The thesis is a study of the faith motif in John's Gospel. A modified narrative criticism has been employed to investigate the faith motif. The theoretical foundation is laid briefly in chapter 2. The investigation has demonstrated that faith is the main motif in the Book of Belief (chs. 1-12). The structure of the Book of Belief reflects faith as the central concept. The setting not only brings the readers back to the life situation in Jesus' time but also relates closely to the faith motif. The characters who are the carriers of the faith motif Eire divided, as the plot shows, into two opposing groups, i.e. the believers and unbelievers. They have exposed the multifarious dimensions of the faith motif. In Chapter 3 the characters dramatize the personal, communal and universal aspects of the faith motif. Chapter 4 shows how the axlu emerges and how the characters dramatize not only the okvoaov to participate in the divine community but also how one's relationship with Jesus who is the object of faith entails transforming his words into deeds. In Chapter 5 the characters dramatize that faith in Jesus entails witnessing about him and is essentially relationship with him. The characters embedded in the narrative world have dramatized that the Gospel is written to initiate faith and to deepen faith in Jesus. The characters dramatize the evangelistic and edificatory aspects of faith. Faith in Jesus means relating to him and consequently causes a believer to join the universal community of believers and at the same time to be integrated into the divine community. Faith is essentially relationship with new communities in and through one's relationship with Jesus the Messiah, the Son of God.

My artwork combines the power of narrative with the sculptural form, and I encourage the viewer to interact with my work. I use the magnetic, hypnotic effect that stories can have over us. My narratives are designed to draw the reader into a willing suspension of disbelief. It is often whimsical because childlike things give people certain permissions of joy and abandon. I use anthropomorphism to invite the viewer to handle my pieces in order to create an intimacy between the viewer and the artwork.

Thesis (M.F.A.)--Boston University. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis advisor: Mary Crane / Literary Constellations resituates collaboration within the networks of books and people in the publishing industry in early modern London. Though print technologies and publishing practices are most often understood as providing the conditions for the development of single authorship, this project proposes that print also produced new forms of collective literary endeavors. Looking into the book industry, especially the activities of publishers within the Stationers' Company, I present collaboration as creative activity dispersed among interconnected people and books in the literary arena. This approach expands the recent scholarly attention to collaborative literary activity while remaining grounded in the social and economic context in which books were produced. Not only were books written, translated, edited, marketed, printed, and sold collectively in various ways, but the publishing industry as it developed in London created new avenues for imagining books as existing within meaningful collectivities and as well. Each chapter of this project examines a publishing event and traces its connections in the arena of books to illuminate the dynamics of collaborative publishing. Readings of the literary works are crafted by finding, illuminating, and taking seriously the traces among, between, and in texts. The first chapter examines the 1551 English translation of Utopia as a representative example of a collaborative literary process that includes writing as one in a larger constellation of literary efforts that produce the book. I further explore how the publisher Abraham Veale developed a specialty in health-related texts in translation, of which Utopia becomes a part. Chapter 2 introduces the English translation of the Aeneid published by Abraham Veale, which included a supplementary "thirteenth book," and which was produced in a collaborative group of translators and annotators. This continuation of the epic raises questions about the potential for groups of agents in print to continue the work of poetry indefinitely. Edmund Spenser's Faerie Queene directly responds to the English Aeneidos and its collaborative continuing of the work of Virgil, and in the process articulates an individualist model of literary writing and reading. The third chapter turns to the interdependence of play writing and publishing with other books in the marketplace. I argue that Pericles was published as part of an identifiable group of books, and so operates in an interdependent cluster of collaboratively built stories. Finally, Chapter 4 argues that news was a collaboratively produced print genre with close associations with printed plays. The project of selling individual dramatic authorship in the First Folio and Ben Jonson's late plays required the disentanglement of play texts from their associations with news. Part of this move toward disentanglement includes Jonson's satiric depiction of the stationer Nathaniel Butter and his news syndicate in The Staple of News. / Thesis (PhD) — Boston College, 2014. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

This thesis combines documentation of book, installation, and social art projects from 2012-2015 with reflections on intentions, influences, concepts, and questions.

Anatomia Botanica explores the relationship I have come to develop with my natural environment. It takes the reader through my understanding of three species of flowering plants. These are plants that had a significant impact on my childhood and early adulthood, teaching me to look at our natural environment as far more complex and compelling of respect than we give credit to.

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I regard the culturally rich bookbinding as formats that hold great meaning; I made models of books that existed in different cultures through the history of the book. I became interested in how each structure had unique features and how the books themselves transmitted knowledge about their form. This interest in bookbinding formats led me to explore ways to add content to The binding plays a powerful role in producing my artist's books, the look and presence of these bindings is an integral part of my work and they are linked to the content and aesthetics. The final pieces encourage the viewer to interact with the work.

No description available.

Abstract A stochastic model for orderbook dynamics is proposed in Cont et al.(2010) and empirically evaluated in thisthesis. Arrival rates of limit, marketand cancellation orders are described interms of a Markov chain where thearrival rates are exponentiallydistributed. The model not onlyconsiders the best bid and ask queuesbut also additional price levels of theorder book. Methods for computingseveral quantities important to highfrequency trading are proposed usingLaplace transforms and continuedfractions. These quantities includeconditional probabilities such as theprobability of a price increasedepending on the profile of the orderbook. Computing these probabilities aresupposed to be easy enough to computeanalytically. However this was not thecase. We failed in the inversion of theLaplace transform methods and the mainreason is that the instructions in Contet al. (2010) are not adequate when itcomes to perform the inversion. Hence wedraw the conclusion that the method isno good for predicting short termbehavior of limit order books. For longterm applications the model can be usedto simulate the order book with goodresults.