The purpose of this study is to identify and examine the light imagery in Ernest Hemingway's major fiction and to evaluate its importance. In this study, imagery is defined as descriptive words or figures of speech that create pictures in the mind. In general, this definition will be applied to Hemingway's use of light and dark.

The purpose of this study is to determine, by a chronological review, the evolution of the mask-veil symbol as a device in Hawthorne's fiction and to ascertain its relevancy as a concrete manifestation of the abstract idea it betokens.

This study is a comparison of four treatments involving education and imagery relaxation for the amelioration of dysmenorrhea. Treatment was presented to 76 subjects by videotape during a one-hour session. A six month follow-up was performed using one of the original instruments, the Symptom Severity Scale (Cox & Meyer, 1978) and a questionnaire designed for the study. Analysis of the test instruments indicated a significant treatment effect for the educational group. The second most effective treatment was a combined treatment utilizing imagery relaxation and education, although this group did not produce significant results. The no-treatment control group was more effective in diminishing symptoms than the fourth group, imagery relaxation alone. The lack of effectiveness of the imagery relaxation treatment was hypothesized to be due to lack of reinforcement of the technique. The educational treatment modality offered the individual an opportunity to learn about many different etiological facets of dysmenorrhea, including biological, learning, and cognitive factors. The presentation also introduced the individual to several different treatment modalities in order to provide an armamentarium of effective methods for diminishing or eliminating dysmenorrhea. These results suggest that there is a need for education about dysmenorrhea before menarche, in order to prepare, prevent, treat, and cope with this syndrome.

This thesis investigates the presence and significance of creation imagery in the Gospel of John. This is an issue that Johannine scholars have been discussing for nearly a century, since Edwin Hoskyns’ 1920 article “Genesis I–III and St John’s Gospel,” but it is still by no means a settled question. Many scholars continue to insist that John employs creation imagery in this Gospel by making numerous subtle allusions to Genesis 1–3. Others find this imagery in what they consider to be the creation-like structure of the text or parts of it. By contrast, this thesis argues that John has intentionally included only a limited number of instances of creation imagery and that he has positioned them carefully to highlight their significance. The thesis establishes the actual instances of creation imagery in the Gospel, demonstrating that a number of allusions that scholars have suggested to Genesis 1–3 are actually questionable. It contends that John has included direct references to the creation of the world specifically in 1:10; 17:5; and 17:24; and that only in 1:1–5; 5:17, 20, 36; 6:19; 9:3–4, 6; 17:4; and 20:22 has he also drawn on and creatively deployed terms and images stemming from Genesis 1–2 and other creation discourses found in the Old Testament. Although John uses these limited instances of creation imagery in varying contexts, this thesis argues that they function collectively in a threefold way that is consonant with John’s overall argument. First, John uses them to portray Jesus in close relationship with his Father, existing apart from and prior to the created order. This relationship authorizes his participation in divine activities. Second, John uses creation imagery to assert the primal and universal significance of Jesus and the message about him, and to privilege him over other important figures in the story of Israel. Third, John uses creation imagery to link past reality with present and future reality, portraying Jesus as the agent of creation whom the reader should regard as the primal agent of revelation and salvation. The thesis concludes by underscoring how these findings may inform our understanding of John’s Christology and Johannine dualism.

The poets Paul Celan and André du Bouchet were close friends and translated each other's poetry in the 1960s. Despite their proximity and friendship, this study suggests that they differ fundamentally in their poetics of the image. These two important authors outline two very different avenues in engaging with the image as a centuries old topos in philosophy and art. In his conception of the image, Celan links the iconoclastic impetus of the Second Commandment with the biblical confusion of tongues, believing that our need to speak in metaphors and typos images (Abbilder) after Babel impedes truthful poetic expression. For Celan, the Holocaust is a form of renewal of this linguistic Fall of Man. Nonetheless Celan's poetry also suggests that we can give testimony to an archetypos (Urbild) through truthful poetic expression. Du Bouchet, on the other hand, conceives of the image as encompassing the visual juxtaposition of black ink on the white page and the semantic paradoxes of his poetry. Du Bouchet distributes words across the page and as his poetry thematises gaps of meaning these gaps not only surface in his language but also extra-linguistically in the white gaps of the page. These different conceptions of the image in Celan and du Bouchet are first delineated by alternating analyses of the two authors' poetry and poetics. These investigations show Celan's desire to overcome a typified speech and, in his creation of poetic images, to tend toward truth, or an archetypos, whereas du Bouchet perennially negotiates the paradoxes which constitute his poetic image. In a second step, this study investigates how these differences in their conception of the image inform their respective approach to translating the other.

Thesis (Ed.M.)--Boston University / Imagery may be defined as a picture seen in one's mind. It is the ability to create pictures, to hear sounds, to smell odors, to taste, and to feel in one's mind as one reads. All these factors contribute to the varying degrees of mental imagery possessed by different individuals. It may be assumed that people visualize when they read. A writer may give a description of a person or a place, and the reader can recreate the scene in his own mind. The reader's picture may be clear or it may be vague. However, since every individual is different the same sentence or paragraph may appear differently to the subjects being tested. [TRUNCATED]

Self-modeling (SM) involves an observer viewing oneself on an edited video showing desired behaviors (Dowrick, & Dove, 1990). The impact of a SM video on skill acquisition has been frequently explored (e.g., Clark & Ste-Marie, 2006), however, few researchers have investigated SM in competition (Ste-Marie, Rymal, Vertes, & Martini, 2009). Also of limited study has been the underlying self-regulatory mechanisms engaged in alongside a SM video (e.g., Rymal, Martini, & Ste-Marie, 2010). To date, research has not investigated the effects of SM on gymnasts competitive bar performance or how it is used to self-regulate, nor whether SM increases self-regulation. Thus, the purpose here was to investigate the effects of a SM video on gymnasts’ physical performance and self-regulation. Of further interest was to explore the combination of SM and psychological skills training (PST) on competitive performance. Eighteen gymnasts were divided into two groups; SM+PST (n = 10) and SM (n =8). The SM+PST group took part in workshops one month prior to the competitions wherein links between SM and psychological skills were made. The SM group did not do the workshops. Gymnasts competed at four competitions; two received the SM video and two did not. For the video competitions, participants viewed their video three times prior to warm-up and once before competing. After one video competition and one competition that gymnasts did not receive the video, interview sessions were conducted with ten gymnasts. The results of the physical performance data did not show any significant group or condition main effects (all F’s < 1). Imagery ability, however, was a moderating variable. Gymnasts low in visual imagery ability benefitted from the use of the self-modeling video later in the season F(1, 16) = 5.976, p = .026, η2 = .27, (1 – β) = .63, but not early in the season. Through the qualitative analysis of interview questions, it can be said that gymnasts used the SM video as a task analysis strategy before, during, and after their competitive event. Analysis of transcripts also suggested that the SM video encouraged the use of certain self-regulatory processes and beliefs related to the forethought (i.e., before) and self-reflection (i.e., after) phases above and beyond that typically used when competing.

An examination of the image of the rat in Nineteen Eighty-Four, with a focus on how the rat becomes a metaphor for Winston. Further, an examination of how Winston's rat-like behaviour has affected his early family life and how such behaviour has continued to affect Winston. Families in the novel are examined with a view to understanding Winston's relation to the betrayal exemplified by these families, and finally as a way of understanding the true nature of Julia's betrayal of Winston in the Ministry of Love.

Self-modeling (SM) involves an observer viewing oneself on an edited video showing desired behaviors (Dowrick, & Dove, 1990). The impact of a SM video on skill acquisition has been frequently explored (e.g., Clark & Ste-Marie, 2006), however, few researchers have investigated SM in competition (Ste-Marie, Rymal, Vertes, & Martini, 2009). Also of limited study has been the underlying self-regulatory mechanisms engaged in alongside a SM video (e.g., Rymal, Martini, & Ste-Marie, 2010). To date, research has not investigated the effects of SM on gymnasts competitive bar performance or how it is used to self-regulate, nor whether SM increases self-regulation. Thus, the purpose here was to investigate the effects of a SM video on gymnasts’ physical performance and self-regulation. Of further interest was to explore the combination of SM and psychological skills training (PST) on competitive performance. Eighteen gymnasts were divided into two groups; SM+PST (n = 10) and SM (n =8). The SM+PST group took part in workshops one month prior to the competitions wherein links between SM and psychological skills were made. The SM group did not do the workshops. Gymnasts competed at four competitions; two received the SM video and two did not. For the video competitions, participants viewed their video three times prior to warm-up and once before competing. After one video competition and one competition that gymnasts did not receive the video, interview sessions were conducted with ten gymnasts. The results of the physical performance data did not show any significant group or condition main effects (all F’s < 1). Imagery ability, however, was a moderating variable. Gymnasts low in visual imagery ability benefitted from the use of the self-modeling video later in the season F(1, 16) = 5.976, p = .026, η2 = .27, (1 – β) = .63, but not early in the season. Through the qualitative analysis of interview questions, it can be said that gymnasts used the SM video as a task analysis strategy before, during, and after their competitive event. Analysis of transcripts also suggested that the SM video encouraged the use of certain self-regulatory processes and beliefs related to the forethought (i.e., before) and self-reflection (i.e., after) phases above and beyond that typically used when competing.

An examination of the image of the rat in Nineteen Eighty-Four, with a focus on how the rat becomes a metaphor for Winston. Further, an examination of how Winston's rat-like behaviour has affected his early family life and how such behaviour has continued to affect Winston. Families in the novel are examined with a view to understanding Winston's relation to the betrayal exemplified by these families, and finally as a way of understanding the true nature of Julia's betrayal of Winston in the Ministry of Love.