Arts Integration in Elementary Curriculum: 2nd Edition

This open textbook was revised in 2018 under a Round Eleven Mini-Grant for Revisions. Topics include: Arts Integration Music Visual Arts Literary Arts Performing Arts Physical Education and Movement A set of lecture slides for the textbook are also included as an additional file. Accessible files with optical character recognition (OCR) and auto-tagging provided by the Center for Inclusive Design and Innovation.https://oer.galileo.usg.edu/education-textbooks/1002/thumbnail.jp

An experimental study of iconicity in the Arabic vocabulary of the Qur’an

This thesis begins with two interests: a personal desire to expand upon and apply modern scientific linguistic study to Muslim holy writ, and a more general desire to work with and study the growing field of iconicity in applied linguistics. As a Muslim, the Qur'an is a book close to my heart, and so, initially, when beginning, I had wished to complete a comprehensive series of iconicity experiments, studying large swathes of the Qur'an, utilising this Qur'anic stimuli for participant studies, administering entire verses of the Holy Book to non-Arabic speakers and analyzing their perception of linguistic iconicity from said verses. As the thesis moved along, it became clear even with a word limit of 40,000, this was impossible, thus, the paper focuses on not the entirety of the Qur'an, or even complete chapters or verses, but 100 words. The Qur'an is used as a text of study, but also a platform from which we compiled the stimuli for experimental work on, fundamentally, words from (Classical) Arabic, as they are found in the Qur'an from the 7th Century. That is the brief summary of how the thesis sculpted itself into what it is today, with a very specific substrate of stimuli studied. But now with this general outline in place, the questions remain, why the Qur'an? And equally saliently, what is iconicity? The Qur'an is the Muslim Holy book, and the most memorized book in the modern world (Graham, 1993:80). What is perhaps more striking, and attractive for linguistic and philological study, is that the vast majority of people who have memorized the Qur'an are not fluent in Arabic, let alone the classical language that the text employs (Ariffin et al., 2000, 2015). The average Muslim who typically does not understand Arabic will attain proficiency in rote reading/reciting of the Qur'an in absence of semantic comprehension (Riddel et al., 1997). Despite the above, studies indicate the Qur'anic script is largely memorized with ease (Boyle, 2000; Slamet, 2019; Yusuf, 2010), with a number of studies finding the meaning vivid and easy to visualize for non-native speakers and readers (Boyle, 2006; Nawaz & Jahangir, 2015). Additionally, the Qur'an itself claims uniqueness in its stylistic marvel, its eloquence and its brevity (Armstrong, 1999; Lings & Barrett, 1983; Versteegh, 2014). There have been countless studies of the Qur'an in multiple languages, but what has not been done completely, is to apply modern applied linguistic methodology to the lexis that comprise the book. And so, whilst the idea of Qur'anic memorization or visuality will not be the focus of this paper, the ultimate goal of this thesis is to connect the Qur'an with one potential cause of these phenomena and its claimed linguistic marvel: iconicity. In linguistics, broadly speaking, iconicity is the understanding that a word can ‘sound like what it means’, or more specifically that the form of a word can in some way resemble its meaning (Dingemanse et al., 2015; Perniss & Vigliocco, 2014; see Chapter 1.1 for a detailed definition). As such, the current paper is centred around the Qur'an and iconicity. Does iconicity, a concept that has been studied in Japanese, Korean, English, Dutch and other languages, exist in Classical Arabic? If so, to what extent? And how can iconicity in the Qur'an benefit the ones learning the Qur'an, or perhaps learning Arabic as a whole? These are the main questions that this paper asks and aims to address, namely through drawing on previous studies in linguistic studies of sound-symbolism, and motivated by the Qur'an, taking words from the Qur'an and placing them under the microscope for thorough linguistic analysis. It should be clear now that the Qur'an is the subject of analysis insofar as iconicity research as modern empirical methods of iconicity research have not been applied to the Qur'an whatsoever. We will therefore learn something about this text first and foremost, but can then extend the findings to make comparisons between parts of speech and second-language vs native-speaker perceptions of iconicity. We see how different groups gauge iconicity in the Qur'an, and this then leads us to isolate specific words that are more iconic than others, which in turn can be tuned for language-learning of Arabic later down the line. The motivation to link these is that it allows for an objective analysis of some Qur'anic linguistic traits while also providing practical benefit to language-learners. Chapter 1 will discuss previous literature in regards to iconicity as a phenomenon, with the aim of building a case for the existence of iconicity in the Muslim holy book. Chapter 2 and 3 will then move on to exploring a combined task-set constituting the present study of Qur'anic words: a pair of mixed-method experiments examining the extent to which iconicity is perceived by different groups of participants when present with Qur'anic words. The paper will conclude with Chapter 4, tying together how findings may be considered in light of other literature and how the study may inform our current understanding of both iconicity, iconicity testing, and the Qur'an

Above the Still Lake: Lyrical Sensibilities in Visual Art -Thinking through photographic practice: Pathos, Eastern Asian aesthetics and the language of emotion

Drawing from Western and East Asian philosophical traditions, this thesis aims to compare different concepts of ‘Pathos’ as present in Chinese, Japanese and European traditions of art, and in particular photography. The overarching methodology is that of translation between different languages and cultural contexts, and the verbal and visual. Using methods from comparative literature and including case studies from East Asian and European poetry, film and artistic practice, the research looks at the tradition of the representation of ‘Landscape’ from Eastern and Western perspectives. This is a practice-led PhD and I explore these concepts associated with Pathos and landscape through the media of photography, moving image, object making and book-making. I draw parallels between my photographic practice and traditional Chinese landscape painting with respect to the framing, tonality, and non-specificity of place. My investigation of lighting, printing techniques and surfaces are methods for researching the space of the photograph. This thesis pivots on three related concepts; the Greek concept of Pathos, one of the three rhetorical appeals; Yi jing, an ancient Chinese artistic concept; and Mono no aware, an eighteenth-century Japanese aesthetic principle. The project begins by looking into a specific period of historical artistic changes in China and Japan during the Pictorialism movement, including a re-examination of the visual representations of photographic work of Chinese and Japanese periodicals from 1910 through to 1937. This research is inspired by an awareness of and an interest in the lack of scholarship on Eastern and Western notions of aesthetics as they apply to the accounts of photography during Republican China. This examination of Chinese photography is then framed through a reappraisal of Japanese aesthetics

A Standardized Approach to Analyzing Multi-cultural Presentations of Christian Worship

With the growth of the internet, worship pastors can share fine art presentations of the gospel message from cultures worldwide. Since all cultures belong in the kingdom of God, pastors may struggle to validate fine arts performances according to scriptural standards. One of the concerns is the range of interpretations that come from a lack of formal analysis in the literature. Some critics write about fine arts performances based on their own experience and opinion. This may indicate a gap in literature where there is no uniform standard for evaluating those works. Rather than take time to research presentations, a worship pastor may accept the opinion of a person who is not trained to make artistic or scriptural judgments. This lack of a coherent standard may lead to interpretations that allow syncretism to flourish or a misunderstood biblical message. This research shows that the Bible is the authority over artistic presentations and that a person can use a systematic approach to validate these presentations. Individuals in the fine arts field will argue that all work is created as a matter of personal aesthetics. While this may be true in the secular world, a worship leader must maintain a proper discipline of biblical authority. In this study, an ethnographic, qualitative/correlational method will be used to demonstrate the need for a uniform approach to describing, analyzing, interpreting, and evaluating works of Christian fine arts

Anglo-American poetry and Japan, 1900-1950: A critical bibliography

From the advent of literary Japonisme late in the nineteenth century through the literary and cultural upheavals of the twentieth century Japanese literature, visual arts, aesthetic principles, and landscapes imaginative and real have attracted the attention of many of the most remarkable and remarked upon poets of Britain and the United States. This work provides a critical and bibliographical overview of the works that constitute the textual fabric of this attraction, focusing particularly on the first half of the twentieth century, when Japan first emerged as a determinative presence in Anglo-American verse. The introduction, 'Anglo-American Poetry and the Special Case of Japan', places the work under study in historical context, and is followed by four bibliographical sections. Section A, 'Critical and Comparative Studies', provides a chronological listing of general secondary works that have addressed the use of Japanese subjects and forms in Anglo-American poetry. Section B, 'Poets Central to the Study', provides chronological listings of primary and secondary materials by and about twelve writers whose mediation of Japanese subjects and forms was most significant among Anglo-American poets active from 1900 to 1950: Conrad Aiken, Richard Aldington, Laurence Binyon, Edmund Blunden, Witter Bynner, William Empson, Arthur Davison Ficke, John Gould Fletcher, Amy Lowell, William Plomer, Ezra Pound, and W. B. Yeats. Section C, 'Other Materials', includes selected listings of works by and about other Anglo-American poets whose mediation of Japanese materials has been significant (CA), a selected listing of relevant archives (CB), and a selected listing of secondary works that focus on the larger influence of Japan in the West (CC). Section D, 'Sources of Influence and Transmission', provides a bibliographical overview of the writers and texts that have provided Anglo-American poets with many of their images and understandings of Japan and Japanese forms

Semiotics of the 20th century

Semiotic and linguistic studies of the 20th century have been important mostly in two senses — (1) they have opened a road for comparative research on the origin and development of language and other systems of signs adding a new dimension to the history of culture; (2) they have shown a possibility of uniting different fields of humanities around semiotics suggesting a way to trespass separation and atomisation of different trends in investigating culture. In the 21st century one may hope for closer integration of semiotics and exact and natural sciences. The points of intersection with the mathematical logic, computer science and information theory that already exist might lead to restructuring theoretical semiotics making it a coherent and methodologically rigid discipline. At the same time, the continuation of neurosemiotic studies promises a breakthrough in understanding those parts of the work of the brain that are most intimately connected to culture. From this point of view semiotics may play an outstanding role in the synthesis of biological science and humanities. In my mind that makes it a particularly important field of future research

Exploring the Limits of Nō Theatre : Adapting the traditional elements of nō in shinsaku plays

The study of nō theatre, a 14th century traditional Japanese performing art form, has focused primarily on the classical plays, while no extensive studies of the new nō plays or shinsaku nō have been made in Western scholarship. Since all nō plays, classical and new, are theatrical scripts that adapt their themes and characters from literary or other sources, they are viewed in this study as adaptations. Nō plays are a type of adaptations that adapt their sources in a conservative manner, relying on many limits defined by the specific rules of the genre called nō theatre. In this study, nō plays are divided into two categories: genre adaptations, which adapt literary or other sources and involve the change of genre from literature to theatrical script, and kinetic adaptations, which appropriate material from existing plays. In order to clarify the concept of nō plays as adaptations ten adaptation strategies are discussed and examples provided from classical nō plays, forming a theoretical framework for the analysis of shinsaku plays. The main focus of this study is on exploring the ways in which source materials have been transformed to create the main characters and intertextuality in shinsaku plays. For creating a comprehensive basis for the analysis, the traditional elements of nō theatre are divided into four structural and six performance elements. All structural elements and three performance elements (the actors’ training, music, costumes and masks) form internal elements of nō plays the modification of which to the extremes causes serious deviance from the limits of the genre. On the other hand, remaining three performance elements as external elements of nō plays (the stage, properties and lighting) offer more freedom and creativity in adaptation. Analysis of the practical application of various adaptation strategies in five shinsaku nō plays revealed that multiple strategies and techniques similar to those in classical plays have been applied simultaneously in the new plays. Some of the structural elements such as the design of characters, use of language and creation of allusiveness were modified to some extent in the new plays, and the prominence of religion was diminished. The internal performance elements were generally adapted within the limits of the nō canon, while the external performance elements were adapted more freely.1300-luvulta peräisin olevan Japanin nō-teatterin tutkimus keskittyy ennen kaikkea klassisiin näytelmiin. Nō-teatterin uusien näytelmien eli shinsaku nō tutkimus ei ole saanut suurta huomiota, ja tähän asti Japanin ulkopuolella ei ole tehty shinsaku:sta perusteellisia tutkimuksia. Koska kaikki nō-näytelmät, niin perinteiset kuin uudet, ovat teatteritekstejä, jotka ottavat teemoja ja henkilöitä kirjallisuudesta sekä muista lähteistä, niin niitä voidaan analysoida teatterin adaptaationa. Nykyisten adaptaatioteorioiden mukaan voidaan nō-näytelmät jakaa kahteen osaan: kirjallisuutta ja muita lähteitä teatteriin mukauttavat tyylilajien väliset adaptaatiot ja jo olemassa olevista nō-näytelmistä uusia versioita luovat kineettiset adaptaatiot. Nō-näytelmien adaptaatioiden olemuksen selvittämiseksi tutkimuksessa esitetään kymmenen adaptaatiostrategiaa, jotka kuvaavat sitä, miten lähdemateriaalia mukautetaan nō-näytelmän tiukasti rajoitettua muotoa vastaavaksi esittämällä esimerkkejä eri strategioiden käytöstä klassisissa näytelmissä. Klassisten näytelmien pohjalta muodostetut adaptaatiostrategiat muodostavat teoreettisen kehyksen, jonka avulla analysoidaan nō-teatterin shinsaku-näytelmiä. Tämän tutkimuksen keskeinen kysymys on, miten epätraditionaalisia lähdemateriaaleja käytetään shinsaku-näytelmien henkilöhahmojen ja intertekstuaalisuuden luomisessa. Analysoitaessa uusien näytelmien perinteisiä nō-teatterin elementtejä selvisi, että mukautettaessa materiaalia nō-teatterin muotoa varten, käytetään samanlaisia adaptaatiostrategioita kuin klassisissa näytelmissä. Viidessä analysoidussa shinsaku-näytelmässä esiintyi rakenteellisia elementtejä, kuten esimerkiksi henkilöhahmot, kielenkäyttö ja intertekstuaalisuutta luovat alluusiot. Vertailtaessa samoja elementtejä klassisiin näytelmiin, oli eroja vain vähän. Lisäksi uusissa näytelmissä oli uskonnon merkitystä vähennetty niin henkilöhahmojen identiteetissä kuin näytelmien rakenteissa. Esitykselliset peruselementit (näyttelijän harjoittaminen, musiikki, puvut ja maskeeraus) olivat yleisesti ottaen adaptoitu nō-teatterin genren rajoissa, samalla kun muita esitykseen liittyviä elementtejä, kuten näyttämö, lavasteet, rekvisiitat ja valaistus oli adaptoitu uusia näytelmiä varten huomattavasti vapaammin

Towards a deep ecology of art, technology and being - an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple

This practice-based thesis is an interrogation of ‘being’, one not centred on the human being. It concerns a being that manifests through dynamic inter-relation between human and other entities and phenomena in the universe. It considers several interrelated questions, interrogating notions of 'relational being','non-anthropocentric being', 'the being of a space', ‘the space of being’. Ultimately, one is considering the implications of relational being for ‘deep ecology’. With regard ‘relational being’, key inter-related Buddhist ideas drive the thinking and practice: ‘relational origination’ (pratityasamutpada), and ‘emptiness’(shunyata). Furthermore at the heart of this particular history of technology is a discussion of the significance of zero. The Sanskrit term shunya, means both ‘zero’ and ‘empty’, and relates to shunyata. There are several principal objectives. Firstly an analysis of perceived relational dynamics in Ellora’s rock-cut architecture, technology, and ontology. Secondly, scrutiny of apparent correspondence between Ellora’s Edifice Twenty-Nine and a contemporary Tantric shrine: the Water Temple, constructed in 1991. Thirdly, an examination of ideas in contemporary science and technology that engender reconsiderations of notions of ‘relational being’. The primary practical outcomes are two films: relationship-place naka-ma and zero = every day? Both approach the question through phenomenological process, paralleling Ando’s conception of ‘architecture’ as an integrated and inter-acting entity of built edifice, wider landscape, and the spectatorship of persons who frequent it. This research engenders ‘new knowledge’ in terms of: offering pluralistic, trans-national and trans-disciplinary insight on current thinking relating to art, architecture, technology, spectatorship, and ontological practice; evolving knowledge with regard interactions between body, humanly constructed entities, wider environments/ecologies; engendering new perspectives on considerations of cyberspace, Ellora, Ando, and the Water Temple; contributing to a counter thesis vis-à-vis the colonial project of objectification and ossification of the other

1 Folklore and New Media communications: an exploration of Journey to the West, its modern orality and traditional storytelling in contemporary online spaces

This paper is the study of Journey to the West as a medium and cultural commodity rather than merely a novel; one that has been continuously told in one form or another for over a thousand years. I examine the story diachronically, through a media ecology lens, in an effort to understand the story's traditions through temporal synchronic studies. I propose that the study of the book has largely overshadowed the true scope of the story’s cultural importance. I posit that Journey to the West is a medium that should be considered separately from the technologies and media that use it as content. I assert that its components and structural elements are deeply rooted in the Chinese oral tradition, which is reliant on the interplay of orality and literacy. I complete a content analysis of film and television texts to validate this hypothesis. I use the results to identify patterns across the texts that can be explored more deeply across historical texts in the Journey to the West canon. The aim of this analysis is to identify storytelling motifs that can be traced back to the popularised novel and its antecedents. I also look at the discourse surrounding online culture and storytelling relating to the milieu of pre-literate societies, and how modern devices may also mimic elements of storytelling experience in Journey to the West's past. The evidence points to a complex relationship between medium, technology and audience, the investigation of which, I argue, demonstrates culturally contextual episteme within the story. I finally assert that the story and the Monkey King are an environment that is immersive due to the multitude of texts and representations within Chinese culture. This I state, is why the story has such substantive cultural value; it goes almost unnoticed and therefore becomes a powerful medium to tell stories laden with messages that the storyteller wishes to make