Thesis (M.A.)--California State University, Chico. / Includes abstract. "Located in the Chico Digital Repository." Includes bibliographical references (p. 70-71 ).

Thesis (M.A.)--Rowan University, 2007. / Typescript.

Thesis (PhD) - Swinburne University of Technology, 2009. / Submitted for the degree of Doctor of Philosophy, Swinburne University of Technology - 2009. Typescript. Includes bibliographical references (p. 291-303)

Thesis (M.C.S.)--Regent College, Vancouver, B.C., 1997. / Includes bibliographical references (leaf 111).

This thesis is a collection of fictional short stories about loss and the left behind, seeking to confront grief in terms of hope, humor, and getting the oar back in the water to row on.

Thesis (M.F.A.)--Syracuse University, 2002. / "This thesis is the first seven chapters of my novel-in-progress, 'Torch'."--"Abstract." "Submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in fiction writing in the Graduate School of Syracuse University."

Thesis (MA)(CrWrtg) --University of Melbourne, Dept. of Media and Communications, Faculty of Arts, 2009. / Typescript. Includes bibliographical references (leaves 36-40)

Thesis (M.A.)--Mississippi State University. Department of English. / Title from title screen. Includes bibliographical references.

Thesis (M.A.)--Mississippi State University. Department of English. / Title from title screen. Includes bibliographical references.

It has been said many times that a picture is worth a thousand words. This familiar proverb describes the idea that complex stories can be told with just a single image and can give you as much or more information than a written or spoken text. One picture. One thousand words. It is in this limited space I have written. This thesis is a collection of prose written in response to photographs/images that have been taken, created, or found, and has been influenced by the combination of the visual and textual mediums of my disciplines (digital media and creative writing): striking images with textual commentary. While observing these photographs, readers bring with them emotional baggage, preconceived notions, memories and feelings. The written commentary (e.g., stories) attached to the photographs adds a new dimension to what the reader sees. The natural ambiguity of a photograph lends itself to conflicting interpretations, all of which enhance the work and bring us closer to a new and deeper meaning via textual-reader interaction.