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The purpose of this thesis was to investigate the central question: "How the institutional factors, sustainability aspects, marketing and green markets condition the potential for chicle commercialization to increase incomes and to contribute to tropical forest preservation in Quintana Roo, Mexico?" I reviewed general literature on chicle, Non Timber Forest Products, institutions, sustainability , marketing and green markets. During the summer of 2001 I held forty semi-structured interviews with relevant actors in Quintana Roo. Main findings were that producers need to increase control over the production process. Under current extraction practices ecological sustainability is likely to be maintained, but underutilisation of the resource leads to an economic unstable situation. In marketing organic chewing gum health aspects need to be emphasized to improve the effectiveness of marketing. It was concluded that green markets offer potential, institutional problems need to be addressed and emphasis on connecting to the emerging organic markets and marketing messages is necessary.

The aim of this thesis was to investigate the ethno-history of the Church of God and Saints of Christ and African Hebrew Israelites of Jerusalem. Both religious movements were started by African Americans who passed through slavery. The former started in 1892, and the latter in the 1960s. They claimed an Israelite ancestry, and built their religious movements on what they accepted to be Israelite culture. I found the basic question to be what made these men claim an Israelite identity. I tried to answer this question by examining the cultural conditions in which the founders of the two movements found themselves when they formed the movements. The methodology that I engaged stresses that culture forges people. I found that the deracialization that the founders suffered as slaves led them to appropriate an Israelite identity. In turn, this served to restore the dignity of the African Americans.

This thesis compares the modes of satire utilized by Dante in the Divine Comedy and Chaucer in theCanterbury Tales, and considers the direct and indirect historical and religious influencers which impacted each author’s satirical style.

Although the Portuguese diminutive has been analyzed for centuries, there is a lack of descriptive experimental data regarding how native speakers form the diminutive including participants from each state in Brazil. For this study, 1,053 native speakers from each of the 26 states and the federal district of Brazil filled out an online survey, providing information about their age, gender, birth state, and current state of residence in Brazil. Participants selected the form(s) of the diminutive which they would use for 60 test words. Results indicate that the most influential factors in the formation of the diminutive are the age and state of origin of the participant, in addition to the final phone and stress of the word being diminutized. An apparent time shift in diminutive formation is seen in the diminutive endings of -inho and -zinho.

Ceremonial music in Japan is a type of music used to celebrate special occasions in special places, e.g., to honor the Emperor on his birthday, or for other special celebrations at a shrine. In Japanese, the character for ceremonial music is written 雅楽 (pronounced Gagaku). The character 雅 (ga) means graceful, noble, or excellent. The character 楽 (gaku) means good or beautiful musical sounds. Appearing together, 雅楽 the two parts of this character mean ceremonial music, which is not performed among ordinary people. The ceremonial music is used in the Imperial Court and in shrines, although not every shrine is equipped to perform ceremonial music. During the tenth and eleventh centuries it was used also in the homes of the highest class of military leaders. The basic philosophical implication of ceremonial music in Japan is virtue (morality). In respect to form, content, and thought, the ceremonial music is synthetic in character, which means it is part of a whil in which dance as action is equally as important as the music.

The purpose of this thesis is to explore and analyze the wealth of intrinsic value that is to be found in compositions originally written for piano duet (two performers at one piano). Only compositions originally conceived for piano duet will be considered transcriptions of works that were at first in the form of piano solo, string quartet, orchestra or any such medium other than piano duet, will not be considered in this writing. Also excluded will be works for piano duet that are not of concert hall use; this paper is concerned with that literature for piano duet which is of a caliber transcending pure pedagogy. Another object of this thesis is to show what a remarkable amount of art has been cast in the form of piano duet literature.

Information received, during interview with eight prominent music educators and from questionnaire responses of ninety-two music educators, indicates almost unanimously that there are four general problems of the senior high school boys’ glee club which need serious consideration: organization, maintenance, vocal problem and selection of music. It has been the purpose of this study to investigate the foregoing four general problems, report findings and to recommend procedures to aid senior high school boys’ glee club directors in solving their problems.

The object of this thesis is to discuss musical rudiments and their importance, to demonstrate to what extent these rudiments are being taught in the selected Stockton schools and to inquire into the musical background and musical attitudes of the teachers of the fourth, fifth, and sixth grades of these particular schools.

This dissertation advances a new theory of the editor. Editors are pervasively influential for shaping our evaluations of all kinds of work, from literature, to news, to scholarship, and beyond. I test my theory on editorial influence in little magazines, providing close readings, recovering historical contexts, and identifying a wide variety of rhetorical affordances available to little magazines’ editors. I draw on rhetorical narrative theory, most especially the “implied author” concept, which I build on in order to theorize an “implied editor.” I furthermore demonstrate that understanding the authored and edited texts as distinct is important for teasing apart the full breadth of editorial work. This dissertation also proposes a new model of editorship. My model captures (1) the role of the editor, which is a simultaneously author- and audience-oriented role; (2) the importance of poetics; and (3) the dual-streamed creative role of editors. As such, my model captures dynamics not noted elsewhere and enables us to address such questions as: (1) How does editorship differ from authorship? (2) How can we think of the relationship among author, editor, and audience? and (3) How does the ethics of editorship differ from that of authorship? This dissertation further tests my model in conversation with a contemporary little magazine, issue 23 of A Public Space. In so doing, I explore how APS’s editor uses editorial textual resources, some of which overlap with authorial textual resources and some of which diverge from them. I also test my theory against the editorial role in Harlem Renaissance little magazines to elucidate the distinctive ways in which editors manifest their respective magazines’ purposes, both implicitly and explicitly. In so doing, these editors reveal why we must view the magazines as distinct and holistic entities with potentially competing priorities rather than merely collections of (then) up-and-coming writers and their discrete works. My model of editorship highlights Fire!!’s complex editorial significance. My theory of editorship and its application to these little magazines demonstrates the significance of editorship, particularly in relation to the crafting of uniquely edited texts.