) Attendant - a specialised model and mode of facilitation commensurate…

Subjects/Keywords: Fields of Research; mind; cultivating mind; art as knowing; trandisciplinary research; art-based knowing; knowledge production; bricolage; ways of seeing; individual and collective capacity

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

McDonagh, N. (2010). In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice. (Thesis). RMIT University. Retrieved from http://researchbank.rmit.edu.au/view/rmit:6399

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

McDonagh, N. “In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice.” 2010. Thesis, RMIT University. Accessed February 27, 2021. http://researchbank.rmit.edu.au/view/rmit:6399.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

McDonagh, N. “In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice.” 2010. Web. 27 Feb 2021.

Vancouver:

McDonagh N. In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice. [Internet] [Thesis]. RMIT University; 2010. [cited 2021 Feb 27]. Available from: http://researchbank.rmit.edu.au/view/rmit:6399.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

McDonagh N. In/sight: The art of creating self-reflexive spaces. An investigation of transdisciplinary practitioner/practice. [Thesis]. RMIT University; 2010. Available from: http://researchbank.rmit.edu.au/view/rmit:6399

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Louisiana State University

3. Johnson, Christina Marie. Unveiled pandemonium.

Degree: MFA, Fine Arts, 2011, Louisiana State University

URL: etd-11042011-095705 ; https://digitalcommons.lsu.edu/gradschool_theses/2332

► Unveiled Pandemonium is a body of work that acknowledges my struggles, as a woman, with skewed self-perception and how frayed, decayed bits of self-love affect… (more)

Subjects/Keywords: digital collage; feminism; John Berger; graphite drawings; Antonio Lopez Garcia; Nan Goldin; Lisa Yuskavage; Jenny Saville; Hanneline Rogeberg; Ways of Seeing; social biology

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Johnson, C. M. (2011). Unveiled pandemonium. (Masters Thesis). Louisiana State University. Retrieved from etd-11042011-095705 ; https://digitalcommons.lsu.edu/gradschool_theses/2332

Chicago Manual of Style (16^th Edition):

Johnson, Christina Marie. “Unveiled pandemonium.” 2011. Masters Thesis, Louisiana State University. Accessed February 27, 2021. etd-11042011-095705 ; https://digitalcommons.lsu.edu/gradschool_theses/2332.

MLA Handbook (7^th Edition):

Johnson, Christina Marie. “Unveiled pandemonium.” 2011. Web. 27 Feb 2021.

Vancouver:

Johnson CM. Unveiled pandemonium. [Internet] [Masters thesis]. Louisiana State University; 2011. [cited 2021 Feb 27]. Available from: etd-11042011-095705 ; https://digitalcommons.lsu.edu/gradschool_theses/2332.

Council of Science Editors:

Johnson CM. Unveiled pandemonium. [Masters Thesis]. Louisiana State University; 2011. Available from: etd-11042011-095705 ; https://digitalcommons.lsu.edu/gradschool_theses/2332

4. Stirbys, Cynthia Darlene. Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study .

Degree: 2016, University of Ottawa

URL: http://hdl.handle.net/10393/34264

► The Indian residential school (IRS) system is part of Canada’s colonial history; an estimated 150,000 First Nations, Inuit, and Métis children attended IRS (Stout &… (more)

▼ The Indian residential school (IRS) system is part of Canada’s colonial history; an estimated 150,000 First Nations, Inuit, and Métis children attended IRS (Stout & Peters, 2011). Informed by Indigenous principles of respect, relevance, responsibility, reciprocity, and relationality (Deloria, 2004; Ermine 1995; Kirkness & Barnhardt, 2001; Wilson, 2008), this study uses classic grounded theory to explore how female IRS survivors or their female descendants are coping with the intergenerational transmission of trauma. Specifically, the general method of comparative analysis was used to generate theory and identify categories and conceptualizations. The emergent problem found that individual survivors and their descendants were dealing with kakwatakih-nipowatisiw, a Cree term used to identify learned colonial (sick) behaviours. These behaviours manifested first among the administrative staff of the schools, then eventually emerged as female generational violence between, for example, mothers and daughters. Indigenous women in this study aimed to resolve this, their ‘main concern’, in order to strengthen familial relations, especially between female family members. Analysis resulted in the identification of a theory derived from the social process of potentializing wellness, which was grounded in the real-world experiences of Indigenous women. Potentializing wellness involves three dimensions: building personal competencies, moral compassing, and fostering virtues. It was revealed that Indigenous women perceive the ongoing generational effects of IRS differently, and as a result, three behavioural typologies emerged: living the norm, between the norm, and escaping the norm. The “norm” refers to the belief that violence is accepted as a normal part of family life. The paradox, of course, is that this type of behaviour is not normal and Indigenous women in this study are looking for ways to eliminate aggressive behaviours between women. The discoveries made in this research, coupled with the final integrative literature review, suggest that Indigenous People’s cultural ways of knowing have a holistic component that addresses all wellness levels. Effective strategies to deal with intergenerational trauma can emerge when holistic health is followed by, or happens concordantly with, reclaiming cultural norms grounded in community and spiritual life. Indigenizing a Western intervention is not enough. Focusing on the spiritual as well as emotional, physical, intellectual, and social aspects of self is seemingly the best approach for Indigenous People who are dealing with the intergenerational effects of trauma.

Subjects/Keywords: Indigenous women; Indian residential schools; historical trauma; gender; mental health; grounded theory; models of wellness; Indigenous ways of knowing; Two-eyed seeing

…literature review, suggest that Indigenous People’s cultural ways of viii POTENTIALIZING WELLNESS… …through the challenging times in ways you probably are not even aware of. I wish to thank my… …languages, ways of knowing, and spiritual beliefs were irrelevant. For Indigenous children… …responded to the IRS legacy in various ways. This section will outline some of these approaches to… …IRS phenomena? c. What are the different ways FIRSS-FD cope with reported accounts of…

14 more images…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Stirbys, C. D. (2016). Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study . (Thesis). University of Ottawa. Retrieved from http://hdl.handle.net/10393/34264

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Stirbys, Cynthia Darlene. “Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study .” 2016. Thesis, University of Ottawa. Accessed February 27, 2021. http://hdl.handle.net/10393/34264.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Stirbys, Cynthia Darlene. “Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study .” 2016. Web. 27 Feb 2021.

Vancouver:

Stirbys CD. Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study . [Internet] [Thesis]. University of Ottawa; 2016. [cited 2021 Feb 27]. Available from: http://hdl.handle.net/10393/34264.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Stirbys CD. Potentializing Wellness through the Stories of Female Survivors and Descendants of Indian Residential School Survivors: A Grounded Theory Study . [Thesis]. University of Ottawa; 2016. Available from: http://hdl.handle.net/10393/34264

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

North Carolina State University

5. Newville, Sandra. Intersection of Art and Emancipation: The Road to Rebellious Subjectivity.

Degree: EdD, Adult and Community College Education, 2007, North Carolina State University

URL: http://www.lib.ncsu.edu/resolver/1840.16/3991

► This study describes the framework that artists use to create works of art that foster emancipatory responses in viewers. Then it relates that framework to… (more)

▼ This study describes the framework that artists use to create works of art that foster emancipatory responses in viewers. Then it relates that framework to adult educators creating emancipatory learning experiences for their students. It uses phenomenological methods, involving participants as co-researchers in in-depth interviews, prolonged engagement and frequent member checks, to explore the artists' direct experience with the phenomenon. The conceptual framework for this study is found in John Dewey's (1934) Art and Experience with his definition of experience as the interaction of the self and the world, and Herbert Marcuse's (1978) Aesthetic Dimension and his concept of rebellious subjectivity. The theoretical framework rests on critical adult education theory, specifically, critical pragmatism. The study analyzes the philosophical framework, practice, and process of six artists whose paintings promoted an emancipatory response in the researcher. Three themes emerged as significant: 1) thinking and painting; 2) knowing yourself; and 3) trusting the process. "Thinking and painting" describes the complexity of artistic thinking. It involves the dynamics of feeling, seeing beyond the surface and thinking in a way that is open-ended, open to possibilities rather than being pre-planned. "Knowing yourself" is where emancipation happens. It involves knowing why we feel the way we do, the need to keep evolving and growing, being true to the heart and desire to be original, to create something new. "Trusting the process" explores imaginative power. It involves having intentions but not outlining outcomes, problem-solving in context of the whole, and staying spontaneous, allowing things to happen. The study relates the artists' themes to adult educators in an analysis of the connections between art and emancipation, consideration of emancipatory values, learning how to act from what we feel, and how to use the artists' process in our own experiences. It adds to an understanding in the discourse of why and how art is emancipatory and lays a foundation for further research in educators' self reflection, applications to emancipatory practice, methodology, curriculum, evaluation and the development of new ways of teaching and learning. Advisors/Committee Members: Dr. Colleen Aalsburg Wiessner, Committee Co-Chair (advisor), Dr. John M. Pettitt, Committee Co-Chair (advisor), Dr. Diane D. Chapman, Committee Member (advisor), Dr. Richard E. Peterson, Committee Member (advisor).

Subjects/Keywords: critical subjectivity; artists? process; emancipatory education; Dewey; diversity of knowing; The Aesthetic Dimension; adult education; abstract knowledge; worldviews; knowledge construction; knowing yourself; John Heron; John Dewey; artistic transcendence; artistic thinking; perceptual function; open-ended thinking; organic perspective; painting; critical consciousness; creativity; presentational knowing; pragmatism; practical mode; teaching from the heart; teaching by feeling; tacit knowledge; artistic intelligence; intuitive cognition; interpersonal intelligence; interaction of self and world; integration of self and world; integrated knowing; integral experience; inertia of habit; imagination; artist educator; art and reason; practical knowing; art and emancipation; Art and Experience; affect; affective mode; agency; analytic aesthetics; art; direct experience; democratic classrooms; Csikszentimihalyi; critical theory; conceptual mode; contextual learning; continuous reflection; phenomenology; phenomenological aesthetics; ways of seeing; whole person; whole person knowing; ways of knowing; unmediated experience; unified ways of knowing; aesthetic ways of knowing; aesthetic experience; trusting the process; The Art of Seeing; thinking and feeling; thinking and painting; thinking beyond reason; transcendental function; transformative learning; subjectivity; subjective reality; ruptura; relational knowing; reflection; rebellious subjectivity; propositional knowing; rational thinking; rational ways of knowing; objective reality; Marcuse; knowledge creation; imaginal mode; Herbert Marcuse; feeling; experiential knowing; emotional function; emotion; emancipatory experience; emancipatory learning; emancipatory values; perspective transformation; dynamics of feeling; critical reflection; critical creativity; critical pragmatism; cognitive function; centered knowing; authentic voice; authentic knowing; authentic experience; arts-based research; artists; artistic ways of knowing

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Newville, S. (2007). Intersection of Art and Emancipation: The Road to Rebellious Subjectivity. (Thesis). North Carolina State University. Retrieved from http://www.lib.ncsu.edu/resolver/1840.16/3991

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Newville, Sandra. “Intersection of Art and Emancipation: The Road to Rebellious Subjectivity.” 2007. Thesis, North Carolina State University. Accessed February 27, 2021. http://www.lib.ncsu.edu/resolver/1840.16/3991.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Newville, Sandra. “Intersection of Art and Emancipation: The Road to Rebellious Subjectivity.” 2007. Web. 27 Feb 2021.

Vancouver:

Newville S. Intersection of Art and Emancipation: The Road to Rebellious Subjectivity. [Internet] [Thesis]. North Carolina State University; 2007. [cited 2021 Feb 27]. Available from: http://www.lib.ncsu.edu/resolver/1840.16/3991.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Newville S. Intersection of Art and Emancipation: The Road to Rebellious Subjectivity. [Thesis]. North Carolina State University; 2007. Available from: http://www.lib.ncsu.edu/resolver/1840.16/3991

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

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