Thesis (M.A.)--University of California, Santa Cruz, 2002. / Typescript. Includes bibliographical references (leaves 59-60).

Thesis (M.W.S.)--Memorial University of Newfoundland, 2004. / Bibliography: leaves 135-141.

Thesis (M.A.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2007. / eContent provider-neutral record in process. Description based on print version record.

The Green Dress Whose Girl is Sleeping is a collection of poetry written over a five year period, which demonstrates my interests in formal and linguistic experiment through the themes of death and love. The speakers frequently struggle to accept either, with many of the love poems maintaining a sense of anticipated loss, and many of the death poems reverting to memory and joy as an expression of grief. At the centre of the collection is a series of sonnets, “Our Terraced Hum”, which creates a narrative of observed experience through the premise that the speaker is watching people from a neighbouring block of terraced flats. Meanwhile several science fiction poems permeate the collection, universalising experiences such as love and death to develop a sense of shared experience throughout human histories and territories. In particular, poems such as “Nan, Come from the Water” and “On Her Return from Afghanistan” maintain an autobiographical element to explore the personal impact of a family death, and the varying coping mechanisms people create. The deaths of strangers and animals are also prominent in a number of pieces in this collection, as found in poems such as “How to Kill a Blackbird” and “Heading to a Corner Shop on a Winter’s Day”, whilst major global disasters such as the 2011 tsunami in Japan, and the 2001 attacks on the World Trade Centre in New York city are the focus of “Sendai-shi” and “Towers”. Poems such as “Kiting”, “House Plant” and “Ghazal Jigsaw” interrogate love as a form of power struggle in romantic relationships, whilst experimentations in form and language become a medium for aesthetic and intellectual stimulation in pieces such as “Star”, “The Promise” and “26 One Word Poems”. A focus on specific events and reactions through varying poetic structures and tropes – surreal, autobiographic, fantastic or otherwise – I hope amalgamates to form a more complete and inclusive sense of collective, complex experience. The critical element, entitled “Broken Wor(l)ds: Edwin Morgan’s Science Fiction Poems”, explores processes of estrangement and uncertainty as vehicles for promoting change throughout Edwin Morgan’s science fiction poems. Chapter one focuses on Morgan’s computer poems, chapter two looks at his space poems, chapter three examines the poem “In Sobieski’s Shield” and chapter four considers Morgan’s dystopian poems. It demonstrates that Morgan deconstructed and rebuilt poetic structure, language and genre as a way of rejecting parochialism and insisting on a progressive poetry which engaged with the modern world.

The objective of this diploma thesis is to demonstrate the theory of fundamental analysis, summarising the theory and using British construction company Morgan Sindall as an example; satisfy the theory by applying methods to inputs and subsequently analysing the outputs. The first two sections of the diploma thesis are focused on the analysis of the company. The first section analyses the individual elements of the company. The second section applies the methods of fundamental analysis to determine the intrinsic value of the company. The third and fourth section discusses construction sector influences and global factors which impact on the value of Morgan Sindall shares. Regression analysis is applied to determine the impact of these global factors on the company's share price. This diploma thesis concludes with investment recommendations for Morgan Sindall based on the partial results of the fundamental analysis.

No description available.

This essay focuses on the character Patrick Bateman in American Psycho by Bret Easton Ellis and his unreliability as a narrator and compares it to the unreliable narration of the character Dexter Morgan in Darkly Dreaming Dexter by Jeff Lindsay. These characters' respective unreliability is analyzed from the perspective of six types of unreliability suggested by James Phelan and Mary Patricia Martin: misreporting, misreading, misregarding, underreporting, underreading and underregarding. The result of the analysis is that while Patrick shows proof of being an unreliable narrator with respect to each one of the six types except underreporting and underregarding, Dexter can be connected to three of them (misreading, underreading and underregarding). Even if this might seem like an insignificant difference, the amount and the clarity in the examples of unreliability adhering to Patrick suggests that he is a much more unreliable narrator than Dexter is. This result indicates that characters can be at opposing ends of a spectrum of unreliability, on which Patrick according to this analysis is placed at the highly unreliable end of the spectrum and Dexter somewhere at the low end. / Denna uppsats fokuserar på karaktären Patrick Bateman i American Psycho skriven av Bret Easton Ellis, med tanke på denna karaktärs opålitlighet som berättare. Detta jämförs med karaktären Dexter Morgan från Darkly Dreaming Dexter skriven av Jeff Lindsay och denna karaktärs opålitlighet som berättare. Detta opålitliga berättande analyseras utifrån en modell som består av sex kategorier vilka James Phelan och Mary Patricia Martin har formulerat. Dessa kategorier kallas: ”misreporting”, ”misreading”, ”misregarding”, ”underreporting”, ”underreading” och ”underregarding”. Resultatet av analysen visar på att Patricks berättande kan placeras in i fyra av dessa kategorier (”misreporting”, ”misreading”, ”misregarding” och ”underreading”). Detta i jämförelse med Dexters berättande som kan placeras in i tre av dem (”misreading”, ”underreading” och ”underregarding”). Även fast denna skillnad kan verka obetydlig är det ändå så att de exampel på opålitlighet som Patrick visar upp står att finna i fler och tydligare exempel än hos Dexter vilket innebär att Patrick kan ses som en mer opålitlig berättare än Dexter. Resultatet av analysen indikerar att olika karaktärers berättande kan återfinnas i olika ändar av ett opålitlighetsspektrum. På detta spektrum kan Patrick då placeras in som en mer opålitlig berättare än Dexter som hamnar i den mer pålitliga delen av spektrumet.

No description available.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 210-217). Also available for download via the World Wide Web; free to University of Oregon users.

Project (M.S.)--Wichita State University, Dept. of Anthropology. / "Spring 2005." Includes bibliographical references (leaves 178-184).