Thesis (M.A. in anthropology)--Washington State University, May 2010. / Title from PDF title page (viewed on July 12, 2010). "Department of Anthropology." Includes bibliographical references (p. 23-27).

This thesis examines a number of natural and anthropogenic disturbances within marine macrophyte habitats of the Caribbean. Understanding the effects of disturbance and the patterns associated with such dynamics is fundamental to ecological studies. Dynamics of interest included: interactions between populations; interactions between life history strategies; successional regimes; and alterations of community structure including loss of trophic heterogeneity and the possibility of "alternate" states. First I explored natural physical disturbance and succession. The dominance of macroalgae in the mid-shore, between areas of seagrass, challenged "classic" succession in such communities. I therefore proposed a model that included chronic "stress" by wave energy that could lead to a reversal in the climax state. Next, I investigated the importance of other grazers (i.e. trophic heterogeneity) in mediating the strength of trophic cascades (e.g. overgrazing). The enclosure experiments used suggested that different life history strategies respond differently to experimental conditions and that interference competition between specialist (conch) and generalist (urchins) grazers results in urchins switching to alternate resources and displaying lower condition. This dynamic may indirectly "buffer" the community against population expansions of urchins and overgrazing of diversity enhancing detritus. Under high nutrient enrichment, urchins maintained themselves, the trophic cascade and low diversity by switching to "expanded" autochthonous and "new" allochthonous resources. I continued to examine the effects of increasing nutrient enrichment, which correlated well with increasing human density, by examining eleven seagrass beds. The patterns of increasing consumer density and decreasing consumer diversity corresponded well to increasing enrichment and loss of autochthonous detritus. At high levels of enrichment, the community was dominated (> 90%) b

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Thesis (Ph. D.)--University of Wisconsin--Madison, 1958. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-290).

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From modern-day parking lot snipers to 18th century Romantic picturesque painters, At the Bank of Paradise: and Other Stories explores the unexpected boundaries of the Caribbean, following those who have come, those who have stayed, and those who have left the Caribbean behind. Inspired by real historical figures at the periphery of the Caribbean experience, these stories dive into untold narratives only glimpsed in the footnotes of history. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

This thesis considers the relationship between literary modernism and visual culture in the work of Caribbean modernist Jean Rhys. Through analysis of a range of visual modes—theatre, fashion, visual art, cinema and exhibition culture—it examines the racialised sexual politics of Rhys’s modernist aesthetics, as represented in her texts of the 1920s—30s. I read Rhys’s four interwar novels—Quartet (1928), After Leaving Mr Mackenzie (1930), Voyage in the Dark (1934) and Good Morning, Midnight (1939)—in the context of contemporary visual practices and the politics of empire. Rhys’s descriptions of artistic practices, acts of viewing and interpreting art, and the identification of her protagonists as both objects and consumers of art are a crucial aspect of her anti-colonial feminism. The politics of vision and of empire are always intertwined for Rhys. Chapter One studies theatrical spectacle and everyday performances of the self. Chapter Two moves to the fashioning of female identities and sartorial constructions of Englishness. Chapter Three turns to Rhys’s use of ekphrasis to question representational structures as they exist in the modernist, primitivist art context. Chapter Four reads Rhys and cinema, focusing on divided or fractured subjectivities as relayed through allusions to distorted mirrors. This conveys Rhys’s powerful evocation of themes of alienation and dislocation. I conclude by analysing what ‘exhibition’ means for those occupying both subject and object visual positions within the imperial metropolis. Analysis is supported by readings of unpublished short stories, letters and poems, works that are relatively absent from current Rhys scholarship. The conjunction of revolutions in the visual arts and the destabilization of the empire in the modernist period provides clear space for investigation into the creation of new ways of seeing that provided a degree of visual agency for those deemed incapable of aesthetic production. Crucial to this is Rhys’s own Creolité. Situated within and outside of European visual subjectivity, Rhys’s work becomes vital to any study of social acts of seeing, in terms of individual subjectivity and within the wider systems of vision produced through the arts. / published_or_final_version / English / Doctoral / Doctor of Philosophy

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