Alien Registration- White, Irene (Presque Isle, Aroostook County)

https://digitalmaine.com/alien_docs/33686/thumbnail.jp

Participatory arts for creativity in education (PACE) model: exploring the participatory arts as a potential model for fostering creativity in post-primary education

This research study set out to explore how creativity was being fostered within Participatory Arts initiatives, with a view to informing the design of a Participatory Arts model for education. The study explored two types of Participatory Arts initiatives, the first led by Upstate Theatre Project, a ‘pure’ Participatory Arts initiative, and the second led by Fighting Words, an ‘applied’ Participatory Arts initiative. In the context of this study, the aim was to provide an evidence base for, and articulate, the factors and processes underpinning climates for creativity, and the (pedagogic) approaches used to foster creativity in Participatory Arts initiatives, as well as exploring the enablement of beneficial outcomes across both Participatory Arts contexts. The study firstly affirmed that Participatory Arts initiatives foster creativity, and furthermore that the practices within these initiatives enable the type of ‘learning for creativity’ outcomes articulated by the National Council for Curriculum and Assessment (NCCA) in Ireland. The study further articulated the Participatory Arts for Creativity in Education (PACE) model, a three-layered guide on the principles, practices and processes that can be used to foster creativity. Moreover, the study revealed a series of vignettes of good practice with respect to the enablement of climates for creativity and processes for being creative. The recommendations include a call for the Department of Education and Skills (DES) and the NCCA in Ireland to review the current national guidelines on fostering creativity in education in light of the findings from this research study, and for a creativity toolkit to be developed based on the PACE model and accompanying vignettes, and implemented within workshops for practitioners (post-primary teachers, artist-tutors) aiming to foster creativity through the Participatory Arts process

Top polarisation studies in H−tH^-t and WtWt production

The polarisation of top quarks produced in high energy processes can be a very sensitive probe of physics beyond the Standard Model. The kinematical distributions of the decay products of the top quark can provide clean information on the polarisation of the produced top and thus can probe new physics effects in the top quark sector. We study some of the recently proposed polarisation observables involving the decay products of the top quark in the context of $H^-t$ and $Wt$ production. We show that the effect of the top polarisation on the decay lepton azimuthal angle distribution, studied recently for these processes at leading order in QCD, is robust with respect to the inclusion of next-to-leading order and parton shower corrections. We also consider the leptonic polar angle, as well as recently proposed energy-related distributions of the top decay products. We construct asymmetry parameters from these observables, which can be used to distinguish the new physics signal from the $Wt$ background and discriminate between different values of $\tan\beta$ and $m_{H^-}$ in a general type II two-Higgs doublet model. Finally, we show that similar observables may be useful in separating a Standard Model $Wt$ signal from the much larger QCD induced top pair production background.Comment: 33 pages, 35 figures, references adde

Differences in intelligence and their relation to position in family

Thesis (Ed.M.)--Boston University This item was digitized by the Internet Archive

A Self-Study Examining The Effectiveness of Creative Dramatics With Urban Youth

Teachers' lack of ability to bring creativity to their classrooms and students' lack of motivation to learn have captured my attention in examining my own implementation of the concept of creative drama, specifically with urban youth. As a practitioner and now teacher/researcher, I am an accomplished leader of creative dramatics; and this self-study addresses the primary research question: What techniques associated with my implementation of creative dramatics have been proven effective with urban students? Creative drama is a vehicle for developing active learning experiences, especially for urban classrooms where there is need for creative initiatives in the curriculum. Therefore, this study examines my instructional practices in order to provide an understanding of creative drama as it relates to the role of teachers as leaders in urban education. In researching my own practical application of creative dramatics, I had three primary goals: first to better understand my role as a leader of creative drama with my urban students; secondly, to examine the characteristics of urban learners by gaining insight into urban conditioning; and lastly, to know if creative drama engaged and empowered my students to learn with more purpose. This was of significant importance especially since these very same students had been disengaged and had shared disempowering learning experiences. Once I integrated creative drama into the curriculum, my urban students engaged the subject matter and became independent thinkers during the creative process. Additional goals concerned the need to examine the relevance of accessibility and subsequent outcome assessments resulting from urban learners. I wanted to examine the need to offer urban learners creative drama. I found that the creative drama sessions empowered my students to take charge of their learning process. I also captured how elements of the creative drama process transferred into their everyday lives. I discovered that creative drama captured the elements of spirituality, harmony, and individual expressionism that motivated urban youth to take control of their learning experiences. I document how my journey as a leader of creative dramatics with urban youth elevated my level of understanding of my instructional methods, how this enhanced understanding was manifested, and the effectiveness of creative pedagogy. Lastly, but more importantly, this study illustrated the significance of offering creativity to urban youth and documents the success that is captured best in the hearts, minds, and behaviors of my students. These students, as benefactors, offered creative and enlightening information to this study. A contribution of this study to the field of arts-in-education is to provide novice teachers an understanding of how the use of creative drama strategies can help them become more creative and effective in the classroom, especially when working with urban youth