Thesis (Ph. D.)--Northwestern University, 1972. / Typescript. Vita. Filmography of Donald Siegel: leaves 308-322. Includes bibliographical references (leaves 327-334). Also issued in print.

Habilitationsschrift--Graz--Universität, 1992.

Thesis (Ph. D.)--Northwestern University, 1972. / Typescript. Vita. Filmography of Donald Siegel: leaves 308-322. Includes bibliographical references (leaves 327-334).

Thesis (M.A.)--Georgia State University, 2008. / Title from title page (Digital Archive@GSU, viewed July 20, 2010) Chris Kocela, committee chair; Marilynn Richtarik, Nancy Chase, committee members. Includes bibliographical references (p. 82-86).

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Frank Kowalsky, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-14-2007). Document formatted into pages; contains 105 pages. Includes biographical sketch. Includes bibliographical references.

Texte remanié de: Diss. Ph. D.--London--King's College, 1992. / Bibliogr. p. 216-229. Index.

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Rethinking the Dualism: Don DeLillo's White Noise and the Ecocritical Possibilities of the Nature/Culture Mix questions current applications of ecocriticism and offers that these applications are inadequate in dealing with the perceived nature/culture dualism. This thesis suggests that ecocritics need to stop thinking in dualistic terms, but instead must consider that the separation between nature and culture is an illusion created by the postmodern culture. Don DeLillo's White Noise, then, is used to illustrate the possibilities of rethinking the relationship between nature and culture. DeLillo exposes the illusion of the dualism by constantly implicating humans in the alteration of nature and, despite humans' attempts to live within the illusory dualism by controlling nature through tecimology, by revealing that man's efforts will always fail through unintended consequences. This thesis culminates by proposing that considering nature and culture as connected entities that constantly reshape each other will absorb dualistic thinking and provide opportunities for ecocritics to expose truths that are vital to fueling the desire to alter destructive relationships between nature and culture. / Graduation date: 2004

Thèse (M.A.)--Université Laval, 2003. / Bibliogr.: f.[133]-141. Publié aussi en version électronique.

In this study, the interpretation of Don Quixote has been examined within the work of three artists: Honore Daumier, Salvador Dali, and Joan Pon9. Each artist has represented Don Quixote in a uniquely modern artistic style that questions the artistic discipline in itself, while using it to portray the concepts and ideology of modern times. While these interpretations may not portray Don Quixote in the parodic way its author intended him to be, they are not completely romantic versions of the hero either. Don Quixote, as shown through the eyes of these three artists, has escaped the constraints of the text and has become not the nobly suffering hero of the Romantics, but the internalized hero representative of man himself in an increasingly isolated and modern society. The recurring theme of alienation from the others is then presented in this study as three different visions of Don Quixote. The first chapter seeks to examine the traces of modernity within the portrait painting of Don Quixote done by Honore Daumier. By taking the first steps towards abstraction and expressionism, as well as presenting a solution of withdrawn indifference that begins to question the state reality, Daumier sets the foundation for the modern interpretation of Don Quixote. In the second chapter, Salvador Dall depicts a Surrealist Don Quixote, illustrating a version that has completely submitted himself to the internally-based and absolute surreality. Dali reconciles the opposing internal and external realities in the figure of Don Quixote. Finally, Don Quixote faces the interior battles of existence in the work of Joan Pony. This modern, isolated depiction of Don Quixote in front of the infinite unknown marks the final transition from the external internal dialectic to that of yo vs. yo mismo . The conclusion then summarizes and confirms Don Quixote's textual liberation translated into both a modern style and concept.