Indiana University-Purdue University Indianapolis (IUPUI) / In 1998, D.T. Max wrote his article, “The Carver Chronicles,” about the manuscripts Gordon Lish sold to the Lilly Library at Indiana University. The public was made aware of Lish’s heavy editing of Raymond Carver’s short stories—both in early story form and, later, in book collection form. His heaviest editing was during Carver’s first two major story collections, Will You Please Be Quiet, Please? (1976), and What We Talk About When We Talk About Love (1981). I discuss three stories, “What’s in Alaska?” and “Fat,” from the first major collection, and “What We Talk About When We Talk About Love” from the second major collection. For this last story, we will separate Lish’s editorial vision from Carver’s original authorship by comparing the published book text with Carver’s original story, “Beginners”—two versions, one story. The stories were examined to understand Lish’s editorial motives. To generate a deeper understanding of their textual visions, a critical analysis will evaluate their differences. The stories will first be analyzed in the state they existed before Lish’s changes, and then a second analysis will pinpoint Lish’s major editorial changes and show how they affected Carver’s original vision. The analysis will provide a foundation for discovering a final product understood as a combination of two visions, Carver’s original authorial vision and Lish’s editorial vision. The basis for future Carver studies is to separate these men’s work. Carver’s authorial intent becomes paramount in the investigation for finding the true Carver through critical and textual analysis. Their two distinct and separate visions affect how contemporary Carver studies critically examine his work. To understand Carver textually is to get at his original intent, to illuminate his true vision, separate from Lish’s edits, in order to open up a new perspective and understanding of Carver’s emotional depth and expansiveness. Robert Rebein, Ph.D. (Chair)

Building on Donald and Patricia Stewarts' The Life and Legacy of Fred Newton Scott (1997), this dissertation addresses aspects of Scott's life which have been ignored or left underdeveloped in the work of composition historians, including Scott's early education at the Indiana State Normal School and at Battle Creek College, along with his personal, academic and professional relationships with Dr. John Harvey Kellogg, John Dewey, and Joseph Villiers Denney. This examination, providing a more precise knowledge of Scott's academic and professional life, clarifies the significance and originality of Scott's contributions to the discipline.At the Indiana State Normal School, Scott was exposed to an innovative adaptation of Pestalozzian and Herbartian educational philosophies. The philosophy and methodologies employed at the school likely influenced Scott's thinking about teacher training, while encouraging his adaptation of psychology in the teaching of English.Scott again was exposed to a reform-minded educational agenda at Battle Creek College. There, Scott encountered an holistic educational program that sought to improve the intellectual, physical, and spiritual components of students' lives.Through his long friendship with Dr. John Harvey Kellogg, Scott gained an intimate knowledge of the medical profession, an awareness Scott utilized in his own writing about understanding student errors in composition. Scott's academic and professional relationship with John Dewey at the University of Michigan demonstrates their multiple shared interests and activities. The Thought News newspaper project illustrates their attempt to implement philosophy into practical arenas. Their working relationship, as well as Scott's educational background at the Indiana State Normal School and at Battle Creek College, suggests that Dewey has been erroneously viewed as the source of Scott's innovative approach to composition.Finally, Scott's collaborative relationship with Joseph Villiers Denney, the writer with whom Scott wrote his most popular textbooks, illustrates the importance Scott placed on collaboration as well as the competence of those with whom he collaborated. Denney's own scholarly work in composition demonstrates his originality and resourcefulness as an equal partner in their collaborations. / Department of English

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This research investigates the process of self-authorship by applying self-expression, intentionality and appropriation by South African graphic designer Garth Walker (b. 1957) in the production of the i-jusi magazine. For this purpose, selected issues and designs of i-jusi magazines are analysed. In his search for an indigenous South African design language through self-authorship, Walker works outside of the traditional clientdesigner model. He attempts to capture this unique South African voice through a number of themed i-jusi issues. In self-authorship, the intent of the graphic designer is embedded in personal conviction and expression, which are key factors to the creation of the work. Hollis (2001) describes the designer as a messenger with an eye for the aesthetic and a target market. As the country’s socio-political transformation took on a different shape post-1994, a search for a South African design language became prevalent among South African graphic designers. Writers in design such as Heller (1998), Lupton (2003), and Bierut (2007) coined the term Designer as Author in the critical discourses on self-authorship and design that is more experimental in nature. McCarthy and Melibeu de Almeida (2002) acknowledge the practice in which designers take responsibility to create content and form simultaneously, thus expanding the opportunity for self-expression. In their search for unique self-authorship, contemporary graphic designers give voice to their intent and self-expression, making use of the appropriation or borrowing of different styles, visual languages and cultural contexts. Ijusi serves as an example of self-initiation, a criterion for self-authorship, as it is produced, edited and distributed by Walker himself. In his search for a truly South African design language, Walker explores identity and individual expression to include intent and appropriation as part of the production process. / MA (History of Art), North-West University, Potchefstroom Campus, 2015

This research investigates the process of self-authorship by applying self-expression, intentionality and appropriation by South African graphic designer Garth Walker (b. 1957) in the production of the i-jusi magazine. For this purpose, selected issues and designs of i-jusi magazines are analysed. In his search for an indigenous South African design language through self-authorship, Walker works outside of the traditional clientdesigner model. He attempts to capture this unique South African voice through a number of themed i-jusi issues. In self-authorship, the intent of the graphic designer is embedded in personal conviction and expression, which are key factors to the creation of the work. Hollis (2001) describes the designer as a messenger with an eye for the aesthetic and a target market. As the country’s socio-political transformation took on a different shape post-1994, a search for a South African design language became prevalent among South African graphic designers. Writers in design such as Heller (1998), Lupton (2003), and Bierut (2007) coined the term Designer as Author in the critical discourses on self-authorship and design that is more experimental in nature. McCarthy and Melibeu de Almeida (2002) acknowledge the practice in which designers take responsibility to create content and form simultaneously, thus expanding the opportunity for self-expression. In their search for unique self-authorship, contemporary graphic designers give voice to their intent and self-expression, making use of the appropriation or borrowing of different styles, visual languages and cultural contexts. Ijusi serves as an example of self-initiation, a criterion for self-authorship, as it is produced, edited and distributed by Walker himself. In his search for a truly South African design language, Walker explores identity and individual expression to include intent and appropriation as part of the production process. / MA (History of Art), North-West University, Potchefstroom Campus, 2015

The dissertation "And the Sea looked : a novel in the making" is an exploration of the creative process of a prose fiction novel called „And the Sea Looked‟. Following the lives of three women, the novel reflects on the idea that universal Peace (the end of all wars) will only be possible if individuals, through the power of their choices in the way they live their ordinary lives, strive to transcend the separations and imperfections of the Material World, ultimately finding a universal unity ("oneness") in the ideal love existing in Plato‟s superior, Divine World. The psychological creative process behind the making of the novel is investigated in-depth and a short critical interpretation of the novel is included. / English Studies / M.A. (English)

Submitted in fulfillment of the requirements for the Degree of Master of Technology in Nursing, Durban University of Technology, 2014. / Background The Council for Higher Education and the South African Nursing Council accredit institutions with learning and assessment practices which aim to develop and prepare graduates to be critical thinkers. The undergraduate nursing programme at the Durban University of Technology introduced the writing of reflective journals by their students in 2011. Students submitted journals of poor quality which lacked reflection. Aim of the study The purpose of this study was to evaluate the use of guided reflective journals by assessing the levels of reflection of the undergraduate nursing students during clinical learning and practice. Methodology An exploratory sequential mixed methods design, using quantitative and qualitative paradigm, was used for this study. A purposive sample of 40 participants was used to collect data. A perceptions questionnaire was administered to the 40 participants to determine their perceptions on how they experienced writing of the reflective journals. Content analysis was used to analyse the written content of the reflective journals. Descriptive statistics such a Chi-square goodness of fit and Wilcoxon Signed Ranks test were used determine levels of reflections and the differences in the first and second journals. Lincoln and Guba’s 1985 criteria for trustworthiness were applied to the study. Results Analysis of the journals revealed lower levels of reflection in the first reflective journal compared to improved levels in the second journal. Furthermore, the participants generally expressed writing of reflective journals as a valuable tool in professional, personal development as well as clinical learning. Levels of reflection and development of reflective practice will be greatly enhanced if all involved in nurse education will actively participate in encouraging writing of reflective journals by student nurses.

This dissertation explores the development of prose fiction continuations from Sir Philip Sidney’s Arcadia to the novels of Samuel Richardson. Examining instances in which a text was continued by someone other than its original author, I ask precisely what this distinction means historically: what factors create a system of literary value in which certain continuations are defined as ‘spurious,’ and how does the discourse surrounding these texts participate in changing attitudes toward authorship, originality, and narrative closure? My work thus contributes to recent critical efforts to historicise authorship and literary property, using prose fiction examples that have not previously been discussed in this context. Analysing the rhetorical strategies found within paratextual materials such as prefaces, dedications, and advertisements, I establish how writers of continuations discuss the motivations for their works, how these are marketed and received, and how the authors of the source texts (or their representatives) respond to them. Through close reading, the dissertation traces the development of persistent metaphors for literary property across these texts, focusing on images of land, paternity, and the author’s ‘spirit.’ The introductory chapter addresses these metaphors’ significance, defines the main elements of continuations, and situates them within the historical context of a growing print marketplace and developments in copyright law. The dissertation then presents a series of case studies of the most documentarily-rich instances of continuation across the period. Starting with The Countess of Pembroke’s Arcadia, published posthumously in an incompletely-revised form, Chapter 2 shows how its gaps allowed other writers to continue the story, while Chapter 3 studies the metaphorical approaches to authorship taken in the continuations’ paratexts. Chapter 4 examines two Restoration texts, The English Rogue and The Pilgrim’s Progress, which combine the Arcadia continuations’ concern about the author’s honour with issues of commercial competition. The intersection of profit, reputation and copyright protection brought out in this chapter is reflected in the subsequent discussion of the career of Samuel Richardson. Chapter 5 shows him responding to public challenges to his authorial control following the success of Pamela, whereas Chapter 6 explores the more private assertions of authority taking place within Richardson’s correspondence during the publication of Clarissa and Sir Charles Grandison. Finally, my conclusion summarises the subsequent legal and critical privileging of original over continuation, emphasising the historical contingency of this process. The broad chronological scope of the dissertation allows the frames of all these texts to inform each other for the first time, crossing the established critical boundary between the ‘romance’ and the ‘novel.’ This approach reveals continuities as well as differences, enabling me to construct a more nuanced picture of Early Modern approaches to prose continuations and authorial ownership. In establishing links between law and literature, the project also provides an important historical context for contemporary debates about copyright, fanfiction, and literary property.

Authorship attribution of source code is the task of deciding who wrote a program, given its source code. Applications include software forensics, plagiarism detection, and determining software ownership. A number of methods for the authorship attribution of source code have been presented in the past. A review of those existing methods is presented, while focusing on the two state-of-the-art methods: SCAP and Burrows. The primary goal was to develop a new method for authorship attribution of source code that is even more effective than the current state-of-the-art methods. Toward that end, a comparative study of the methods was performed in order to determine their relative effectiveness and establish a baseline. A suitable set of test data was also established in a manner intended to support the vision of a universal data set suitable for standard use in authorship attribution experiments. A data set was chosen consisting of 7,231 open-source and textbook programs written in C++ and Java by thirty unique authors. The baseline study showed both the Burrows and SCAP methods were indeed state-of-the-art. The Burrows method correctly attributed 89% of all documents, while the SCAP method correctly attributed 95%. The Burrows method inherently anonymizes the data by stripping all comments and string literals, while the SCAP method does not. So the methods were also compared using anonymized data. The SCAP method correctly attributed 91% of the anonymized documents, compared to 89% by Burrows. The Burrows method was improved in two ways: the set of features used to represent programs was updated and the similarity metric was updated. As a result, the improved method successfully attributed nearly 94% of all documents, compared to 89% attributed in the baseline. The SCAP method was also improved in two ways: the technique used to anonymize documents was changed and the amount of information retained in the source code author profiles was determined differently. As a result, the improved method successfully attributed 97% of anonymized documents and 98% of non-anonymized documents, compared to 91% and 95% that were attributed in the baseline, respectively. The two improved methods were used to create an ensemble method based on the Bayes optimal classifier. The ensemble method successfully attributed nearly 99% of all documents in the data set.

As a result of changing cultural, economic and technological factors, television always exists in a perpetual state of transformation. The fragmentation of the mass audience and the disintegration of the network oligarchy catalyzed the emergence of a multi-channel universe and niche cable markets in the post-network era. HBO, perhaps the most successful premium cable channel to emerge during the changing TV landscape, implemented a subscription-service economic model, enabling it to produce uncensored, commercial free content unavailable on broadcast television. HBO has since been labeled as the leading purveyors of quality, auteurist-centered TV. For this report, I analyze how HBO has been constructed in the realm of academic discourse. Using Enlightened and showrunner Mike White as a case study, I examine how the series conforms to and deviates from HBO's established brand and reflects the network's struggle to redefine itself in the post-network era. Ultimately, I aim to reveal the mythologized, idealized and manufactured culture of production at HBO and examine how journalistic discourse surrounding the series presents the HBO brand identity in a state of crisis and transition. / text