Thesis (Ph. D.)--University of Missouri-Columbia, 2008. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 31, 2009) Includes bibliographical references.

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Paul Ruscher, Florida State University, College of Arts and Sciences, Dept. of Meteorology. Title and description from dissertation home page (viewed Jan 18, 2005). Includes bibliographical references.

Thesis (M.S.)--University of North Carolina at Wilmington, 2004. / Includes bibliographical references (leaves : 60-61).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1935. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 277-281).

M.A. (English) / This dissertation aims to examine the nature of the unique creative response to the prison experience. Different modes of artistic expression will be analyzed to show that there is no single literary response to incarceration, and to demonstrate the truth of Oscar Wilde's assertion that "technique is really personality".' To this end, autobiographical and existential elements inherent in selected prison writings will be the main focus of this study, since the concern of both the autobiographer and the existential philosopher is with the dynamic, emergent personality. The totalizing prison situation is totalitarian in essence, since this kind of prison regime assumes responsibility for all aspects of the imprisoned human being, its aim being to annihilate the individual self. In the face of this threat, a human being often feels the need to assert his humanity and selfhood. The creative response can provide a means of reinstating the self. The autobiographer, who concentrates upon the 'becoming' self, must needs be a philosopher, existential in essence, in the search for the 'autos', the self, in relation to the 'bios', one's life. This is realized through 'graphe', language, which enables the writer to probe his/her depths and order his/her disparate experiences into some kind of balance, merging past and present. The fragmented world of the prisoner particularly lends itself to creative expression as the writer attempts to impose some order upon his/her broken life.

A remarkable amount of award-winning contemporary American poetry incorporates nostalgia as a prominent idea discussed. This poetry appears to use nostalgia as means to a greater end. In other words, nostalgia, while a dominant theme within different works, is more a way to treat concepts such as representation and memory, more so than the work being an actual commentary on nostalgia itself. Given the poetry's predominant concept, it seems poets such as Carl Dennis, Natasha Trethewey and Ted Kooser could be representative of a literary historical moment. This moment is one which comments heavily on the past's presence within the present. While each poet's writing is heavily influenced by nostalgia, I posit the theory that these poets are speaking to a greater literary historical moment found in both the literature itself as well as current trends in literary theory. It is not that these poets are writing to a specific theory, rather, their Pulitzer-prize winning poetry is rooted in a trend of yearning for the past. As overt a connection between contemporary poetry's treatment of nostalgia and nostalgia theory itself, little, if any, literary criticism has connected these two. In his essay "Theorizing Nostalgia Isn't What It Used to Be," Paul Grainge contends, "Since the late 1980s, when memory became a topic of concerted critical interest, nostalgia has been taken up in critiques of reactionary conservatism, in accounts of retro phenomena, in relation to the growing memorial tendencies in Europe and America, and as central to particular theories of postmodernism" (20). Grainge continues on to describe two forms nostalgia takes: "mood" and "mode." Similarly, Svetlana Boym suggests nostalgia as either "reflective" or "restorative" (41). This type of current scholarship addressing nostalgia seems to set up a nostalgic reading of texts as more the end game of the literature—the literature is nostalgic. However, if literature then ends as only nostalgic, there seems to be a lack of nostalgic theory's breadth. Dennis, Trethewey and Kooser all address this gap through their poetry—expanding the notion of nostalgia as being more the vehicle leading one through the landscape of memory. Suggesting nostalgia as merely reflective or restorative, as Boym and Grainge have done, seems to create a sense of nostalgia as stagnant rather than as a dynamic movement within the literature, and even the act of recollection itself. The three poets addressed in my project all suggest at some level that this residue of the past can lead one to see that perhaps experience itself delights in memory. Furthermore, nostalgia's dependence upon present memory indicates not just a longing for the past, but rather the past's presence in the present. The act of remembering serves as a type of catalyst which transforms memories to manifestations in present circumstance.

No description available.

Memoria para optar al grado de Licenciado en Ciencias Jurídicas y Sociales / La mayor parte del debate igualitarista ha girado en torno al problema de la métrica de la igualdad. Numerosas respuestas han surgido a la pregunta sobre la ¿igualdad de qué? En el marco de la discusión igualitarista, la felicidad, el bienestar, las oportunidades de vida o una combinación de estos y otros factores han sido propuestos como criterios para medir la justicia. Sin embargo, muy poco se ha escrito respecto de la igualdad a través del tiempo. Los autores igualitaristas deben clarificar la unidad temporal de los juicios distributivos. ¿Es la vida completa de las personas o un segmento de tiempo la unidad de interés igualitario? Lo anterior cobra especial importancia si consideramos la longevidad de la población en Occidente, y en particular en nuestro país. El presente trabajo tiene como objetivo general plantear y evaluar críticamente los argumentos que se han esgrimido para sostener la perspectiva de vidas completas, perspectiva empleada por defecto por los autores igualitaristas, para después contrastarla con la perspectiva de segmentos de tiempo. Dicho debate nos permitirá dilucidar los principios de justicia que deben guiar a las instituciones sociales que realizan distribuciones entre personas que pertenecen a distintos grupos de edad. Luego, se emplearán los criterios de distribución señalados al problema específico de la institucionalidad de la previsión social

This study is, by its intention at any rate, an attempt at assembling the scattered fragments of Can Themba’s life to make a composite being out of the various existing phenomena that shaped the contours of his life in both literary and literal senses. Given the disjunctive manner in which Can Themba and his work have been represented thus far, a combination of Historical and Biographical research methods will underpin the approach of this study. The resultant approach is the Historical-Biographical method of research. According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of the characters in the work.” This research is premised on the conviction that an individual is a constellation of multiple factors that play a pivotal role in the construction of their persona. These factors will be traced from his family background, early schooling, tertiary education, socio-economic conditions as well as his contribution to various newspapers and journals. While so much has been written about Themba and his work, there is no comprehensive biography of Can Themba as a person. Most importantly, the factors that contributed to his making as well as his breaking, or destruction, have not been interrogated in a form of comprehensive academic research. Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced from the moment he won the inaugural Drum Magazine short story competition. Themba became one of the most popular journalists and rose within the ranks of Drum to become the Assistant Editor. However, my research demonstrates that winning the Drum short story competition was the culmination of a literary talent that was developed and had been simmering for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951 alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe, Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to The Fortharian, a university publication that published opinion pieces, poems and short stories. This is a vital component of Themba’s intellectual growth and it remains the least explored aspect of his life. As a result, what has been discursively documented by various scholars, writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre. / English Studies / D. Litt. et Phil. (English Literature)

This study examines the coverage of serial killers David Berkowitz, Richard Ramirez, and Dennis Lynn Rader in the Chicago Tribune and the Washington Post. The 30-day period following the arrest of each killer was studied using a content analysis to identify whether the coverage focused on crime prevention, as suggested by the public health model. The study also sought to identify whether the themes of coverage changed over time. The content analysis indicated that there was a change in the themes of coverage over time, and that more attention was paid to the history of the case than to crime prevention. / Department of Journalism