Sometimes we lose sight of the significance of that which has gone before us in building a great organization in the name of "The Cooperative Agricultural Extension Service." Knowing a few of the highlights of this early development may help us feel more a part of this tremendous teaching movement. The Morrill Act means to us the establishment of our ultimate headquarters for state extension work. As a result of this legislation in 1862, every state in the Union would be able to establish a land-grant college. Justin Morrill's objectives were as follows: "Let us have such colleges as may rightfully claim the authority of teachers to announce facts and fix laws and scatter broadcast that knowledge which will prove useful in building up a great nation." The name Seaman A. Knapp should stand out in our minds as the father of the demonstration method. In the fall of 1903 near Terrell, Texas, the first farm result demonstration was set up by Dr. Knapp. Recent studies indicate that this method is still one of the most effective procedures used by extension workers. Farm demonstration work was started in Virginia in February, 1907, under the leadership of T.O. Sandy of Burkeville, the father of extension work in Virginia. In 1914, the Smith-Lever Act formally set forth "The Cooperative Agricultural Extension Service." In the signing of this act the policy of federal assistance to land-grant colleges for teaching, research and extension in agriculture and home economics became the national policy. / Master of Science

The educational buildings in Giles County have been progressively approaching a state of inadequacy for the growing County School population. Superintendent R.K. Johnson and the School Board of Giles County foresaw in 1950 the coming fate of the school situation and made a formal request to the State Superintendent of Public Institutions to make a study of the school buildings of the County and to prepare a report findings and recommendations. From the report, by the Committee of Investigation, information was obtained which introduced a program of one consolidated high school for the entire County high school population. The School Board however, proposed to develop three high school buildings instead of one recommended consolidated high school. Of the three high schools, the Pearisburg High School is the subject of this thesis. It is an actual problem that exists and which has validity. Mr. P.E. Ahalt, Superintendent of the Giles County School Board, has in his office a solution to each proposed building prepared by Smithey and Boynton, Architects, Roanoke, Virginia. It is the purpose of the author of this to render his own solution to the problem for comparison with the existing conception. The subject matter is presented in an effort to prepare the mind of the reader for the final development of the architectural solution to an educational building. The end result of the thesis is to investigate the conditions and recommendations for school building in Giles County and from the available information, design a school that will fulfill the prepared requirements. / Master of Science

M.S.

The purpose of this study to bring into clearer focus problems incident to articulation and of seeking ways by which to solve some of those problems, specifically related to the transition from elementary to high school. To serve as a subject for such a study, a complex of schools was chosen which included a number of elementary schools associated with one central high school. / M.S.

La fragmentation apparente de l’écriture de David Markson, de Reader’s Block (1996) à TheLast Novel (2007), s’assortit d’une continuité assumée par une voix narrative mise en scènejusque dans sa prétendue disparition. Malgré le rejet des conventions fictionnelles annoncédans This is Not a Novel (2001), Markson fait preuve d’un attachement paradoxal au roman,jouant du caractère protéiforme du genre jusqu’à l’excès plutôt que jusqu’à l’épuisement, dansun style aussi prolifique que minimaliste qui fait la part belle au non dit malgré la présenceoccasionnelle de commentaires métafictionnels. L’analyse de l’ensemble éclectique des écritsde David Markson (1927-2010) montre que la pratique de la citation, qui constitue l’essentielde la matière de ses derniers textes, est à l’oeuvre dès ses débuts d’auteur, et que sousl’apparence d’une différence radicale ses derniers « romans » comportent des traces de sonpassage par le roman policier, l’anthologie, le western, la poésie, ou des formesd’autobiographie et de monologue intérieur. L’influence de Malcolm Lowry dépasse le cadrede l’étude que David Markson consacra à Au-dessous du volcan, ou de son propre « romanmexicain ». Des instruments linguistiques, énonciatifs et cognitifs, permettent d’explorer lefonctionnement du roman « expérimental » de David Markson, et de mettre en évidence lerôle liant de l’anaphore et des marques d’énonciation dans une écriture faussement disjointe etneutre. Donnant à voir ce que masque l’idée de rupture, devenue conventionnelle, le lien soustendla phrase, le texte, et l’oeuvre, malgré un éclatement – partiel – de l’écriture en fragments,et un bouleversement – relatif – de la linéarité / The seeming fragmentation of David Markson’s writing from Reader’s Block (1996) to TheLast Novel (2007) is combined with a form of continuity led by a narrative voice whoseapparent vanishing is merely staged. Despite his claiming to reject all fictional conventions inThis is Not a Novel (2001), Markson proves paradoxically attached to the novel as a form,exploring the multiple possibilities of the genre rather than driving it to exhaustion. His styleis both minimalist and profuse, and leaves much unsaid despite existing – if occasional –metafictional comments. A close reading of the miscellaneous works by David Markson(1927-2010) shows that his extensive use of quotations, making up the main material of hislater works, was a very early hallmark of his writings. For all their apparently radicaldifference, his later texts still bear signs that can be traced back to previous literaryexperiments as varied as detective novels, an anthology, a western, poetry, quasiautobiographyand interior monologue. Malcolm Lowry’s influence on Markson’s workreaches beyond his early study of Under the Volcano and his own « Mexican novel ». Placingthe text under close scrutiny by means of linguistic tools, mainly enunciative and cognitive,provides evidence of the linking role of anaphoric devices and of a subjective handling of adeceitfully disconnected and neutral writing. The search for breaks and breaches has nowbecome conventional, but actually conceals what can be revealed when looking forconnections. Indeed, continuity still underpins sentence, text and work, despite a (partial)splitting of the text into fragments and a (relative) upsetting of linear order

When Bertolt Brecht flees Nazi Germany in 1933 he spends fourteen years in exile where he writes some of his most significant works, among them, Leben des Galilei. In his Leben des Galilei, Brecht explores the relationship between the individual and society. Using the historical Galileo Galilei as context, Brecht elucidates the responsibility that scientists must accept for how their discoveries are put to use. With his Galilei figur, Brecht expresses his belief that scientific advancement should be employed for the societal advancement of the common person. Brecht wrote three versions of his Galilei work, each showing significant parallels to Brecht's experiences during the corresponding time period of his exile. This thesis will illustrate these parallels. It will first show that the Galilei thematic is to be found in the very first years of Brecht's exile. It then deals with the influences surrounding the writing of the first version while Brecht is in Denmark. The second part of the thesis focuses on Brecht's exile in America and the resulting second version of his Galilei work. Here, working with Charles Laughton on an English translation of the work, Brecht's Galilei undergoes a fundamental change. Brecht attempts to alter the positive perception of the first version's Galileo who cleverly outwits the Inquisition and secretly has his work the Discorsi smuggled out of Italy. Brecht now wants to portray Galileo as a traitor of the people, who missed his chance to help the common people overcome the suppression they were subjected to. This change is strongly influenced by Brecht's experiences in America and the dawning of the Atomic Age. The last section of the thesis deals with Brecht's return to Europe and the third version of Leben des Galilei written in East Berlin. This is a result of translating the American version into German and the addition of scenes and individual elements cut from the first version to make it more appropriate for American audiences. Brecht maintains and tries to heighten the negative portrayal of Galileo as traitor of the common people.

The aim of this diploma degree thesis called The Hungarian uprising 1956 in light of transitological theories is an application of these theories on a process which took a place in a period 1953 - 1956 and ended in uprising in 1956. These events happened before the creation of the transitological theories. The application of these theories provides politological analysis of the whole process, examines the transitological theories, above all their universality. In the first part, transitology as politological analyses is outlined, including its creation and development as well as the authors and their studies which supported the development of these theories. I emphasized the best known theories from Samuel Huntington and Adam Przeworski. The second part is focused on analyses of position of opposition outside regime, reformers and hardliners in regime using these theories. I paid my attention to Soviet Union. The soviets tanks repressed the Hungarian uprising in the end. Despite this fact I studied if the year 1956 could have constituted the democracy or some hybrid form of democracy. I analyzed this idea with application the transitology theories on Hungarian example. On the basis of these theories I reached the conclusion that the situation in 1956 could constitute some form of hybrid democracy....

A primary purpose of the study was to articulate the significance of these compositions to the twentieth century repertoire, with special attention given to Dies Natalis, recognized as an outstanding contribution to English music literature. Overviews and specific analyses, with pertinent performance applications and background data, fulfill this purpose and provide information of merit for the programming and performance of Finzi's songs for high male voice.

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Ce mémoire porte sur deux textes théâtraux tirés du répertoire de Bertolt Brecht, Mère Courage et ses enfants et La Vie de Galilée. Le choix de ces deux pièces tient à la place qu'y occupe l'Histoire : la première prend place au cours de la guerre de Trente ans, la seconde met en scène des éléments biographiques de la vie du véritable Galilée. L'objectif de notre réflexion est d'établir un modèle éthique de l'intrigue, c'est-à-dire de schématiser, dans ses mécanismes et ses enjeux, le problème éthique tel qu'il advient dans ces textes. Notre réflexion se découpe en trois parties, chacune d'elles articulée sur un principe précis : l'Histoire, l'éthique et la notion de sujet. Nous démontrons que l'éthique, telle qu'elle se présente chez dans ces textes de Brecht, est liée à l'inscription du sujet (du personnage principal) dans l'Histoire. Les pièces exposent des personnages confrontés, au niveau moral et éthique, à des situations dont l'ampleur et la portée sont historiques. Les actions des héros, ainsi que les rapports qu'ils entretiennent avec autrui, sont régis par cette responsabilité : les gestes et paroles des personnages ont un impact sur le cours des choses, sur le déroulement des événements et la collectivité. Cette inscription dans l'Histoire et la responsabilité qu'elle engendre ouvrent plusieurs questions, notamment celle de la fonction cognitive de l'éthique. L'éthique chez Brecht devient un outil explicatif, le moyen d'une démonstration didactique; elle vise à éveiller la conscience du spectateur, à susciter sa participation active dans le spectacle. À partir des situations (à la fois éthiques et historiques) qui lui sont présentées, le spectateur est amené à reconnaître les mécanismes et les enjeux qui fondent sa propre condition, à en prendre conscience et à trouver les moyens de l'améliorer. C'est à ce niveau que nous pouvons parler de modèle éthique : le modèle qui se profile dans les textes reproduit des structures sociales qui le débordent tout à fait, et résonnent dans le contexte de réception.