Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves [233]-244).

Thesis (Ph.D.) -- University of Rhode Island, 2009. / Typescript. Includes bibliographical references (leaves 200-212).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 463-471).

Thesis (Ph.D.)--University of Iowa, 2005. / Supervisor: Waltraud Maierhofer. Includes bibliographical references (leaves 67-73).

No description available.

This dissertation explores the life and work of a philosophy of education and multicultural education teacher, through the use of narrative inquiry. As a Palestinian/Lebanese Canadian researcher, teacher, mother, activist and writer, I present the journey of freeing myself from colonial grand narratives through the construction of my personal, practical knowledge and values, while providing an answer to the question: "What does it mean to be situated on the boundary between the English West and the Middle Eastern Arab world?" I demonstrate how the Orientalist tradition, as defined by Edward Said (1978), served to confuse, frustrate, and alienate me as an embodied person situated within a web of historical, ethnic, linguistic, social, and cultural tensions. I describe how, having been educated in an English missionary school in the context of a Palestinian culture of dispossession and Diaspora, this education served to paradoxically both estrange and enrich me. I demonstrate how narrative inquiry, modeled after Clandinin and Connelly (1995, 2000), has enabled me to understand and communicate who I really am as an educator in the multiple social contexts I have known. Through story-ing my epistemology, I illustrate how the Canon in philosophy and the grand meta-narratives underpinning it served to oppress and alienate me over the years. I emphasize that education is not value-neutral. My autobiographical writing in this dissertation explores how the constructs of ethnicity, gender, religion, culture, language, and class serve to shape thinking and values. Since I believe that who we are is a blend of the personal and the social, and that 'we teach who we are,' I critically assess my experiences and share aspects of that experience that have empowered me as a female, Palestinian educator. Going back and forth, and in and out of my life, narrating it and commenting critically on it in the three-dimensional space of narrative inquiry, I convey what I mean by the statement "the personal is political" and what was involved in the process of seeking freedom from the bondage of intellectual subservience. My voice and my signature (Clandinin & Connelly, 2000) within the text reveal what I mean pedagogically by a dynamic curriculum and a transformative education. Methodologically, this dissertation extends the boundaries of narrative inquiry through a nuanced use of auto-ethnography while providing insight into the life of a Palestinian teacher and writer within the Canadian context.

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1973. / Bibliography: leaves [263]-274. / iv, 274 l illus:, tables

The aim of this thesis is to identify in contemporary art practices the inflections that have either direct, or indirect origins in Taoism, the conceptual source of China’s principle indigenous, cultural practices. The thesis argues that the increasingly cross cultural qualities of contemporary art practice owe much to the West’s exposure to Taoism’s non-absolutist, non-humanist tropes, a cultural borrowing that has received slight attention despite its increasingly pervasive presence. This critical analysis is structured by Deleuze and Guattari’s theory of the rhizome as a metaphor for cultural influences that are pluralist permeations, rather than a linear hierachy. The thesis tracks discourse between the West and China from early contact to the present, tracing manifold aspects of Taoism’s modes of visual representation in Western art. Chinese gardens, Chinoiserie, calligraphy, and their coalescence in Chinese painting, are analysed to locate Taoist precepts familiar to the West, principally citing the Tao Te Ching by Lao Tzu, Taoism’s founder. Here Taoist philosophy, as synthesised in Western thought, is proven to be a source of identifiable innovations in contemporary art practice. For example, spatial articulation as a dominant element of expression in installation art is traced to Western artists’ exposure to the conceptualised spatiality of Sinocised artefacts. Taoist precepts are analysed in the Chinese tradition of improvising upon calligraphic characters as a key factor.This model is deployed using the skills set of studio-based research, to identify the experimental nature and degree of improvisation in Western artists’ adaptations of Taoist methods in innovative painting, then sculpture. Investigations of artworks are structured upon correlations between Deleuze’s theories of representation and Taoist theories of creativity. A thematic connection with Taoism located in contemporary art, namely, notions of continuity and change, assists this detailed unravelling of creative processes, aesthetics, metonymy and meaning derived from Taoism in global, contemporary art. / Doctor of Philosophy (PhD)

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 34).

Thesis (Ph.D.)--University of Western Sydney, 2009. / A thesis presented to the University of Western Sydney, College of Arts, School of Communications Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliographies. Thesis front, chapters, appendices 1, 2 also available online at: http://handle.uws.edu.au:8081/1959.7/40805.