For one hundred years Cache Valley has been a growing segment of the American economy. Alternating periods of national financial stress and prosperity have been reflected in this Valley. In addition, Cache Valley has been confronted with certain distinct economic and financial problems and has produced her own solutions to these problems. Although her economy is based in large part on agriculture, the existence of the state agricultural college and a number of industries in her midst has induced economic growth and influenced economic development. Cache Valley provides fertile ground for study of a representative segment of the American economy. Likewise, it offers a fruitful case-study of Utah, Western, and Mountain economic development. Few of the men who lived during the making of Cache Valley's early history are living today to tell its story with their own lips. With the help of those who are today living a new Cache Valley financial story, the writer has completed a history of finance using both primary and secondary sources.

For one hundred years Cache Valley has been a growing segment of the American Economy. Alternating Periods of national financial stress and prosperity have been reflected in this Valley. In addition, Cache Valley has been confronted with certain distinct economic and financial problems and has produced her own solutions to these problems. Although her economy is based in large part on agriculture, the existence of the state agricultural college and a number of industries in her midst has induced economic growth and influenced economic development.

Cette étude portera sur trois œuvres théâtrales de Martin Crimp dans lesquelles il déconstruit les conventions dramatiques classiques pour leur substituer une expérimentation formelle de la narration. Crimp est un auteur qui réfléchit aux conséquences de la violence et met en place des stratégies pour la représenter. Sa dramaturgie est le miroir du terrorisme davantage que celui de la guerre. Ces pièces sont construites comme des attentats terroristes : elles sont imprévisibles du point de vue des repères spatiaux temporels. La structure des pièces est à l'image de la violence. La narration est confiée à des narrateurs qui font le pont entre l'auteur et le lecteur. Le personnage est dissimulé dans les mailles du texte narratif. Les narrateurs, enfin, ont pour mandat de comprendre les enjeux de leur dissimulation. Ainsi, Crimp crée un jeu de cache-cache entre les narrateurs et les personnages. Il emprunte un détour qui s'effectue par le biais de la parole. Il procède par effleurement du point de tension et propose maintes circonvolutions autour du point d'intérêt central qu'est la violence. Ce procédé accentue la distance entre les intuitions de départ et la résolution de l'énigme. Un flot de paroles donne l'impression d'une circulation active or, c'est la présence de l'immobilité et de la suspension qui prédomine. Le système narratif semble incapable de se développer, car les narrateurs reviennent inlassablement sur les mêmes interrogations. Finalement, ils s'en éloignent à chaque prise de parole. Cette stratégie met en place un tissu dramaturgique dense qui crée une impression d'étouffement. Martin Crimp est incapable de clore; la fin implose en fragments qui se suspendent. Cette étude sera divisée en quatre chapitres. Le premier exposera la nature du terrorisme et ces incidences sur la dramaturgie de Crimp. J'aborderai l'imprévisibilité du terrorisme et l'abolition des limites spatio-temporelles. Le deuxième expliquera le contexte dans lequel les narrateurs sont substitués aux personnages : les rôles de chacun dans le développement de la narration. Les stratégies de la prise de la parole seront décrites dans le troisième chapitre comme la choralité, la répétition-variation et la suspension. Finalement, la pièce dramatique Prune sera présentée au dernier chapitre. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Martin Crimp, narration, terrorisme, violence, distanciation, détour, choralité, répétition et suspension.

In the present study, the sonnets Margarete Steffin and Bertolt Brecht wrote each other will be examined both in regard to the form of the sonnet as well as the tradition with which this form is associated. A second point of consideration, which stands to a certain extent in conflict with the first, is the dialogue which these sonnets constitute. This dialogue provided Steffin and Brecht the forum and opportunity to be equal partners, contrary to their real-life situations, where equality between the two did not exist. This forum allowed them to witness and experience each other simultaneously both as subjects and objects both in terms of longing and desire, as in poetic discourse, enabling them to mutually influence each other. And as the sonnets show, this influence did in fact occur regarding their different ideas, attitudes and needs in their relationship to each other.

This dissertation interprets Brecht's Mutter Courage through its protagonist. Most interpreters have derived Courage's meaning from only one term of the contradiction of merchant and mother that constitutes her, either blaming the inhuman, war-mongering merchant for her participation in war, or defending the vital, productive, and nurturing mother for that same (unavoidable) participation. Some have stressed instead the unity formed by Courage's contradiction, without being able to elucidate its meaning. The present interpretation, proceeding from a clue given in scene 7 to the meaning of the text, draws parallels between the drama and Brecht's view of the world, and shows that the world of Mutter Courage is the symbolic representation of capitalism as Brecht knew it during the rise of fascism and the approach of the Second World War. Courage is then shown to be a concentrated form of this symbolic representation; indeed, she turns out to be a representation of capitalism in its "totality". This representation is inseparable from the invocation, through Courage, of the Great Mother archetype. The Great Mother describes a contradictory capitalism that is both a Good Mother in its promising productivity, and a Terrible Mother in its destructive warring and oppression; but she, as the symbol of Nature, also describes a capitalism that had begun to seem even to Brecht like a second Nature. Courage also represents the totality of capitalism (as the Marxist Brecht saw it) by embodying both its "affirmative" aspect (as a merchant who engenders soldiering sons), and (undermining the archetype of the Great Mother) its "critical" aspect as the representation of the resistance of the oppressed to their warring world (as the outlaw who engenders a daughter who rebels against war). The meaning of the drama, then, is the story of Courage as the incarnation of the dialectic of capitalism, a dark tale whose conditions seem eternal, but which contains the promise of something bet

No description available.

The project had two primary goals. The first was to study the photographs of William Arthur Swift, a commercial photographer who lived and worked in Muncie during the 1920s and early 1930s. An exhibition of his work was held at the Ball State University Art Gallery in 1984 and raised two issues which this project addressed.One question concerned the photographic equipment used by Swift. By examining his negatives, studying literature, and interviewing people who knew Swift, the models used by the photographer. This was then compared to equipment used by photographers today.Another issue concerned the current status of the subjects Swift photographed. Upon examining his work it was discovered that some of the subjects still exist. Many others do not, yet they have modern day counterparts. The second goal of the project was to conduct an historical update to compare a selection of Swift's subjects historical information about Munciechanges that have occurred.It was concluded that historical photographs serve as it showed the to the present. The modern photographs were then displayed alongside Swift's photographs. A comparison revealedas useful educational tools. They may also be considered entertaining. The recommendation was made that photographic work of this nature be continued since it will provide an informative view of this time period to future viewers.

There is no abstract available for this thesis.

Esta tesis propone que el amor en la poesía de Moro es un proceso de verdad que también está caracterizado por el exceso y la falta. En primer lugar, el sujeto poético busca acceder a través del amor a “lo sagrado”. Este consiste en el disfrute de la experiencia excesiva y experimentada como fines en sí misma, es decir, el amor en Moro le permite a la voz poética vivir sin límites ni prohibiciones. En segundo lugar, el amor erótico también está marcado por la falta, ya que produce la esperanza de alcanzar satisfacción y goce; sin embargo, los amantes descubrirán que el deseo constituye el ansia de desear. Finalmente, el amor es también entendido como un acontecimiento, es decir, un proceso de verdad mediante el cual los amantes construyen y reinventan sus realidades juntos a partir de la experiencia de la diferencia. En suma, el amor es un proceso de conflicto que contiene en sí misma la potencia subjetiva de la eternidad. / Tesis

The thesis describes the life of Ida Kelarova and captures part of her lifelong activity. It is not possible to show all of the important things that mrs. Kelarova hase done, so I will focus on those that I witnessed personally or those that I was part of. It is great honour to weite my work about mrs. Kelarova especially because I had the opportunity to work directly with her. Majority of this paper comes from personal discussions and experiences.