<p>This dissertation argues that the works of Augustine, especially the <em>City of God</em> and the <em>Confessions,</em> serve as a major source and influence upon Burton's <em>The Anatomy of Melancholy</em>. Burton's attitudes towards the world, humanity, and his sources can be seen to derive in part from Augustine's attitudes on these subjects. Especially, Burton shares with Augustine a form of scepticism this dissertation defines as 'Augustinian Scepticism', which is qualitatively different from the dawning scientific-rationalist scepticism of, for example, Descartes. Though this form of scepticism could be defined as dogmatism, as its rigorous negativity never extends to the grounds of faith, it is still the source of much of Burton's attitude towards the world, his reader and his material throughout the <em>Anatomy</em>. Burton's <em>elenctic</em> rhetorical strategies especially, wherein he collapses all sides of an argument to create seeming chaos in the sublunary world, can in large part be traced to his reading of, and use of, Augustine and avowedly Augustinian thinkers such as Melancthon, Nicholas Cusanus and Agrippa.</p> <p>Although critics such as Fish, Fox, Babb and Thompson deny an Augustinian influence in Burton's <em>Anatomy</em>, this dissertation argues against their positions. The argument presented employs a method of close, comparative readings, examining key passages of the <em>Anatomy</em> in the light of Augustine's <em>City of God</em>, the <em>Confessions</em>, and other works. Passages wherein Burton cuts closest to his submerged themes of redemption and salvation, abandoning the persona of Democritus Jr. in favour of his persona as Burton the Divine-Physician, (a symbolic persona drawn directly from Augustine), are especially examined. Through a focus on Burton's religious themes, a direct parallel with Augustine is discerned. and it is argued that Augustine has an influence on both style and substance in the <em>Anatomy</em>. Although Augustine is by no means the only, or even dominant influence on the <em>Anatomy</em>, Augustine would appear to play a much larger role in Burton's moral and spiritual thought, especially in Burton's scepticism towards the world, human knowledge and human endeavour, than has previously been acknowledged.</p> / Doctor of Philosophy (PhD)

This goal of this thesis is to examine the physical and emotional cost associated with modern and personal interpretations of Strasberg-based method acting. Although many method actors have created excellent award-winning performances, many were left with emotional and physical harm to their body. In this thesis I will argue that there are actors that can deal with the after effects however, the risks associated with Strasberg-based method often pose both mental and physical health risks to the actor that outweigh the benefit they contribute to the production. To understand what Strasberg-based method acting is I will examine the practices of Stanislavski, the founder of the original “method,” and teacher and actors Stella Adler and Sanford Meisner, and their methods to creating a character. Strasberg, Adler, and Meisner, who are believed to have created their methods based off the Stanislavski Acting System, had many disagreements about Stanislavski’s method. What many now call method acting, incorporates certain techniques created by Stanislavski that actors then use to create their own method.

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This thesis is based on my Make-Up Photography Project inspired by the interview of Thai sex workers about their dreams. Each woman’s dream was interpreted and translated into make up design before painted on the models, five Scripps college students, who happened to share similar passion and personality. All models were photographed individually in a regular portraiture style with their make up. The images were then edited in Adobe Photoshop and Illustrator, which incorporated the interview Thai Sex worker’s translated interview and the model’s response to the collaboration together in five complete 32.75 by 22 inches photographs.

The following thesis examines the poetic oeuvre of George Grosz in relation to selected drawings from the same period of time. A survey of the research on George Grosz shows that the scholarly focus has so far mainly been on his work as a visual artist, whereas his published poems have not been treated with as much attention. Furthermore, there exists no in-depth analysis of possible intermedial relations between his poetic and visual works, although titles of poems and drawings, editorial characteristics of the publication of poems and drawings respectively, and the themes of both suggest a relation between the medially different artefacts of Grosz?s work. <br ><br /> The goal of this thesis is to analyse and interpret intermedial relations between Grosz?s poems and drawings and thus affirm their existence as a constituent element of his work. Following Jan Mukarovsk???s suggestion of the dual character of content/theme and structure in every artefact, the thesis is subdivided into two separate analyses of content and structure of poems and drawings and their respective intermedial relations. The methodology used to analyse Grosz? work as an intermedial phenomenon draws from the theoretical background of both semiotics and intermediality. Of eminent importance for the methodology are thus Umberto Eco?s works on semiotics and Roland Barthes? works on semiotics in general and on the semantics of visual language in particular. Fernande Saint-Martin?s <em>Semiotics of Visual Language</em> (1990) serves as reference work for the analyses of the structural characteristics of Grosz? drawings and Roman Jakobson?s and Jir?? Veltrusk???s works on semiotics shed light on the structural differences between verbal and visual language. Furthermore, Irina O. Rajewsky?s systematic introduction to the field of intermedial research, <em>Intermedialit??t</em> (2002), provides an apparatus with which to categorize structural relations between poems and paintings. <br ><br /> The content analysis of poems and drawings focuses on certain recurrent topoi. These are the topoi of the big city, America and (circus) artists. The analyses show intermedial relations and are valuable for the (re-)interpretation of certain topoi, especially when it comes to the evaluation of the Americatopos. The most prominent and dominant topos in both media proves to be the big city. Overall, the analysis of thematic relations mirrors semiotic theory: poems as verbal artefacts are able to provide more content-information than the visual language of the drawings. <br ><br /> The structural analysis focuses on certain modes of visual representation as employed by the drawings, and sets out to show intermedial reverberations of the visual structures in the poems and how the verbal structures succeed in evoking certain structural characteristics of visual language in general of and Grosz?s drawings in particular. Whereas there is a semantic advantage of verbal language in the intermedial relations of the contents of the artefacts, the structural analyses show that it is visual structures that govern the relations between poems and drawings. Again, this can be put down to semiotic characteristics: visual language is less strucurally regulated than its verbal counterpart. <br ><br /> The conclusion tries to merge the results of the separate analyses by stating that intermedial relations exist and encompass the dualism of content and structure that makes up the artefacts. The specific character of the intermedial relations mirrors the characteristics of the two semiotic systems employed by drawings and poems, i. e. visual and verbal language. Finally, it is suggested that thematic and structural relations are mainly governed by the topos of the big city, which hence can be seen as the thematic and structural paradigm of the analysed poems and drawings by George Grosz and of their intermedial relations.

The Indian entertainment industry has firmly cemented its place on the global map of cinema. With more than 1000 multilingual films being produced every year, it has had great impact upon the world of fashion, music and dance. The Indian entertainment industry is in a favorable phase right now driven by ground-breaking changes such as the advent of new leaders, increased usage of technology, new ways of storytelling and new stories being told. Though it started out by being dominated by a handful of people, it has evolved to allow the growth of leaders who shaped its progress. This paper analyses the transformation of leadership styles within the industry and explores how the change in audiences’ tastes and expectations, nepotism, the role of fashion designers, the role of women and the Indian diaspora have produced leaders through the years and how this has resulted in the continuous transformation of its definition of leadership and leadership.

The orchids known today make up one of the largest Angiospermous families in the world. Recent estimates place the number of genera at about 450 which estimates between 10,000 and 15,000 species (some authorities go as high as 20,000). They are without doubt one of the most highly specialized groups of green plants. Botanically the flowers are of more than passing interest for they deviate so distinctly from the norm of the Monocots. They are the possessors of a number of unique structures that are found in no other family of flowering plants.

This thesis is a portion of a novel manuscript. The novel is tentatively titled The Quiet Near the End of Our World. These 20 chapters introduce the readers to the four main characters: Mir Hamza Khan, Isaiah Khost, Toor Jan, and Daniel Bing. The machinations of Mir Hamza Khan result in a school attack in a rural village in Afghanistan that wounds Toor Jan. Toor Jan is admitted to an American hospital where he meets intelligence operative, Daniel Bing. Dan decides to use Toor Jan as a spy to bring Mir Hamza Khan to justice for the attacks but must first navigate the wishes of his commander Isaiah Khost. The four men collide in an explosive conflict where none of them are safe.

The Book of Hebrews has been interpreted from at least three religion historical angles: the Gnostic interpretation, the platonic/Philonic interpretation, and the apocalyptic interpretation. Since 1970, however, the apocalyptic interpretation is strongly favored. A study of the understanding of the writer of the book of Hebrews as pertaining to history (timo, the unity of history, the emphasis on the eschaton, the two-age motif), the concept of rest (katapausis), alleged Platonic dualism, Messianism, and angelology literature is the primary extra-biblical locus from which the writer of the Book of Hebrews draws.

The purpose of this thesis will be to explore conceptions of waste in Nepal’s rural village of Simigaau to understand what constitutes waste and in what ways it is critical to the community’s physical and cultural survival. Due to the contribution of many aspects of daily life in the creation of “waste” in Simigaau –what it is and what it means – I hope to use a whole systems approach to understand the multitude of factors that affect how villagers view waste and whether its value can provide insight into a local way of life. Moreover, I aim to explore whether a community’s waste – seen and unseen – provide insight into a local way of life and if so, how this insight may be applied to both Nepal at large and connotations of “waste” in the West.