ABSTRACT A COMPARATIVE ANALYSIS OF SENSE OF BELONGING AS A PART OF IDENTITY OF THE COLONIZER AND THE COLONIZED IN THE GRASS IS SINGING AND MY PLACE Cansu G&ouml / ktan M.A., in English Literature Supervisor: Assist. Prof. Dr. Margaret S&ouml / nmez May 2010, 205 pages This thesis investigates how two loosely autobiographical works unveil the effects of colonization on their major characters in terms of their identities and senses of belonging. The Grass Is Singing by Doris Lessing, a second-generation member of the colonizer, and My Place by Sally Morgan, a third-generation hybrid Australian Aborigine, are selected because both novels essentially deal with colonial issues by depicting their major characters in a process of maturation within a colonial and post-colonial framework, the former using a semi-autobiographical narrative tone and the latter using an Aboriginal version of autobiography, which integrates oral tradition and storytelling. These two books reveal that a sense of identity is closely related to a sense of belonging and that both are fundamentally affected by the colonial situation. The effects of a sense of identity and a sense of belonging, which boil down to the demise or survival of the individual, interacts with family and society, physical environment, and race issues that the thesis investigates by dedicating a chapter to each. The method used in this point-by-point comparative analysis is to approach the issues of sense of belonging and identity in a colonial context with a close reading of the two works, to find out what the texts say for themselves regarding the effect of family and society, environment, and race as depicted in The Grass Is Singing and My Place. The theoretical background that is most relevant to this study is post-colonial literary theory, although here it is taken as secondary to the close reading that is the thesis&rsquo / s primary approach to these works. Keywords: Doris Lessing The Grass Is Singing, Sally Morgan My Place, Colonial and Post-colonial Literature

In this thesis I use the radical, pro-violent organization the Weathermen as a framework to examine women and feminisms complex relationships with violence. My thesis attempts to show the many belief systems that second wave feminists possessed concerning the role(s) of women and violence in revolutionary organizations. Hence, by using the Weathermen as a framework, I discuss various feminist essentialist and pacifist critiques of violence. I also include an analysis of feminists who, similar to the Weathermen, embraced political violence. For example, radical feminists Robin Morgan and Jane Alpert criticized the Weathermens violent tactics while other feminists such as Ti-Grace Atkinson and Valerie Solanas advocated that women pick up the gun in order to destroy patriarchal society. In addition, I analyze the stereotypes of the violent female, which have often been supported by feminists and non-feminists alike. Thus, the stereotyped nature of the violent female does not allow for the complexities that accompany the many reasons why women commit politically motivated crimes. Understanding the role women played in the Weathermen is an important task because womens roles and representation in radical, New Left organizations have often been ignored, overlooked and reproduced by revisionist analyses. Though revolutionary groups from the sixties and seventies were important and progressive in many ways, my thesis will examine the phenomenon of silencing womens voices in these organizations and how this silencing inspired women to find voice in their own movements. Furthermore, I am also interested in radical second wave feminists belief systems and histories concerning violence, particularly since they have rarely been delved into by historians or feminist researchers.

The New Albany Shale is an Upper Devonian organic-rich gas shale located in the Illinois Basin. A factor influencing gas production from the shale is the natural fracture system. I test the hypothesis that a combination of outcrop and core observations, rock property tests, and geomechanical modeling can yield an accurate representation of essential natural fracture attributes that cannot be obtained from any of the methods alone. Field study shows that New Albany Shale outcrops contain barren (free of cement) joints, commonly oriented in orthogonal sets. The dominant set strikes NE-SW, with a secondary set oriented NNW-SSE. I conclude that the joints were likely created by near-surface processes, and thus are unreliable for use as analogs for fractures in the reservoir. However, the height, spacing, and abundance of the joints may still be useful as guides to the fracture stratigraphy of the New Albany Shale at depth. The Clegg Creek and Blocher members contain the highest fracture abundance. Fractures observed in four New Albany Shale cores are narrow, steeply-dipping, commonly completely sealed with calcite and are oriented ENE-WSW. The Clegg Creek and Blocher members contain the highest fracture abundance, which is consistent with outcrop observations. Fractures commonly split apart along the wall rock-cement interface, indicating they may be weak planes in the rock mass, making them susceptible to reactivation during hydraulic fracturing. Geomechanical testing of six core samples was performed to provide values of Young’s modulus, subcritical index, and fracture toughness as input parameters for a fracture growth simulator. Of these inputs, subcritical index is shown to be the most influential on the spatial organization of fractures. The models predict the Camp Run and Blocher members to have the most clustered fractures, the Selmier to have more evenly-spaced fractures, and the Morgan Trail and Clegg Creek to have a mixture of even spacing and clustering. The multi-faceted approach of field study, core work, and geomechanical modeling I used to address the problem of fracture characterization in the New Albany Shale was effective. Field study in the New Albany presents an opportunity to gather a large amount of data on the characteristics and spatial organization of fractures quickly and at relatively low cost, but with questionable reliability. Core study allows accurate observation of fracture attributes, but has limited coverage. Geomechanical modeling is a good tool for analysis of fracture patterns over a larger area than core, but results are difficult to corroborate and require input from outcrop and core studies. / text

I investigated oribatid mite assemblages in a beech-maple forest in southwestern Quebec. I first examined the effects of four forest stand types (American Beech (Fagus grandifolia) dominated, Sugar Maple (Acer saccharum) dominated, mixed deciduous and coniferous plantations) and three open site types (agricultural field, fallow pasture and unmanaged hay field) in structuring oribatid mite assemblages. My second study focused on the effects of changes in litter depth (a factor that varies by stand type) on the structure of oribatid assemblages. / Stand type was shown to be an important factor in determining oribatid mite abundances, species richness and assemblage composition. Results from the second study confirm this, but revealed no effect of changes in litter depth on oribatid mite assemblages. These findings serve to demonstrate that while examining specific environmental factors as determinants of oribatid mite diversity and distribution is important, more general factors such as habitat type cannot be ignored.

During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisational vocabulary, as it pertains to trumpet performance practice. This study presents six annotated transcriptions from each artist focusing on elements of jazz vocabulary and solo construction.The study reveals vocabulary and solo construction preferences within the Sidewinder Syndrome. Results indicated the three most common harmonic generalization elements were digital patterns, change-running, and the bar-line shift. Complex harmonic generalization elements included bebop scale, 3-b9 movement, linear chromaticism, and tri-tone substitution / altered dominant. Vocal inflections derived from gospel music and urban blues were the half-valve, grace note, alternate fingerings, note bending, and fall. Bebop influenced articulation included upbeat-to-downbeat articulation and ghost note. Bebop influenced ornamentation included the two-sixteenth note ornament and the turn. Results suggest solo construction relied heavily upon the sequencing of rhythmic and melodic motives. Space was utilized for clarity, new concepts, and octave displacement. Developmental concepts included running eighth and sixteenth note lines. This study provides an opportunity for students of improvisation to isolate and study jazz vocabulary and solo construction of the Sidewinder Syndrome. / School of Music

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Douglas Sloan. Dissertation Committee: Thomas Leemon. Bibliography: leaves 188-199.

La période allant de l’invention de Mélusine (c. 1390) à sa réinterprétation dans l’Alector (1560) peut être vue comme un « âge d’or de la féerie », qui s’étend hors de son domaine d’origine (le merveilleux) et fait émerger des figures neuves. Loin de disparaître de l’imaginaire des XVe et XVIe s., les fées en sont une composante essentielle. L’étude chronologiquement délimitée par ces repères et prolongée, pour certaines figures, jusqu’aux romans baroques (d’Urfé et Rosset c. 1612) dresse un tableau de la féerie au féminin. Organisée autour des quatre fées « cardinales », Morgane, Mélusine, Alcine et Urgande, nommées dans le programme des fêtes royales de Bayonne (1566), elle analyse leur évolution du point de vue de l’écriture et de sa réception. Elle cerne aussi des figures qui perdent leur identité féerique (Sibylle, Méridienne) et en recherche les causes. Tout en marquant des continuités et des parentés qui tiennent à des lignages « fictionnels » ou dynastiques, elle analyse des mutations (allégorisation, idéalisation) qui font valoir la richesse de la matière et son rôle dans l’évolution de l’imaginaire et des Lettres, de la fin du Moyen Âge à la Renaissance / From Melusine’s first appearance in literature (c. 1390) to its new treatment in the Alector (1560), the late Middle Ages and Renaissance period can be seen as the « golden age of faery », as it expands beyond its original field (the marvellous) and shapes up some new figures. Far from vanishing from the 15th and 16th centuries fiction, faery is a crucial part of it. Within these chronological boundaries and slightly beyond, as some figures are still mentioned in baroque novels (such as d’Urfé’s and Rosset’s c. 1612), this study makes a broad inquiry into feminine faery. Built up around the four « cardinal » faeries – Morgan, Melusine, Alcina and Urganda – still featuring in the royal feasts of Bayonne in 1566, it focuses on their evolution through writing and reading. It also points out Sibyl and Meridiana as figures who tend to lose their faery quality. While showing some continuity among faeries due to fictional kinship or dynastic lineage, it investigates the disruption caused by allegory and idealization, thus bringing into light a huge material and its decisive role in the shaping of imagination and literature, from the late medieval period to the Renaissance

The purpose of this essay is to investigate how ethos and choice of persona are used for self-representation in the autobiography Kriget är slut (2010) by Morgan Alling. The essay uses theories of self-representation in accordance with Aristotle and Roger D. Cherry, among others. The method of the essay is a thorough close textual analysis, mainly in accordance with Stephen Browne's definitions. The result shows that Alling uses the persona to give a voice of narration and attitude to the story and that ethos is used to write narration convincingly.

Orientador: Roberto de Andrade Martins / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Biologia / Made available in DSpace on 2018-08-17T06:17:49Z (GMT). No. of bitstreams: 1 Martins_LilianAl-ChueyrPereira_D.pdf: 83499457 bytes, checksum: c34d113afbb9e5052efcd2794e29a65c (MD5) Previous issue date: 1997 / Resumo: A presente tese tem por objetivo estudar o contexto histórico do estabelecimento da teoria cromossômica nas três primeiras décadas do século XX. Este trabalho procura elucidar as principais razões que levaram alguns importantes geneticistas da época, particularmente Thomas Hunt Morgan e William Bateson, a demorar a aceitar que os fatores mendelianos (mais tarde chamados genes) fossem entidades fisicas localizadas em certos pontos definidos ao longo dos cromossomos. A tese procura verificar se a teoria cromossômica estava bem fundamentada, de acordo com os padrões científicos da época, nos seguintes estágios: 1902-3 (proposta da hipótese de Sutton-Boveri); 1910 ("conversão" de Morgan); 1915 (publicação do MecharÚsmof A1endehall herediry, de Morgan e colaboradores); e 1921 ("conversão" de Bateson). Além disso, procura responder se as atitudes dos cientistas poderiam ser racionalmente justificáveis em cada uma das etapas consideradas. No caso de não poderem, este estudo procura detectar quais os fatores extra-científicos que poderiam tê-Ios influenciado... Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital. / Abstract: The aim of this thesis is to study the historical context of the establishment of chromosome theory of inheritance in the three ear1ydecades of the XXth century. This work tries to elucidate the main reasons that lead important geneticists of that time, particular1yThomas Hunt Morgan and William Bateson, to delay for a long time the acceptance that Mendelian factors (later called genes) were physical entities located in some definite points a!ong the chromosomes. The thesis tries to check whether the chromosome theory as well established or not, according to the scientific standards of that time, at the fol!owing times: 1902-3 (proposal of the Sutton-Boveri hypothesis); 1910 (Morgan's "conversion"); 1915 (publication by Morgan, Sturtevant, Mul!er & Bridges, of The mechanÍsm of A1endehan heredÍty); and 1921 (Bateson's partia! "conversion"), Besides that, this work attempts to elucidate whether the scientists' attitudes could be rational!ydefensible or not at each of the examined times. In case they were not, the thesis endeavours to detect any extra-scientific factors that nlight have influenced them... Note: The complete abstract is available with the full eletronic digital thesis or dissertations. / Doutorado / Genetica / Doutor em Ciências Biológicas

Zeichnung wird häufig als ein Medium verstanden mithilfe dessen man seine Idee direkt auf das Papier bringen kann. Diese vermeintliche Unmittelbarkeit von Zeichnung hat historisch zu der Vorstellung geführt, Zeichnung sei besonders eng mit dem Denken verknüpft bzw. bilde eine direkte Projektion der Ideen des Künstlers. Diese Charakteristika der Zeichnung, sowohl ihre mimetische Funktion als auch die unmittelbare Sichtbarmachung von gedanklichen Prozessen sollen im Folgenden in ihrer Beziehung zu Performance Art betrachtet werden. Näher betrachtet werden dazu die Arbeiten „[Swi:t] Home: One Year of my Life“ von Elena del Rivero und „Va Heng Noodle Family“ von Morgan O’Hara. Wie gezeigt werden wird, verdeutlichen beide Arbeiten auf unterschiedliche Weise zeitliche Vorgänge und machen sie auf ihre spezifische Art und Weise für den Betrachter erst sichtbar. http://www.perfomap.de