Thesis (D. Min.)--Trinity International University, 2003. / Abstract. Includes bibliographical references (leaves 310-316).

Thesis (Ed.D.)--East Carolina University, 2009. / Presented to the faculty of the Department of Educational Leadership. Advisor: Lynn Bradshaw. Title from PDF t.p. (viewed May 20, 2010). Includes bibliographical references.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1999. / Includes abstract and vita. Includes bibliographical references (leaves 129-134).

Thesis (D. Min.)--Midwestern Baptist Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 183-185).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2002. / Includes abstract and vita. Includes bibliographical references (leaves 131-137).

A memory consistency model for a language defines the order of memory operations performed by each thread in a parallel execution. Such a constraint is necessary to prevent the compiler and hardware optimizations from reordering certain memory operations, since such reordering might lead to unintuitive results. In this thesis, we propose a memory consistency model for Chapel, a parallel programming language from Cray Inc. Our memory model for Chapel is based on the idea of multiresolution and aims to provide a migration path from a program that is easy to reason about to a program that has better performance efficiency. Our model allows a programmer to write a parallel program with sequential consistency semantics, and then migrate to a performance-oriented version by increasingly changing different parts of the program to follow relaxed semantics. Sequential semantics helps in reasoning about the correctness of the parallel program and is provided by the strict sequential consistency model in our proposed memory model. The performance-oriented versions can be obtained either by using the compiler sequential consistency model, which maintains the sequential semantics, or by the relaxed consistency model, which maintains consistency only at global synchronization points. Our proposed memory model for Chapel thus combines strict sequential consistency model, compiler sequential consistency model and relaxed consistency model. We analyze the performance of the three consistency models by implementing three applications: Barnes-Hut, FFT and Random-Access in Chapel, and the hybrid model of MPI and Pthread. We conclude the following: The strict sequential consistency model is the best model to determine algorithmic errors in the applications, though it leads to the worst performance; the relaxed consistency model gives the best performance among the three models, but relies on the programmer to enforce synchronization correctly; the performance of the compiler sequential model depends on accuracy of the dependence analysis performed by the compiler; the relative performance of the consistency models across Chapel and the hybrid programming model of MPI and Pthread are the same. This shows that our model is not tightly bound to Chapel and can be applied on other programming models/languages. / text

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Religious theater or erotic sculpture? A study of how the sculpture group Ecstasy of Saint Teresaand the Cornaro chapel have been described and used in literature of art history. This study aims to investigate how the sculpture group Ecstasy of Saint Teresa and the Cornarochapel has been written about and presented in literature about art history. The method has been tostudy literature, to visit the Cornaro chapel, and to make comparisons between pictures, texts andown experiences.The questions set out to be answered was; How has the Cornaro chapel and the Ecstasy of SaintTeresa been described and interpreted in literature of art history? What kind of pictures are beingused to illustrate the chapel? What is in focus and what is withheld in the presentation of the chapel,in text and in pictures? Is it possible to see a change, in how art historians write about the Cornarochapel, over time?Reading and comparing the texts and pictures that illustrates the literature, makes visible how thebaroque period, Gianlorenzo Bernini, Teresa av Avila and the Cornaro chapel has been presented inthe chosen literature, and answered the questions.The similarities between the Cornaro chapel and a theater stage, Bernini's interest in the theaterand his devout Catholicism, as well as the Counter-reformation's use of art to reach their goal ofmaking people more devout to Catholicism, is in focus. The erotic overtones in the sculpture groupare being withheld as well as Bernini's personality. Saint Teresa's work for the Counter reformationand how her texts and spirituality affected her contemporaries are also withheld.The pictures that illustrates the chapel in the studied literature are similar to each other, and oftenshow a close-up of the sculpture group with the saint and the angel, but also an overview of thechapel. The pictures are with no exceptions taken from a viewpoint inaccessible to a visitor of thechapel. The changes seen in the literature is that art history is becoming more contextualized.The sculpture group is not a religious theater, nor an erotic sculpture, but both at the same time.

Thesis (D. Min.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 207-209).

Thesis (D. Min.)--Trinity International University, 2005. / Abstract. Includes bibliographical references (leaves 114-117).