Ivy Mitchell is dead. Her body has been dumped on a bed of rock and rubble at the edge of a seawall decorated with floating beer cans and sick fish. And reporter Howard French has just had a late-night call from his newsroom. The police scanner spit something about the Intracoastal Waterway, and his boss wants him to find out what it's all about. On that hot summer night in West Palm Beach, French is about to begin an investigation along streets that wind through the lives of characters painted on a realist's canvas, where light, warm colors and earth tones live always in the shadow of a dark wave, one that, as it closes around him, will lead French to discover how the unresolved past echoes in the present — sometimes with seismic consequences.

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This memoir is a collection of attempts to search for a personal anchorage or home. It is a decidedly female journey for a woman's place in the world. The manuscript details the quest of a female journalist for a sense of wholeness following a childhood with a mentally ill mother. It consists of three parts: the first, an account of childhood; the second, a narrative of a search "on the road" during a journalism career; and, third, an interior quest for a life context that included faith. The journey wound through Latin America, the Caribbean, and Southwest Asia. What is "home"? Is it family? God? A sense of safety? For me, the need to know emerged in childhood. It included a spiritual quest for a higher power that eluded me as a shadow fled the sun. In adulthood, travels for my work pushed the question as I saw how others answered these questions. The search took me to Taos, New Mexico, where I sought a vision of my death, to Bangladesh, where I learned first hand about women's suppression, and to Lima, Peru, where I believed death by terrorist to be imminent. My quest carried me further into the practice of Buddhism. It became a search for a greater "presence" I was unable to define. It continued through the death of my Alzheimer's iv afflicted mother. The journey, though full of adventure, held answers that often seemed beyond my grasp. Or so I thought. Ultimately, the search turned out to be an inside job.

The Maria Paradox: How Latinas Can Merge Old World Traditions with New World Self-Esteem (1996) argues that acculturation is difficult for Hispanic women moreso that for other women, because traditional gender-roles hinder adaptation to life in the United States. While the book looks psychologically at the ideology of marianismo, I believe a sociological analysis of this ideology is helpful. I argue that the umbrella term of Hispanic should not be used because it assumes that this group is culturally homogeneous, which is not the case. Post-industrial society has changed the status quo irrevocably in such a way that everyone is affected. To believe that Latin women in general have more trouble that other women in achieving success in the United States lacks strong evidence at this time.

Burning Swing: A Haitian Childhood is a memoir that describes a sometimes difficult and sometimes pleasurable journey through the narrator's childhood and teenage years in Port-au-Prince. This work aims at capturing the tone of a very young person caught up in her own adolescent world-with all the innocence and evil, cruelties and fears-as she witnesses social chaos. Influenced thematically by Mary Karr 's Cherry, which describes the author's troubled relationship with her mother and her desire to leave the town where she was raised, Burning Swing focuses on M.J.'s relationship with her bipolar father and her o fevered need to escape a place where violence and bloodshed are commonplace. As she attempts to leave, the narrator discovers an acute interest in writing, which helps her gain a better understanding of her father and leads to an attempt at reconciliation.

The novel, CONFESSIONS OF A COWBIRD, offers an irreverent look at family life within America's consumer culture. When the narrator, Asta Veridian, working mother, real estate broker and Vice-President of the Women in Business Association, meets Mattie Moreau, an eccentric young man who's fighting his own war against day care, the foundations of Asta's world are shaken. Although Asta and Mattie are fierce ideological opponents, their relationship escalates to a passionate level, and along the way, crimes are committed, families fall apart, suburbia is skewered, the depths of guilt are plumbed, capitalism is critiqued, sensuality and spirituality collide and unite. Underlying the action in this tragicomic, quasi-epistolary novel is the tension between self-realization and self-sacrifice, which rises to the surface when Asta realizes she may have to destroy Mattie to save her relationship with her children.

The flute literature to be discussed in this study will be limited to the first half of the eighteenth century. During that period the choice of solo instrument was often left to the discretion of the performer. Many composers marked their music flute or violin or oboe and wrote in such a manner that it could be played on either. The term “flute” often meant either the recorder or transverse flute. There recently has been an interest in reviving eighteenth century flute music, much of which was clearly intended for the transverse flute. Music intended for other media which was transcribed for flute will not be covered in this study. However, the titles of some of the early flute tutors indicate that the transcribing of “...Song Tunes, Minuets, Marches, Duets, etc.” was a popular practice.

In this dissertation, I first briefly examine the history of technology as it impacts on literacy practices, and especially the history of resistance to technological developments in the humanities. In so doing, I also briefly examine some of the possible ideological underpinnings of this resistance, including looking at some of the arguments proposed to counter it. More specifically, I consider how literacy practices, pedagogical practices, and assessment and gatekeeping practices in the field of composition studies impact on and are impacted by the intersection of computer technologies and our field. Finally, I offer some suggestions for ways in which our pedagogical practices may need to be reconsidered in light of changes in how we communicate. In particular, I propose guidelines for writing teachers to help negotiate the transitional period between traditional and neo-traditional forms, bridging the gaps between existing standards for producing print documents and as yet undetermined standards required by new forms. That is, I present guidelines that I hope, rather than stifle change, can help guide authors in determining which existing standards make sense for new new forms, and which need to be reconsidered, thereby providing the flexibility necessary to cope with change. Because it is imperative that we consider the effect of our teaching of writing and reading on the further development of these technologies, as well as the effect of further development of these technologies on our teaching and study of writing and reading, I also suggest ways we may need to rethink the academy, including the position of the composition classroom itself.

The scope of this thesis is to make a statement on the sport of cockfighting as it is practiced in the counties of northern Utah. It is a sport that has a long and colorful history, a unique body of lore and is practiced by serious, dedicated men. Cockfighting history emanated from the Manu code of India through the Greek and Roman civilizations, spreading from there both east and west till it girdled the globe. The Roman traditions largely influenced the English Cockers who brought their sport to the American colonies. The southern gentry were quick to adopt the sport, where it continues to flourish to this day. The sport spread west with the frontier and found its way to Utah early in the state's history. The Utah cockers follow the traditions of the southern cockers with some influence from the Mexican methods. I was introduced to cockfighting at age fourteen and have been a devotee since. Through my studies in folklore I developed a keen interest in the body of folklore inherent in the sport. The methods of feeding, conditioning and fighting the battle cock are greatly influenced by folk practice. The concept I have labeled "folklaw" is also present as it applies to cockfighting. The folklaw concept is the way the tension is resolved between the folk group engaged in an illegal sport and the law enforcement arm of the parent society. The code of the cockers is also protected in some degree by the same enforcement arm. The cockers function as a folk group by passing tradition, craft ways and tales from one generation to the next. Because of the illegality of their sport, the cocker groups have a natural insularity. This makes for group coherence and integrity. The cocker groups have a rich body of lore and ways that needs to be observed in the light of reason and impartiality rather than in the glare of media sensationalism. This study attempts to fulfill that purpose.