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Chapter 1 describes the subjects and the investigation procedure including the recorded interviews and equipment used. It also outlines the ten pronunciation lessons that were given. Chapter 2 is a short account of the phonemes of Australian English. Chapter 3 is an account of the phonemes of Vietnamese, summarising and comparing the analyses of Nguyen Dang Liem and Le Ba Thao (later form: Thao Le). Chapter 4 compares Australian English and South Vietnamese, discussing the postulated correspondence of the phonemes and predicting errors arising from L1 interference. Chapter 5 is a detailed analysis of the English sounds spoken by the subjects, including descriptions of the results of the first and second tests. This chapter comprises detailed analysis of the vowels, diphthongs, consonants and consonant clusters pronounced by the subjects. The bulk of this chapter could have been contained in an appendix. A reader may choose to read only the first few pages and then go on to chapter 6. Chapter 6 is a summary of the vowels, diphthongs and consonants analysed in chapter 5, but presented in a less detailed way, enabling easier access to the findings in chapter 5. This chapter is especially useful for those who want to concentrate on the main points. Chapter 7 gives some practical ideas for teachers of English pronunciation to Vietnamese people. Chapter 8 describes the statistical agreement tests. It includes the percentages of difficulties and improvements of the vowels, diphthongs and consonants calculated overall and in word position, and the difficulties of the individual students. Chapter 9 gives a description of the approxilect spoken by South Vietnamese speakers of English. It includes a consideration of predictable and non-predictable error types and provides some details about first language interference. Chapter 10 provides an acoustical analysis of the vowels of South Vietnamese

This thesis proposes a viewing of portraiture through the conceptualisation and consciousness of diaspora. The thesis is divided into two sections: a creative body of original artwork and a supporting exegesis. The practice-based part of the thesis presents collective, non-essentialised portraits in the form of installations comprising works-on-paper and artist’s books, while the exegesis investigates artistic and intellectual perspectives on portraiture in light of some contemporary thinking on diaspora theory and experience. Together, the two parts of the thesis propose a re-visioning and “rethinking” of the relationship between portraiture, diaspora and subjectivity that shifts the function of the portrait from a referential to a performative role, finding significance not in the fixed identity of a sitter/subject, but in the relational and collective subjectivities forged between artist, subject and viewer. By positioning portraiture alongside diaspora, I have explored notions that arise from shared experiences of diaspora, drawing on the critical vocabulary of postmodernist cultural discourses of globalisation and dispersion while examining how contemporary portraiture can reflect such an understanding of the world, and in particular how it interacts with and “thinks through” notions of identity, subjectivity and representation.

Due to a range of historical reasons, relatively few academic studies of Cambodian society and culture in relation to women have been available to inform researchers and Western aid workers. To assist in filling this gap, this thesis analyses Western understandings of the application of Women and Development (WID) and Gender and Development (GAD) policies in Cambodia against the backdrop of the reality of Cambodian culture and politics. The first three chapters provide the historical and cultural context for understanding the fate of WID/GAD policies introduced in the 1990s. Chapters Four and Five provide the personal context for the thesis, focussing on my role as a researcher and the sense I have made of Cambodian women's understanding of their own history and culture. Chapter Four provides a description of my acculturation into Cambodian society as an ethnographer through 'adoption' into a Cambodian family, and outlines the theoretical approaches and ethnographic procedures used in the collection and analysis of data. Chapter Five describes my understanding of how and why Cambodian women interpreted and adapted their culture and history in the way they did in the 1990s. Against these historical, cultural and personal contexts, Chapters Six to Eight describe and analyse the WID/GAD development process during this same decade. Chapter Nine concludes the thesis by drawing together the interconnecting threads of previous chapters. Its central argument is that Western concepts of gender equity remained alien to Cambodian culture in its specific historical manifestation in the 1990s. Given the combination of cultural barriers to change within both Cambodian society and the foreign aid community, the WID/GAD agenda introduced in the 1990s was destined to fail in its attempt to alleviate feminised poverty and empower Cambodian women. As the chapter describes, the agenda was largely pursued under the auspices of MOWA. However, government inability or unwillingness to prioritise the needs of its people combined with donor failure to monitor aid assistance and collaborate with local women in a culturally sensitive way inevitably meant that wealth and power increased at the top, while poverty and powerlessness increased at the bottom. But the chapter and the thesis overall conclude on a positive note, by considering the potential of a local community development model based on trust-building and Cambodian understandings of gender equity centred on the Buddhist wat.

Thesis (M.A.)--York University, 2007. Graduate Programme in Theatre Studies. / Typescript. Includes bibliographical references (leaves 93-96). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR31996

Political and economic needs and continuing advancement in facilities for communication and transportation are contributing factors to the increasing interdependence between Mexico and the United States. The necessity for an emphasis upon intercultural understanding, therefore, becomes apparent

This thesis produces new strategies for forming aggregations of units based on environmental factors. This is achieved by redefining the relationship between the public and private realms based on environmental performance and programming the formal performance; performance is defined as the dynamics between differentiated parts and their collective behavior. While typical strategies based on redistributing the unit, and recent architectural explorations in environmental performance, focus on single variable optimization; I'm interested in using multiples within environmental, programmatic and formal elements, to produce differentiation rather than optimization

This Master of Arts project comprises a novel, Severance Packages, written for electronic and digital publication, and an accompanying exegesis that contextualises the novel in relation to its genre and to the emerging field of electronic and digital publication in Australia.

It is argued in this thesis that Australian history between 1966 and 1975 can usefully be termed 'the Whitlam period' because the 1972-1975 ALP government of E.G. Whitlam represented the culmination of a wider set of movements for progressive social change, activated primarily by post-1965 opposition to Australia's involvement in the Vietnam War. It is suggested that the defeat of this government marked the end of the postwar 'Keynesian' public policy consensus and the rise to dominance of a neo-classical liberal public policy framework, based on a comparatively negative or 'disillusioned' view of both human nature and the capacity of society to organise itself in a rational and equitable way. And it is argued that the ongoing political importance of the Whitlam period - as the political and historical Other of contemporary Australian society - means that interpretations of this period are especially contested. Accordingly, taking its cue from Raymond Williams's still relevant theoretical argument that culture is an active element of social development, this thesis examines the cultural causes of the defeat of Whitlam and the rise to dominance of neo-classical liberal public policy. It is argued that the primary cultural cause of these social developments is a broad-based Americanisation of Australian culture. The central evidence for this contention is found in the lives and works of Patrick White, Frank Hardy and Les Murray, authors held to best represent the major - Anglocentric, nationalist and American - cultural influences of the Whitlam period.

Open Silence: An Application of the Perennial Philosophy to Literary Creation is a dissertation that combines a creative component, which is a long, narrative poem, with a framing essay that is an exegesis on the creative component. The poem, entitled The Silence Inside the World, tells the story of four characters, an albino woman in a coma, an immortal wizard, a dead painter, and an unborn soul, as they strive to comprehend the bizarre, dream-like realm in which they find themselves. The narrative utilizes various metaphysical elements of the Perennial Philosophy for the creation of character, event and setting, and also uses the concept of Imagination as the power and place of creative endeavour. The poem comprises 8,170 lines of blank verse arranged in three-line stanzas, for a total of 62,816 words. The exegesis accompanying The Silence Inside the World explains the creative value to the writer of the philosophy underlying the work. It does this by examining the artistic and critical experiences arising out of the writing of the poem. The first half of the exegesis, entitled 'Intentions: Tzimtzum', explores the biographical background of the author, those influences not only on the motivation to write such a creative text, but also on the original desire to investigate such creativity and spirituality in the first place. It also examines those elements of the Perennial Philosophy felt necessary for incorporation into the creative component. The section then delineates the factors Harold Bloom considers necessary for the creation of strong work and considers how the intended creative project may fulfil these requirements. Finally, 'Intentions' presents those creative, mythic and symbolic 2 Word count includes title page and chapter titles. materials gleaned from the critical process that are likely to be prove useful for the creative component. The shorter, second half of the essay, entitled 'Reflections: Tikkun', examines the intricacies of the drafting process for the poem and for the thesis as a whole, as well as the lessons gathered from the project and its overall success. The section ends with suggestions for further work not only for the present author, but also for others, writers and critics alike. The full exegesis, which comprises the segments 'Introduction', 'Intentions: Tzimtzum', 'Reflections: Tikkun', and 'Conclusion', totals 37,077 words.