Following the events of September 11th, 2001, national attention has been captivated by terrorism and terrorism prevention. Parallel to this time of increased focus on terrorism prevention, adequate funding to support new departments or increased terrorism prevention efforts in existing departments was unattainable. Consequently, a strong need for prevention strategies that are affordable and highly applicable at the local level has resulted. Thus, it is the purpose of this study to examine methods of risk assessment and test the accuracy of such methodologies in order to assist local organizations in effectively applying limited resources for opportunity reduction at vulnerable locations based on calculated risks. The primary goal of this thesis is to test the validity of the EVIL DONE vulnerability assessment and evaluate its ability to predict the number of fatalities and injured persons resulting from a terrorist attack. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2013.

This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the meta-narrative of America stands in opposition to a deterritorialising tendency that - as a body of recent critical scholarship attests - inform the post 9/11 context, a tendency borne out of a new, shared awareness of historical violence within the national community. As it displaces codified social boundaries, and established links between individual and communities, such deterritorialising rhetoric threaten the symbolic coherence of the world. The conflict between long-standing symbologies of the nation and the impact of a new cultural milieu thus emerges in the cinema as a representational impasse, whose different textual outcomes are addressed in the main chapters of this thesis. In order to investigate the interplay of different symbolic maps, the present study focuses on four spatial signifiers - the house, the village, the city and the land - and derives its methodological tools from a body of scholarship largely comprised within the so-called 'spatial turn'. The terms of this theoretical engagement are specified in the first part the thesis, while the conclusion expands on the direction of the research, and connects the study to other related disciplinary discourses, both in Film studies and American studies.

This is one of the first qualitative studies to investigate experiences of Korean-American Christians living in New York City at the time of 9/11. This study sought to gain an understanding of how a group of Second Generation Korean-American Christians living in New York City at the time of the 9/11 attacks experienced that event and the event's impact on their religious beliefs. The study also investigated the communication context at the time of the ten year anniversary of the event, September 11th, 2011. The guiding research questions were: RQ1) What were their life experiences of 9/11? RQ2) Was their religious status affected by the event? RQ3) What is being communicated about 9/11 after 10 years? The research design was a phenomenological study that included eight individual interviews with second generation Korean-Americans who were 14-18 years of age at the time of the 9/11 attacks. Four initial macro level thematic patterns emerged: I: The day of the attack. II: Immediate Post 9/11. III: Religious Impact. IV: 9/11 Ten years later. Some key findings in the study included narratives of various emotional responses to the event, such as panic, disbelief, and fear. Age was significant, as participants recognized how their age during and after the event, impacted their lived experiences and understanding of 9/11. Location impacted participants and their loved ones. Each participant was in high school during 9/11 which affected ways of gathering information, the impact of seeing smoke coming from the World Trade Towers, and having poor cell phone reception. The study also revealed that two participants became more religious and active in the Christian church directly because of 9/11, while the attitudes, beliefs, and practices of the other six participants were found to be unaffected by 9/11. At the ten year anniversary of 9/11 safety in New York City and in U.S. post 9/11, 'feeling vulnerable' to attacks, and 9/11 being `just another day' were among the issues addressed by participants.

Al Qaeda killings, posttraumatic stress, and the Gothic together triangulate a sizable space in recent American fiction that is still largely uncharted by critics. This thesis maps that shared territory in four novels written between 2005 and 2007 by writers who were born in America, and whose protagonists are the survivors in New York City after the World Trade Center falls. Published in the city of their tragedy and reviewed in its media, the novels surveyed here include Don DeLillo’s _Falling Man_ (2007), Jonathan Safran Foer’s _Extremely Loud and Incredibly Close_ (2005), Lynne Sharon Schwartz’s _The Writing on the Wall_ (2005), and Jess Walter’s _The Zero_ (2006). The thesis issues a challenge to the large number of negative and dismissive reviews of the novels under consideration, making a case that under different criteria, shaped by trauma theory and psychoanalysis, the novels succeed after all in making readers feel what it was to be alive in September 2001, enduring the posttraumatic stress for months and years later. The thesis asserts that 9/11 fiction is too commonly presented in popular journals and scholarly studies as an undifferentiated mass. In the same critical piece a journalist or an academic may evaluate narratives in which unfold a terrorist's point of view, a surviving or a dying New York City victim's perspective, and an outsider's reaction set thousands of miles away from Ground Zero. What this thesis argues for is a separation in study of the fictive strands that meditate on the burning towers, treating the New York City survivor story as a discrete body. Despite their being set in one of the most known cities of the Western world, and the terrorist attack that they depict being the most- watched catastrophe ever experienced in real-time before, these fictions have not yet been critically ordered. Charting the salient reappearing conflicts, unsettling descriptions, protagonist decay, and potent techniques for registering horror that resurface in this New York City 9/11 fiction, this thesis proposes and demonstrates how the peculiar and affecting Gothic tensions in the works can be further understood by trauma theory, a term coined by Cathy Caruth in Unclaimed Experience (1996: 72). Though the thesis concentrates on developments in trauma theory from the mid 1990s to 2015, it also addresses its theoretical antecedents: from the earliest voices in the late nineteenth and early twentieth centuries that linked mental illness to a trauma (Charcot, Janet, Breuer, Freud), to researchers from mid-twentieth century (Adler, Lindemann) who studied how catastrophe affects civilian minds not previously trained to either fight war or withstand cataclysm. Always keeping at the fore the ancient Greek double-meaning of trauma as both unhealing “wound” and “defeat,” the thesis surveys tenets of the trauma theorists from the very first of those who studied the effects on civilian survivors of disaster (of what is still the largest nightclub fire in U.S. history, which replaced front page coverage of World War II for a few days: the Cocoanut Grove blaze in Boston, 1942) up to those theorists writing in 2015. The concepts evolving behind trauma theory, this thesis demonstrates, provide a useful mechanism to discuss the surprising yearnings hiding behind the appearance of doppelgängers, possession ghosts, terrorists as monsters, empty coffins, and visitants that appear to feed on characters’ sorrow, guilt, and loneliness within the novels under discussion. This thesis reappraises the dominant idea in trauma studies of the mid-1990s, namely that trauma victims often cannot fully remember and articulate their physical and psychic wounds. The argument here is that, true to the theories of the Caruthian school, the victims in these novels may not remember and express their trauma completely and in a linear fashion. However, the victims figured in these novels do relate the horrors of their memory to a degree by letting their narration erupt with the unexpectedly Gothic images, tropes, visions, language, and typical contradictions, aporias, lacunae, and paradoxes. The Gothic, one might say, becomes the language in which trauma speaks and articulates itself, albeit not always in the most cogent of signs. One might easily dismiss these fleeting Gothic presences that characters conjure in the fictions under consideration as anomalous apparitions signalling nothing. However, this thesis interrogates these ghostly traces of Gothicism to find what secrets they hold. Working from the insights of psychoanalysis and its post-Freudian re-inventers and challengers, it aims to puzzle out the dimensions of characters’ mourning in its “traumagothic” reading of the texts. Characters’ use of the Gothic becomes their way of remembering, a coded language to the curious. This thesis holds that unexpressed grief and guilt are the large constant in this grouping of novels. Characters’ grief articulation and guilt release, or the desire for symbolic amnesia, take paths that the figures often were suspicious of before 9/11: a return to organized religion, a belief in spirits, a call for vengeance, psychotherapy, substance abuse, splitting with a partner, rampant sex with nearby strangers, torture of suspects, and killing. All the earnest attempts through the above means by the characters to express grief, vent rage, and alleviate survivor guilt do so without noticeable success. True closure towards their trauma is largely a myth. No reliable evidence surfaces from the close reading of the texts that those affected by trauma ever fully recover. However, as this thesis demonstrates, other forms of recompense come from these searches for elusive peace and the nostalgic longing for the America that has been lost to them.

Le peintre Fernand Leduc a développé une trajectoire unique dans l'histoire de l'art québécois. Depuis 1943, il suit une démarche qui l'a mené de l'automatisme aux microchromies actuelles. Entre 1953 et 1959, durant son retour à Montréal, après un séjour de sept ans en France, Leduc vit une véritable révolution esthétique et plastique, celle du passage de l'automatisme à l'abstraction construite. Les sources de cette révolution, de nature philosophique et spirituelle, se retrouvent chez le penseur Raymond Abellio et chez le peintre Jean Bazaine qui ont marqué l'artiste dans son orientation. C'est par son action au sein du milieu de la peinture montréalaise ainsi qu'à travers sa pensée esthétique et sa démarche plastique que Leduc effectue son passage. "Portes rouges", une oeuvre de 1955, nous a semblé représenter un moment charnière de cette période. / Montréal Trigonix inc. 2018

Indiana University-Purdue University Indianapolis (IUPUI) / While the Arab spring succeeded in ousting the long-term dictator led governments from power in many Arab countries, leading the way to a new democratic process to develop in the Arab world, it did not end the old suspicions between Arab Muslims and the West. This research investigates the beginning of the relations between the Arab Muslims and the West as they have developed over time, and then focuses its analysis on perceptions from both sides beginning with 9/11 through the events known as the Arab spring. The framework for analysis is a communication perspective, as embodied in the Coordinated Management of Meaning (CMM). According to CMM, communication can be understood as forms of interactions that both constitute and frame reality. The study posits the analysis that the current Arab Muslim-West divide, is often a conversation that is consistent with what CMM labels as the ethnocentric pattern. This analysis will suggest a new pathway, one that follows the CMM cosmopolitan form, as a more fruitful pattern for the future of Arab Muslim-West relations. This research emphasizes the factors fueling this ethnocentric pattern, in addition to ways of bringing the Islamic world and the West to understand each other with a more cosmopolitan approach, which, among other things, accepts mutual differences while fostering agreements. To reach this core, the study will apply a direct communicative engagement between the Islamic world and the West to foster trusted relations, between the two.