In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.

This thesis examines Dickens's presentation of evil women. In the course of my reading I discovered that most of the evil women in his novels are mothers, or mother-figures, a finding which altered the nature of my interpretation and led to closer examination of these characters, rather than the prostitutes and criminals who may have been viewed negatively by Nineteenth century society and thereby condemned as evil. Among the many unsympathetically portrayed mothers and mother-figures in Dickens's works, the three that are most interesting are Lady Dedlock, Miss Havisham, and Mrs Skewton. Madame Defarge initiates the discussion, however, as a seminal figure among the many evil women in the novels. Psychoanalytical and socio-historic readings grounded in Nineteenth century conceptions of womanhood provide background material for this thesis. Though useful and informative, however, these areas of study are not sufficient in themselves. The theory that shapes the arguments of this thesis is defined by Steven Cohan, who argues strongly that the demand for psychological coherence as a requisite of character obscures the imaginative power of character as textual construct, and who both refutes and develops character theory as it is argued by Baruch Hochman. Cohan's theory is also finally closer to that outlined by Thomas Docherty, who provides a complex reading of character as ultimately "unknowable".

Although psychoanalytic theory can provide a large number of testable hypotheses concerning personality development, scientific psychology has been slow to realize this potential. The concept of character type is one aspect of Freudian theory which merits further investigation. It is believed that certain traits occur together in adult personality because they arise at the same level of psychosexual development. The present study tested the empirical validity of the oral, anal and hysterical character constructs in a normal sample. Relationships between character type and perceptions of parental attitudes and behavior were also explored. 143 psychology students completed a personality questionnaire, which provided scores for traits relevant to the character typology, and the Parental Role Patterns questionnaire (PRP), a measure of adult's perceptions of their own childrearing. Subjects also provided information about birth order, number of siblings, parents' marital status and other demographic variables thought to be relevant to the personality types. It was hypothesized that those traits which have been attributed to the oral, anal and hysterical types would form correlation clusters. Factor analysis was used to test the nature of these intercorrelations. Several hypotheses concerning relationships between personality and childrearing were also advanced. These were tested by computing correlations between personality factor scores and PRP scores. For both male and female subjects, factors identifiable as the oral, anal and hysterical emerged, although the results did not support a view of the oral character as a unitary construct. The anal character emerged most clearly. These findings were discussed in relation to published studies in which the same personality questionnaire was used in a psychiatric population. The majority of the hypotheses pertaining to relationships between personality and childrearing also received support. The oral character was associated with perceptions of low parental warmth and high control, the anal character with high warmth (for females), and the hysterical character with low warmth. A multivariate analysis of variance performed on groups of subjects typical of one of the three character types failed to indicate significant differences in childrearing perceptions. Since an adequate typology should enable researchers to make predictions on the basis of subject assignment to type, the usefulness of the psychoanalytic character typology remains in question. / Arts, Faculty of / Psychology, Department of / Graduate

In the "metaphysical vacuum" of The Possessed Stepan Trofimovitch Verhovensky is symbolic of a non-productive stewardship--a father who did not father, a teacher who did not teach, and elder who did not will wisdom and tradition to the dependent younger generation. It is puzzling how little critical notice has been taken of Stepan, and it is a lonely position to find in him the key to the teeming, chaotic world of the novel, but this is the thesis which will be pursued.

When the emoticon was created in 1980s, many commentators have even described this creation as futile effort for improving internet communication efficiency. Even in the famous “language and the internet” (Crystal, 2001), the finder of internet linguistic, David Crystal argues that emoticons at the time “are a potentially helpful but extremely crude way of capturing some of the basic features of facial expression, but their semantic role is limited.” Nevertheless, after two decades have passed, emoticon not only survived but turned into an irreplaceable linguistic aspect in the internet language. During its evolution process, emoticon was also transmuted into different forms for accommodating specialties in different language input systems. Among all sorts of emoticons which were evolved this way, Chinese emoticons represent many unique characterizations due to the hieroglyphic aspect of Chinese characters, special sound-meaning-form relationship and peculiar input method. This thesis will explore the background and linguistic functions of emoticons, investigate how those special characterizations distinguish Chinese emoticons from others; analyze how Chinese emoticons to fulfill those missing communication properties in Chinese internet language and syntax; discuss the linguistic effects of those Chinese characters which are picked as emoticon, such as the dual effect toward the meaning of character and real life oral communication; and summarizing Chinese emoticon as a linguistic defined subgroup of emoticon.

El cine presenta personajes y hechos históricos que han marcado a la humanidad. La representación que se le dé a estos personajes determinados es importante, porque dentro de la realidad que construye una película, el espectador puede asumir como verdad todo lo que está observando. Además, el periodismo tiene un peso social al ser una disciplina que permite acceder a una información a la que ningún otro profesional tiene forma de llegar. Eso llama la atención para conocer de qué forma el personaje del periodista es representado en el cine peruano. Para ello se han elegido variables específicas que permitan conocer esta construcción en su totalidad y en cada aspecto de su vida que es trazado en las películas: el entorno personal, el profesional y la dimensión interna. De esta manera podremos aproximarnos a esta representación cinematográfica. / The cinema presents historical characters and facts that have marked humanity. The representation given to a particular character is important, because within that reality built in a film, the viewer assumes as true what he is observing. Journalism, has its own social weight, because it is a profession that has access to information that no other professional has and therefore, it is important to know what is the representation that is given to this character in Peruvian cinema. Specific variables have been chosen that adapt to this and allow us to know this character in its entirety, in every aspect of his life: personal, professional and internal. In this way we can approach to know what characterizes this representation. / Tesis

A taxonomic revision of the family Thuidiaceae Schimp. for Africa and the east African Islands is presented. Three genera, namely, Pelekium Mitt., Thuidiopsis (Broth.) M. Fleisch. and Thuidium Bruch & Schimp., and 16 species are accepted and revised for the region. The nomenclature, keys to genera and species, descriptions, illustrations and distribution maps are included. Thuidiaceae is one of over 40 families that belong to the Hypnales which is known to contain the most diversity among pleurocarpous mosses. Members of the Thuidiaceae are characterised by gametophytes with attractive, regularly 2- or 3-pinnate branching, presence of paraphyllia on surfaces of stems and branches, dimorphic stem and branch leaves, longitudinally plicate leaves with a single costa, papillose leaf cells, and a hypnoid peristome. Abietinella Müll. Hal., Haplocladium (Müll. Hal.) Müll. Hal., Hylocomiopsis Cardot and Rauiella Reimers are excluded from African Thuidiaceae. Thuidium involvens var. thomeanum Broth. is raised to species status under Pelekium, as Pelekium thomeanum (Broth.) Phephu. Thuidium pseudoinvolvens (Müll. Hal.) A. Jaeger is also transferred to Pelekium and the new combination Pelekium pseudoinvolvens (Müll. Hal.) Phephu is proposed. / Dissertation (MSc)--University of Pretoria, 2013. / gm2014 / Plant Science / unrestricted

This paper explores the impact that spontaneous independent NPC dialogues have upon the player experience within a RPG. The study makes use of adjacent established research where dialogue is concerned as a launching point as spontaneous NPC dialogue has not been directly researched. The tests consisted of a playthrough of a two-part prototype. The first part had spontaneous independent NPC dialogue and the second part was used as a control part. While playing through the artefact participants voiced their thoughts and feelings concerning the prototype. With that and an interview, we measured the amount that the dialogue form used added or detracted from the participant’s experience. The dialogue was overall met in a positive manner from participants. However, a small study as this cannot conclusively state that spontaneous independent NPC dialogues are a boon to the RPG experience.

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https://dc.etsu.edu/digital-animation-videos-oer/1079/thumbnail.jpg