The Prolegomena begin by pointing out the present lack of detailed, critical work on Plotinus., Then, after a resumé of the events of Plotinus' life, the problem of the date of composition of V 1, and its title, are discussed. Space is devoted to discussion of the purpose of the treatise, which, despite its title, is protreptic, to lead the soul to the Intelligible World and beyond by reminding it of its high status. The methodology of the Commentary is outlined, and a list of passages is given in which textual readings have been proposed which differ from those in the text of Henry and Schwyzer. The Prolegomena conclude with a detailed analysis of the contents of the treatise, included in order to show that the treatise is not a mere random collection of thoughts. There follows a translation which aims not so much to be stylish - for Plotinus was no stylist - but to give an accurate idea of what Plotinus actually wrote. The bulk of the thesis is taken up with the Commentary. The Commentary is exegetical, discussing difficulties in the treatise line by line. Since by the time Plotinus wrote his philosophical ideas were already formulated, it contains as many cross-references as possible to other treatises in the Plotinian corpus. Each chapter begins with a short introduction, and,in the body of the work, textual difficulties and the readings of previous editors, as well as difficulties of philosophical interpretation, are fully discussed. The translations of Ficino, Bréhier, Harder, Cilento and MacKenna are taken into account. Among the longer notes might be mentioned the note on 3,8 on the meaning of logos, that on the relationship between the reasoning and the undescending soul (on 3,13) 9 and the treatment of the difficult passages 6,17-19 and 7,11-17. The thesis concludes with a full bibliography.

Thesis (Ph. D.)--University of Texas at Austin. / Description based on print version record. Includes bibliographical references (leaves 164-166).

Although one-to-one technology programs are rapidly expanding in secondary schools, the literature about how to effectively leverage these programs to improve teaching and learning is relatively small. Little guidance is available for school leaders attempting to improve teachers' willingness and ability to incorporate technology effectively into their instruction. The purpose of this mixed-methods case study was to discovery what supports school leaders provide to promote high levels of computer self-efficacy and transformational digital pedagogies in one-to-one learning environments. Data were collected from English language arts, Social Studies, and science teachers in three high schools in a suburban school district in northeast Texas using an online survey, eight virtual semi-structured interviews, and two virtual focus group interviews. Data were analyzed using descriptive statistics and deductive and inductive analysis. The findings of the study reveal most teachers perceived their ability to effectively deliver digital instruction as strong, and most were able to incorporate technology into their lessons at transformational levels. The following themes emerged from data regarding teachers' perceptions of support: shared vision, realistic and supportive climate, collaboration, encouragement, job-embedded professional learning, continuous improvement, equity, and safe, legal, and ethical use. The findings of this study serve as a foundation for understanding how school leaders can best support teachers as they attempt to integrate one-to-one technology into their lessons.

No description available.

No description available.

Testing one two three.

The thesis for the Doctor of Musical Arts degree in Composition consists of an original musical work, accompanied by an analytical document. “The Piano Teacher” is a chamber opera in one act, based on a libretto by the composer, adapted from the fantastic tale “With the Gypsy Girls” by Mircea Eliade. With a duration of approximately fifty minutes, the work calls for four singers (tenor, soprano, bass-baritone, mezzo-soprano) and fifteen instrumental parts (flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, percussion, piano, harp, two violins, viola, cello, contrabass). The aim was not only to set to music a symbolic story, but also to adopt a personal approach to the operatic genre. This approach proposes a less explicit plot, as well as minimal stage design. In adapting the story, the central character of the teacher receives an extensive music-dramaturgical role, while the other characters are assigned relatively equal supporting roles. The opera comprises a prelude and twelve short scenes, most of which unfold uninterruptedly. A thorough discussion of the nature, influences, and vocabulary of the opera accompanies the musical score. The analytical document concentrates on particular musical ideas, as well as on several cyclical elements, providing detailed exemplification to illustrate their use. Both the score and the analysis suggest possible approaches to the stage production of the opera.

A spring scale was constructed by attaching several extension springs in series. The springs were acquired by disassembling a collection of staplers; however, these springs proved to be limited in their use, since they did not have a clearly defined elastic limit. The spring scale constructed has a k value of 7.05 ± 5.7x10-3 N/m. The measurement error was calculated to be equivalent to 0.34 grams. The scale is accurate to 1 gram and has a functional range from 60 grams to 450 grams.

In this experiment western milfoil, a common fresh water plant, was used to determine the rate of oxygen production during photosynthesis. The rate was determined based on the amount of gaseous oxygen produced by a given number of plants over a period of time. The combined results of ten trials yielded an average oxygen production rate of 0.57μmol/m²/s ± 0.016μmol/ m²/s. This rate is comparable to those of various other aquatic plants, which vary from 0.1μmol/m²/s to upwards of 5μmol/m²/s [2].

No description available.