Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 169-177).

Thesis (Ed. D.)--Illinois State University, 2003. / Title from title page screen, viewed November 29, 2005. Dissertation Committee: Zeng Lin, Roger Day (co-chairs), Paul Baker, John Rugutt. Includes bibliographical references (leaves 97-131) and abstract. Also available in print.

Thesis (Ed.D.) -- Central Connecticut State University, 2006 / Thesis advisor: Timothy Craine "... in partial fulfillment of the requirements for the degree of Doctor of Education, Department of Educational Leadership." Includes bibliographical references (leaves 79-81) Also available via the World Wide Web

Thesis (M.A.)--Rowan University, 2005. / Typescript. Includes bibliographical references.

Thesis (Ph. D. in Electrical Engineering)--Vanderbilt University, Aug. 2006. / Title from title screen. Includes bibliographical references.

Thesis (M.S.)--Rochester Institute of Technology, 1992. / Typescript. Contains a catalog of the author's graduate thesis exhibit of Tschichold's work located in the Melbert B. Cary, Jr. Graphic Arts Collection, Rochester Institute of Technology, Rochester, N.Y., Dec. 7, 1992-Jan. 15, 1993. Includes bibliographical references.

Thesis (PhD (Education))--University of Stellenbosch, 1998. / This dissertation deals with typical, widespread student errors with respect to kinematic graphs as revealed by a literature survey, as well as an own empirical investigation into the nature and extent of these misconceptions. The fact that certain misconceptions turned out to be more widespread than initially believed, has serious consequences for educators' assumptions about students' understanding of graphs in general, as well as their ideas on how to minimise some generally occurring "alternative views on graphs". Students' graphing skills are analysed and described in terms of a number of translations between various representations of physical events involving motion. A special focus is placed on graph transformations, which are translations from one graphical representation to another. It turned out that this provides valuable information about a learner's graphing skills, as well as his understanding of the relevant kinematic quantities and conventions required to make successful transformations.

D. Phil (Mathematics) / In this thesis we investigate generalized chromatic numbers in the context of hereditary graph properties. We also investigate the general topic of invariants of graphs as well as graph properties. In Chapter 1 we give relevant definitions and terminology pertaining to graph properties. In Chapter 2 we investigate generalized chromatic numbers of some well-known additive hereditary graph properties. This problem necessitates the investigation of reducible bounds. One of the results here is an improvement on a known upper bound for the path partition number of the property Wk. We also look at the generalized chromatic number of infinite graphs and hereby establish the connection between the generalized chromatic number of properties and infinite graphs. In Chapter 3 the analogous question of the generalized edge-chromatic number of some well-known additive hereditary properties is investigated. Similarly we find decomposable bounds and are also able to find generalized edge-chromatic numbers of properties using some well-known decomposable bounds. In Chapter 4 we investigate the more general topic of graph invariants and the role they play in chains of graph properties and then conversely the invariants that arise from chains of graph properties. Moreover we investigate the effects on monotonicity of the invariants versus heredity and additivity of graph properties. In Chapter 5 the general topic of invariants of graph properties defined in terms of the set of minimal forbidden subgraphs of the properties is studied. This enables us to investigate invariants so defined on binary operations between graph properties. In Chapter 6 the notion of natural and near-natural invariants are introduced and are also studied on binary operations of graph properties. The set of minimal forbidden subgraphs again plays a role in the definition of invariants here and this then leads us to study the completion number of a property.

Visual identity can be understood as the result of the application of graphic design methods aimed at inter-brand differentiation, which paradoxically is leading to “homogenizing identities” (Bell, 2004). The globalization of visual identity is a phenomenon that can be observed not only among global brands competing with each other, but also in locally specific heritage brands that relinquish distinctive elements of their identity to resemble the global. In many cases, their specificities end up being distorted, blurred, or lost, and the richness of what is historically and culturally unique about them is often misinterpreted, neglected, or even discarded. By showing what can be lost with regards to historical and cultural memory within a brand’s imagery, this thesis questions the significance of archives to locally specific brands claiming symbolic and cultural relevance. It shows how can graphic designers can contribute to the preservation of cultural diversity through visual identity. To address the loss of cultural memory as well as the globalization of visual identity, this study draws on visual design heritage to achieve an understanding of the past as a source and a means to feed future cultural development. By adapting visual methodologies and case-study methods to assess brand identity, the study presents a methodological approach for the rescuing, interpretative analysis, and exploration of historical memory in brand imagery. It applies ethnographic research methods for data collection and graphic design methods for recovering visual materials, combined with timelines and grids for contextual and visual analysis. A main case-study is presented to demonstrate how the methods originated, how they enable the observation of identity transformations over time, and of how visual identity dissolves with global influence. This case addresses the historical context and today’s cultural relevance of an archive of the Portuguese iconic Sanjo sports shoes brand, which emerged with the rise of the ‘Estado Novo’ authoritarian regime in Portugal (1933–1974). Through the interpretation of how brand designs evolved in relation to contextual history it is possible to see the various social, cultural, political and economical transformations that occurred in their life spans. The thesis presents parallel examples of brands that were heavily influenced or even controlled by government in the past and now operate independently. As with the case of Sanjo, the comparative study investigates, and further draws attention to the relationship between the loss of historical memory and the globalization of visual identity. By examining the relevance of archives for addressing identity issues, the thesis shows that current graphic design practices can avoid failing to address historical contextualisation and cultural relevance if, firstly, a great deal of historical and cultural memory is retrieved, secondly, if there is substantial visual and contextual analysis, and thirdly, if the visual elements and histories uncovered are put together in the right context. By considering the possibilities that brand archives present for exploring the symbolic values of objects and generating meaning, this study fills a gap between archival practices and the way many designers and companies are dealing with locally specific brands. It argues that brand archives are key instruments for designers to derive meaning and convey cultural memory into the future, and that visual identity is a channel through which these can be acknowledged, displayed and experienced. The study concludes by suggesting possible approaches graphic designers might pursue to address the issues identified, and it broadens the scope of the directions in which brand archives can be explored through the re-contextualisation of cultural objects.

This thesis explores journeys of faith and survival in three Jewish graphic novels: A Contract with God by Will Eisner, The Rabbi's Cat by Joann Sfar, and We Are On Our Own by Miriam Katin. In each of these texts, the protagonists struggle with their faith and relationship with God, as they negotiate challenges as Jews living in largely unreceptive spaces. Along their journeys, the protagonists confront God in their own ways to try to make sense of the role that faith and Judaism plays in their lives. Drawing on basic principles of the relationship between Jew and God, as well as terms and concepts concerning the aesthetic construction of comics, this thesis probes into the nature of these journeys and the impact they have on the protagonists' physical and spiritual survival. / Arts, Faculty of / Library, Archival and Information Studies (SLAIS), School of / Graduate