Scholarship & Research

Now showing 1 - 5 of 5

Strategies for teachers to facilitate knowledge of self in college and adult classes
(Montana State University - Bozeman, 1977) Barnhart, Beverly May Homyak
We have met the Star Trek aliens and they are us
(Montana State University - Bozeman, College of Letters & Science, 2015) Boyer, Pamela J.G.; Chairperson, Graduate Committee: Sara Waller
Many people gain their identity, their self, through their cars, houses, friends, families, station in life, talents, even their jobs. Investigation into the self is as old as time itself. This self has been studied for centuries in many disciplines, including philosophy, religion, psychology, sociology, and even the theater and motion narratives. Has a definitive answer of who the self is been found? I explore some answers using theorists from the turn of the twentieth century to the present day. My method is to use the work of some theorists--George H. Mead, Erving Goffman, Jean-Paul Sartre, Soren Kierkegaard, and Roland Barthes--to analyze Star Trek: Deep Space Nine through the lenses and filters of microsociology, existential philosophy, literary criticism, television criticism, U. S. and world history, and social psychology. In the early 1900s, George H. Mead said that to gain a self, we need to have a subjective I and an objective me. We gain these through interactions with those around us. If we do not have both an I and me, we are only conscious, not self conscious. This self has a deeply private, internal component that includes memory and imagination as well as the interactive component of language, both verbal and physical. It is through daily interactions with others that we develop our self. Once we have our self, we then present or perform that self to the world. Whether we do that in our front or back region, or "stage," as Erving Goffman wrote, or for-others or for-itself, as Sartre says, we still present our self to others around us. Even if there is no verbal conversation, we still communicate with others through what we can view of the other. From Sartre, we learn how we perceive others as opposed to our self and how that influences us and the other, which is the socialization process we experience. Every time we interact with someone or some group, we, and they, go through mutual socialization, thus re-creating culture. This is what Star Trek: Deep Space Nine teaches us.
Ceramic vessels
(Montana State University - Bozeman, College of Arts & Architecture, 1982) O'Connell, James Edmound, III; Chairperson, Graduate Committee: Michael Peed
Through every pot thrown, glazed, and fired one is able to observe and understand the process towards reaching a complete idea. Thus the process becomes a documentation of my growth and maturity. My work has gone through many changes as I have grown and learned to understand myself, my limitations, and ceramics. My goal was once to have the perfectly thrown pot expressing symmetry and smoothness - which didn't satisfy - thus the pots looked lifeless and forced. Understanding this has led my work to incorporate my own personality and expression. My work has become less symmetrical, more gestural and primal, which expresses a self portrait of my inner feeling and an understanding of my abilities and limitations with the material. The forms are influenced by the straightforward quality of many Japanese forms such as Tomba, Bizen, and Shigaraki. The forms become my interpretation of the simplicity and beauty I see in Japanese ceramics. The pieces become three dimensional drawing by throwing the clay to the limit of its structure and strength thus creating a tension of the same essence as sculpture. The forms are thrown and fired, then lived with, in order to understand the elements which make the pot reach a complete idea. Once this communication is absorbed, the piece is thrown again applying that knowledge to achieve the best possible solution to that form. Subtle glazes, simply applied, are used to strengthen the perception of form and beauty. I use slip, gestural scraffito, and glazes which complement the clay. The work becomes a heightened expression of elegance, yet remains an intensive and serious study of straight forwardness. The simple, and natural forms combine as an expression of myself, and understanding of volume, space, color and form.
Images of form
(Montana State University - Bozeman, College of Arts & Architecture, 1983) Murer, Michael Gerard
My background in ceramics has led me to an exploration of vessels, vessels that lose their function as a utilitarian object and develop into another level of consciousness. By eliminating the functional aspects of the vessel I am able to enhance the form, thus giving the interior and exterior surface a mystical quality. This metamorphosis takes place due to the plastic quality of clay and slips. I am interested in the intrinsic nature of clay that is maninpulated with a variety of surface textures and tensions. The organic forms I create have a gestural quality that suggests the human figure. I use this scale to confront the viewer on a one to one basis. Painting has given me a way of expressing my past. My experiences and feelings are integrated into each piece by the use of color and line which has become my personal vocabulary. My intention is to create a dialogue between the viewer and the work. My imagery is redefined by their own experiences. Hopefully this exchange of information gives the viewer an insight into my thinking. My work then becomes an inner reflection of my self.
The effect of a regular exercise program on selected aspects of mental health and on the performance of daily tasks in a group of female senior citizens
(Montana State University - Bozeman, College of Education, Health & Human Development, 1984) Cater, Amanda Carolyn

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