This thesis is divided into two volumes, the creative work and the exegesis. The creative work, My ornament, is an Australian novel set in India. It explores - from a feminist perspective - issues of desire, subjectivity, agency and connection among three women and their moving, sexual bodies across time and space. In so doing, its aim is to place women at the centre of literary/critical discourse, emphasising connection rather than differences across cultures. The voices of the two main characters, Rachel and Muddupalani, alternate, cross over, merge and pull apart in the narrative that moves between the 18th and 20th centuries, Australia and India, with the third mythic woman, Radha, a textual presence in the poetry written by Muddupalani. The exegesis constructs an intellectual and fictional genealogy for the novel, situating it in a 21st century discursive space. While it is a work of Australian fiction - with an Australian author and protagonist - I suggest that it contributes to the following writing traditions: South Indian poetics and 18th century culture; Francophone women’s literary theory, in particular ecriture feminine; and notions of 'dancing desire'. This account of choreographing a fiction (of the self within a text) moves along intersecting planes through the liberatory spatio-temporal territory available in cultural nomadism and transnational feminist practice. Together, these two volumes create a new discursive space by linking seemingly disparate elements and fictional characters to create a region in which women - writing and dancing women - can connect and move freely across cultural and time zones; as heterosexual erotic beings, they articulate their desire and reflect it back through their art. It is recommended that the novel be read before the exegesis.

This thesis is an exploration of gender relations in contemporary Papua New Guinea. It is dedicated to unveiling the standpoints of senior men in a range of powerful senior positions towards issues of gender, and asks the question ‘How do contemporary big men conceptualise their own and others’ masculinity?’ Firstly, it begins with a discussion of the legacy of the colonial era in terms of gendered power and looks at some of the ways in which Western Anthropologists typified masculinities and, to a lesser extent, femininities. Secondly, it surveys a range of literature written within the West which deals with theories of gender and attempts to apply these to the Papua New Guinean context. Following this is the chapter which gives an overview of the methodological considerations and research methods employed in the thesis. Using a feminist perspective, it goes on to investigate the perspectives of a number of men who hold senior positions within the education system, the public service, non-government organisations and the government itself in order to ascertain what, if any, contribution they offer the project of developing gender equity. In doing so, it considers the typologies of masculinity problematised by the participants and a model of their interrelation and intersections is offered.

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 57-65).

The issues surrounding Handel's borrowing practices have been the subject of much debate over the last three centuries. Unfortunately, the field is rife with contradictions, speculation, and theories that have only a limited applicability. This dissertation provides a new approach to the study of Handel's borrowing practices by applying a methodology that would have been familiar to Handel and the elite members of his audiences—one that employs the principles of Aristotelian logic, textual rhetoric and musical rhetoric. This type of methodology can be applied successfully to miscellaneous vocal to vocal borrowings that span the composer's entire career. The first part of the dissertation provides the background for the ensuing study by examining the educations of Handel and his audience members. Chapter 1 outlines the various curricula available during Handel's lifetime and confirms that Handel and his more privileged contemporaries followed one which featured instruction in Aristotelian logic, textual rhetoric and musical rhetoric. Chapter 2 verifies that students at various European centres studied these principles during their adolescent years. The final chapter of this part discusses each of these principles in detail and provides the raw methodological material for this study. The second part of the dissertation takes the principles gleaned from Part 1 and employs contemporary commentary to mould them into a viable methodology for the study of Handel's borrowing practices. The analyses included in this part not only provide comprehensive musical-rhetorical and musico-dramatic discussions, but also provide rigorous examinations of source and new poetic texts. Analysis of the poetic texts represents a vital first step in this study. It reveals the poetic themes of a source and its new version and establishes that it is the location (topos) of these themes within the categories of Aristotelian logic that determines the appropriateness of a source as well as the degree to which it is altered in a new work. Appendix 1 provides tables that summarise the analyses of Handel's borrowings from each chapter of Part 2. For the benefit of those unfamiliar with the vocabulary of Aristotelian logic, textual rhetoric and musical rhetoric, a glossary of all terminology as it is employed in this dissertation has been included. / Graduate

This study examined the perception of giving consent and nonconsent for intercourse among heterosexual college men and women. Participants read vignettes describing a heterosexual couple who are on a date and are engaged in intimate sexual behavior. The male makes it clear to the female that he wants to have sexual intercourse. The female either consents or does not consent to have intercourse. Participants were then asked to rate the likelihood of the female giving each of six verbal and six nonverbal behaviors to clearly communicate her intention. Participants reported higher ratings for verbal behavior to communicate nonconsent than to communicate consent. Participants also reported higher ratings for nonverbal behavior to communicate consent than to communicate nonconsent. In addition, gender differences were found for communicating both consent and nonconsent. Men reported higher ratings for verbal behavior to communicate consent. Women reported higher ratings for nonverbal behavior to communicate both consent and nonconsent.

Public Relations advertisements in crisis situations are vital to the image of a company. The actions the company takes are complemented by the type of advertisements that are run as a result of the crisis. These ads help the organization in crisis state their position and communicate with their publics. This study is unique in that The New York Times itself was not in crisis, however, they produced ads for a country that was. This study examines the “Make Sense of Our Times” campaign run in The New York Times after September 11 th . This campaign used Norman Rockwell images that had one element altered to reflect the aftermath Americans were living during the post September 11 th tragedy. The purpose of this study was to determine the factors that motivated the creation of this campaign, and determine if this series of ads can be considered soft-sell public relations, as well as public relations stewardship. (Abstract shortened by UMI.)

The purpose of this study was to analyze current practices in the revitalization of school buildings and assimilate data that can be used by school administrators to make informed decisions about the revitalization of school facilities. Through a review of literature, elements for planning the revitalization of school facilities were identified and analyzed. These elements were included in an interview guide used during on-site visits to selected revitalized schools. Nine schools renovated since 1985 in Virginia, Tennessee, and North Carolina were chosen to participate in the study. The treatment of data was reported around the use of identified elements of planning for renovating school buildings. Data from the schools were divided by states to make comparisons. The study indicated that structural soundness, program support, site, and cost are four areas of concern when planning for the revitalization of a school. The specific planning elements included the development of educational specifications; attention to site condition; consideration of playground areas; importance of the exterior appearance of school buildings; space utilization; condition of mechanical and electrical systems; importance of energy efficiency, development of barrier free environments, treatment of thermal environments; consideration of acoustics; management of visual environments; selection of furniture and equipment; and attention to aesthetics. As a result of the findings of this study, the following conclusions were drawn: (1) Planning for the revitalization of school buildings differs from one school to another even when the schools are in the same system. (2) States do not employ facility planners to help school systems revitalize their school buildings. (3) Many school administrators do not know how to assess the condition of the schools in their districts. (4) Administrators and other individuals involved in revitalizing school facilities want more information on how to systematically plan for the modernization of school buildings.

This document examines the evolution of viola playing as heard through recordings of William Walton's Viola Concerto, written in 1929. The sixteen commercially issued recordings of the concerto, unevenly spaced, offer a variety of interpretative approaches. Its first performers were indebted to a style of performance practice with roots in the Romantic era, which emphasized the individuality of the performer above other considerations. Hallmarks of this style are tonal beauty, overt emotionalism and a freely subjective approach that included alterations to the music. The performers used portamento liberally, not yet demonized as a sign of poor taste, and thus had a uniquely vocal style of phrasing. Early violists' interpretations are striking for their flawed uniqueness, but, as we move toward the 1960s, a more modem approach takes over. It is characterized by fidelity to the score and consistent technical perfection, as well as less use of portamento in favor of continuous vibrato. The personal input of the performer is less pronounced; he is now more a conduit for the composer's intentions. Modern violists thus take fewer liberties and sound more alike, while exhibiting an unprecedented level of technical assurance. The reasons for this increase in homogeneity will be discussed. In addition, violinists' recordings of the Walton will be examined for signs of a violinistic mode of interpretation of the Walton.

This thesis reinvents the current homogenized horizontality along the American highways by inserting a new typology of verticality along the existing horizontal sprawl. The project focuses upon the ever-growing commercialization and urban sprawl along a 181-mile strip of I.H.10, which runs from Jennings, Louisiana to Houston, Texas. In this landscape the sign has become the most dominant feature, while architecture has become simply an empty shell. There is no focal point along the highway today, only the aspiration of the sign to be higher than any inhabitable structure around it. This project proposes the insertion of 6 vertical elements into this horizontal landscape by taking the existing program and signs directly adjacent to the highway and relocating them into specified locations along I.H.10. These new densified nodes will further be defined through differentiated scales of perception through architecture and design.

Jishin (earthquake) is a musical composition written for full orchestra, based on a twelve-tone row. The twelve-tone row is structured such that it contains only two musical intervals (perfect 5 th , major 3 rd ). Due to the nature of the row, various transpositions of the row can be used to form what seems to be a never ending cycle of pitches. Throughout the composition the material of the row is fragmented and used motivically to develop larger structures within the whole of the piece. Like an earthquake, Jishin strives to create an enormous amount of tension and aggressive energy. At the end, the moment of strongest tension, the original row is set against itself in retrograde, metaphorically representing the friction caused by plate tectonics.