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The influence of art therapy to the body image perception of persons with eating disorders
No full textResearch purpose - to analyze and present effects of art therapy to body perception of persons with eating disorders. Research tasks and questions. Task: 1. To evaluate the change of acceptance of self-esteem and body shape perception due to art therapy, according to Rosenberg self-esteem scale and body shape questionnaire. Questions: 1. What trends are observed in changes of chosen formal and iconographical elements of the paintings of persons using art therapy? 2. How person’s experiences in art therapy of accepting an adequate body image can be described using thematic analysis? 3. Does the correlation of data received using different methods justify the effect of art therapy to patients with eating disorders? Research methods. Mixed research was made using Rosenberg self-esteem scale, body shape questionnaire, chosen formal and iconographical elements analysis, thematic analysis of semi-structured interviews. Research participants. 7 women. Selection – purposive. Selection criteria: a) diagnosed with eating disorder (F50.0 – F50.9); b) was hospitalized in “Universitetinis Valgymo sutrikimų centras”. Research results. The research cleared aspects which revealed the essence of images and experiences in analyzing perception of body image. 1) in images a shift in composition can be observed from center – focused to freely (loosely) – focused; 2) statistical data showed positive dynamics in evaluation of patient’s perception of body shape and self-esteem; 3) while comparing and discussing results of all means taken, the usefulness of art therapy in analyzing perception of body image became clear. Conclusion. With Rosenberg self-esteem scale and body shape questionnaire values before and after art therapy taken into comparison, statistically significant differences were obtained, indicating increase in self-esteem and more adequate perception of body image after art therapy. Art therapy does have effect on adequacy of perception of body image after therapy. The image of human body during art therapy sessions varied and was given a sense as a solid subject, rather than objectified object. Recomendations. Art therapy should be used in assistance to form an adequate body image to persons with eating disorders. Scientific studies involved art therapy and persons with eating disorders and their perspective of body image should be continued for possibility to test directives of art therapy and to suggest their outcome
The vicissitude of color expression in drawings of depressed people in art therapy
No full textThe aim of this study is to describe the particularities of color expression and how it changes via the intervention of Art Therapy; correlating these findings with data collected with the help of other methods. The studied phenomenon is finding how depression affects color expression in drawings. The participants of this study are tree women between ages 45 to 59 years who are diagnosed with depression (F33.2) and are all inpatients in a psychiatric hospital. This study aspires to answer these questions: What are the particularities in artistic expression in depression and what might be the change if intervening with art therapy? Will there be any changes in the findings of the HAD scale after art therapy intervention? What correlations are there between artistic expression in drawings and variations in depressed mood can be drawn? The results: colors are being used more frequently; the proportion of how much the object and the background use space starts to differ; there is an increase in using cool colors; color composition has a tendency to become less scattered and aiming towards being more integrated. In conclusion, color expression in drawings correlates with the positive HAD scale findings
First exhibitions of Lithuanian fine art and the modern Lithuanian national identity project
Get PDFStraipsnyje glaustai aptartos pirmosiose lietuvių dailės parodose (1907-1914) išryškėjusios meninės pastangos ir modernios lietuvybės projekto sąveikos, jų inicijuoti tautinės dvasios įmeninimo ir sklaidos procesai anuomet vykusių diskusijų bei vertinimų aplinkoje. Dėmesys telktas į tuos procesus inicijavusį (atskleidusį) pirmosios parodos kontekstą, taip pat į pasirinktą tų procesų „pabaigos / lūžio“1 momentą, sietą su „Ars“ grupės manifesto skelbimu suinstitutintos Lietuvos dailės aplinkoje. Siekta išskirti ir konceptualizuoti idėjines ištakas, deklaruotais ar kūrybai imanentiškais pavidalais klojusias pamatus minėtoms parodoms, be to, netiesiogiai ir tarpukario Kauno meno mokyklos tradicijai. Ištakos tapatintos su plačiai suprantamomis ideologinėmis modernios lietuvybės prielaidomis, kai tautinės dvasios savitumą bandyta priskirti tuometei lietuvių dailei arba bent stengtasi jį rasti. Straipsnyje siekta: a) aptariant Pirmosios lietuvių dailės parodos kontekstą išryškinti pasirinktus požymius, spekuliatyviai priskirtinus visoms lietuvių dailės parodoms iki Pirmojo pasaulinio karo, taip pat iš dalies perduotus vėlesnei Kauno meno mokyklai; b) probleminti tų požymių sąsajas su besiklostančiu modernios lietuvybės projektu ir savęs ieškančia modernaus lietuvio tapatybe; c) pasiūlyti tokias paieškas atspindintį profesionaliosios dailės ir liaudies meno priklausomybės modelį; d) galų gale perkelti dailę įtautinusius procesus į naują kontekstą ir glaustai nužymėti sąlyginį jų lūžio tašką, siejamą su „Ars“ grupės menine programa. Remtasi nuostata, kad užgimstantis profesionaliosios lietuvių dailės sąjūdis inspiravo ne tiek formalius ikonografinius požymius, kiek į juos nukreiptą žvilgsnį, tautinio projekto keltus lūkesčius, kai meninei kalbai norėta priskirti naujo turinio sklaidos funkcijas2. Pastarosios sietos su tautos dvasios atstovavimo idėja, išplitusia Rytų Europoje veikiant vokiškajam romantizmui, vėliau ir kitoms jo atšakoms. Ši idėja virto savitu kelrodžiu, savaime suprantama duotybe, kuria vadovaujantis modernios tautos, taip pat ir lietuviai, siekė atrasti save dailės ir kitų meno formų kontekstuose, vadinasi, tautinės dvasios savitumą aiškino meninės raiškos savitumu, ir atvirkščiai. Remtasi prielaida, kad modernios lietuvybės projekto palaikoma tautos savitumo (dvasios) paieška nėra dydis, redukuotinas į konkrečios meninės krypties (nacionalinio romantizmo, realizmo ar kt.) menines išsklaidas. Tautos dvasios terminas straipsnyje tapatintas su bendrais kultūriniais modernios lietuvybės projekto siekiais, su šerdimi, aplink kurią it traukos centrą buvo konstruotos įvairios esamos ar numatomos tautos kūno ir jos kultūros sampratos. Kitaip tariant, ne nacionalinio romantizmo (neoromantizmo) versijos, jų meninės išsklaidos buvo tautos dvasios paieškas inicijavę ir toliau inspiravę dailės reiškiniai, bet tautos dvasios reikštis (augusi iš tautinių lietuvybės projektų) „savo reikmėms nusavino“ romantizmo prielaidose slypinčius pradus, vertė juos naujo tipo tautinės dvasios reprezentacijomis arba bent jų paieška dailės lauke. Reikšminiai žodžiai: pirmosios lietuvių dailės parodos, Kauno meno mokykla, modernios lietuvybės projektas, tautinė dvasia, liaudies menas, M. K. Čiurlionis.The article discusses the first Lithuanian fine art exhibitions within the broader discourse and evaluations prevalent during that era. Its objective is to discern and delineate the ideological origins, whether explicit or implicit, that underlay these exhibitions and marked the genesis of the interwar Kaunas School of Art. The term “origins” here doesn’t solely denote a stylistic trait inherent to Lithuanian fine art, which may have surfaced during those initial exhibitions and subsequently reappeared at the Kaunas School of Art. Rather, it encompasses a spectrum of ideological assumptions, acknowledged by contemporaries of the time as forming the bedrock of Lithuanian fine art identity or, at the very least, the quest for such an identity. Thus, the article highlights the multifaceted processes of recognition, acceptance, and rejection of cultural traditions that were shared by the pioneering Lithuanian fine art exhibitions and the nascent Kaunas School of Art. These processes were chiefly directed towards the exploration of national identity, as well as the reinterpretation and refinement of the relevant forms of cultural identity, representative of Lithuanian national heritage. The article seeks to achieve the following objectives: (a) to portray the initial exhibitions and the milieu of Lithuanian fine art as a relatively unified entity, highlighting their commonalities; (b) to draw connections between these shared attributes and the project of forging a modern Lithuanian national identity of the time, along with the identity quest of the modern Lithuanian individual; and (c) to channel these depicted interactions towards the subsequent institutionalized setting of the Kaunas School of Art, framing it as the continuation and propagation of the trends initiated during the first exhibitions. The discussion relies on the assumption that the burgeoning movement of professional Lithuanian fine art not only spurred formal stylistic developments but also instigated a heightened focus on them, prompting an interpretative effort that advocated for a reevaluation of modernized artistic language and its reassignment of new functions. The genesis of this “shift in perspective” can be traced back to the notion of the nation’s spirit finding expression in art, a concept disseminated across Eastern Europe primarily through the influence of German Romanticism, and subsequently, through other branches of the Romantic movement. This concept served as a guiding principle for modern societies, including Lithuanians, as they embarked on the quest for their identity in the realms of fine art and other artistic domains. Consequently, they interpreted the traits of the national spirit through the lens of artistic expression and, conversely, imbued artistic expression with the characteristics of the national spirit. Keywords: First Lithuanian fine art exhibitions, Kaunas School of Art, modern Lithuanian national identity project, national spirit, folk art, Mikalojus Konstantinas Čiurlionis
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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