This thesis addresses the question posed to ecocriticism by Dana Phillips in his iconoclastic The Truth of Ecology: Nature, Culture, and Literature in America: “What is the truth of ecology, insofar as this truth is addressed by literature and art?” by examining how ecocriticism has, or has failed to, contextualize ecocritical discourse within an ecological framework. After reviewing the current state of ecocriticism and its relationship with environmentalism, the thesis suggests that both rely on the same outmoded, inaccurate and essentially inutile ecological concepts and language, and argues for a new approach to ecocriticism that borrows its concepts and language from the geophilosophy of Gilles Deleuze and Felix Guattari. The thesis concludes with a reassessment of the work of Barry Lopez, showing how his fiction, when viewed through the lens of geophilosophy, does not support essentialist notions of nature, but rather works to articulate a world of multiplicities, and new modes of becoming.

This thesis addresses the question posed to ecocriticism by Dana Phillips in his iconoclastic The Truth of Ecology: Nature, Culture, and Literature in America: “What is the truth of ecology, insofar as this truth is addressed by literature and art?” by examining how ecocriticism has, or has failed to, contextualize ecocritical discourse within an ecological framework. After reviewing the current state of ecocriticism and its relationship with environmentalism, the thesis suggests that both rely on the same outmoded, inaccurate and essentially inutile ecological concepts and language, and argues for a new approach to ecocriticism that borrows its concepts and language from the geophilosophy of Gilles Deleuze and Felix Guattari. The thesis concludes with a reassessment of the work of Barry Lopez, showing how his fiction, when viewed through the lens of geophilosophy, does not support essentialist notions of nature, but rather works to articulate a world of multiplicities, and new modes of becoming.

This thesis addresses the question posed to ecocriticism by Dana Phillips in his iconoclastic The Truth of Ecology: Nature, Culture, and Literature in America: “What is the truth of ecology, insofar as this truth is addressed by literature and art?” by examining how ecocriticism has, or has failed to, contextualize ecocritical discourse within an ecological framework. After reviewing the current state of ecocriticism and its relationship with environmentalism, the thesis suggests that both rely on the same outmoded, inaccurate and essentially inutile ecological concepts and language, and argues for a new approach to ecocriticism that borrows its concepts and language from the geophilosophy of Gilles Deleuze and Felix Guattari. The thesis concludes with a reassessment of the work of Barry Lopez, showing how his fiction, when viewed through the lens of geophilosophy, does not support essentialist notions of nature, but rather works to articulate a world of multiplicities, and new modes of becoming.

Thesis (M.A.)--Northwestern University, 1935. / "Publication no. 29m-1." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 109-112).

Thesis (M.A.)--Northwestern University, 1935. / "Publication no. 29m-1." Includes bibliographical references (leaves 109-112).

This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.

This thesis addresses the question posed to ecocriticism by Dana Phillips in his iconoclastic The Truth of Ecology: Nature, Culture, and Literature in America: “What is the truth of ecology, insofar as this truth is addressed by literature and art?” by examining how ecocriticism has, or has failed to, contextualize ecocritical discourse within an ecological framework. After reviewing the current state of ecocriticism and its relationship with environmentalism, the thesis suggests that both rely on the same outmoded, inaccurate and essentially inutile ecological concepts and language, and argues for a new approach to ecocriticism that borrows its concepts and language from the geophilosophy of Gilles Deleuze and Felix Guattari. The thesis concludes with a reassessment of the work of Barry Lopez, showing how his fiction, when viewed through the lens of geophilosophy, does not support essentialist notions of nature, but rather works to articulate a world of multiplicities, and new modes of becoming.

The content of the diploma thesis entails proving of compatibility between liberal variant of multiculturalism and liberalism. Critique by Brian Barry this compatibility denies and understands liberal multiculturalism, which it personifies in Will Kymlicka, as illiberal. This critical view is related to the liberal-communitarian debate, through which are interpreted Brian Barrys critique as well as new conceptual elements in Will Kymlickas liberal multiculturalism that make it an update of modern liberalism. The thesis legitimizes this update, as well as firm attachment between liberal multiculturalism and liberalism through interpretation of Kymlickas postulates that is based on Rawls theory of justice and through establishing connection between those postulates and the wider postulates of liberalism.

This study examines the relationship between government funding and faith-based nonprofit organizational development and professionalization. By conducting an online survey of 1,632 executive directors at Habitat for Humanity affiliates in the United States, followed by telephone and email interviews with selected leaders from the organization, this mixed-method case study examined the organizational tensions, opportunities, bureaucratization, and professionalization of a religiously-based nonprofit as it transitioned from primarily private funding to broad acceptance of public monies. Habitat for Humanity provided an excellent prospect for this research, as the organization announced one year before the study began that its 27-year tradition of not seeking or accepting government funding (with the exception of grants for infrastructure) would change in July 2006. The study utilized Barry Dym and Harry Hutson's stages of organizational development, particularly their concept of professionalization, as an analytical framework for the study, with particular emphasis on the potential effects government funding may have on Habitat's organizational structure. The study suggested a close relationship between increasing professionalization at the organization's national office and the decision of national leadership to allow local affiliates to pursue government funding for construction. In addition, survey and interview data indicated that this change has been accompanied by a corresponding decrease in emphasis on religious mission, or at least a less conservative (and in some cases more pluralistic) approach to religious aims, than was evident in a 1995 International Partner training session in which the researcher participated. / Ph. D.

This work explores the impact of Barry Harris' 6th diminished scale on my musical expression in jazz. Through repetition, transcription, and interviews with experts like Richard Clements, I delved into the theory and its application. It proved to be a journey ranging from the daunting to the inspiring and informative. I have reflected on how this concept changes my perspective and approach to creating music. The work also highlights the gap between traditional jazz theory and Harris' philosophy, and how I navigate between them in my musical exploration. / <p><strong>Framförd musik:</strong></p><p>Sweat as Bear Meat – Johnny Hodges </p><p>Dizzy Atmosphere – Dizzy Gillespie</p><p>The Big Sound - Isac Schillberg</p><p>First Song – Charlie Haden</p><p>Moment’s Notice – John Coltrane</p><p>Ruby My Dear – Thelonious Monk </p><p>Sing a Song of Song – Kenny Garrett </p><p><strong>Medverkande:</strong></p><p>Milos Lindegren</p><p>Felix Kling </p><p>Johannes Bäckström</p><p>Axel Lidgren</p><p>Olle Ekelind</p>