Zugl.: Greifswald, Univ., Diss., 2004

Thesis (doctoral)--Universität, Greifswald, 2004. / Includes bibliographical references (p. 189-208).

Thesis (M.S.)--Indiana University, 2003. / Includes bibliographical references (leaves 56-64). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (Ed. D.)--Illinois State University, 1980. / Title from title page screen, viewed March 23, 2005. Dissertation Committee: Max Rennels (chair), M.M. Chambers, Jack Hobbs, Ron Halinski, W. Colvin. Includes bibliographical references (leaves 82-84) and abstract. Also available in print.

Thesis (D.Psych.) - University of Queensland, 2006. / Includes bibliography.

Thesis (M.S.)--Indiana University, 2003. / Includes bibliographical references (leaves 56-64).

L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre. / In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author.

La présente thèse est l’édition critique d’un recueil de figures de style anonyme protobyzantin des Ve-VIe siècles, De figuris orationis (Rhetores Graeci, III, édit. L. Spengel, Leipzig, Teubner, 1856, p. 110-160). L’auteur, un professeur, entreprend pour son élève un recensement des figures hermogéniennes en arguant de l’excellence d’Hermogène. Il s’agit de figures apparaissant aussi dans le Corpus rhetoricum (Corpus rhetoricum, édit. M. Patillon, Paris, Les Belles Lettres, 2008-2014), dans le traité sur l’invention (De inuentione (C. rhet.III1)) du Pseudo-Hermogène et dans le traité sur les catégories stylistiques du discours (Deideis (C. rhet. IV)) d’Hermogène. Le recueil a ensuite été augmenté d’un relevé de figures inhabituelles à partir des scolies de l’Iliade, où se glissent d’autres types de figures et des considérations annexes. Des gloses, d’inspiration chrétienne notamment, ont aussi été insérées en différents endroits de l’ensemble du texte. Cette édition comprend :I. 1) un rappel des opinions émises sur le texte ; 2) sa datation ; 3) un questionnement portant sur son unité ; 4) une étude des principales orientations théoriques dans le domaine des figures ; 5) un examen de la position théorique et pratique de l’auteur du recueil ; 6) l’étude de la tradition manuscrite du texte ; 7) une recherche portant sur les liens entretenus par le texte avec le corpus démosthénien et les Scolies de Démosthène ; 8) une explicitation des principes de l’édition ; 9) quelques observations sur les éditions antérieures ;II. 1) le texte établi et émendé, un apparat (leçons, témoins, sources) ; 2) une traduction en français ; 3) un commentaire continu. / The current thesis consists in the scholarly edition of a collection of anonymous proto-Byzantine stylistic devices, dated from the fifth and sixth centuries. It is entitled De figurisorationis (Rhetores Graeci, III, L. Spengel ed., Leipzig, Teubner, 1856, 110-160). Theirauthor, a Professor convinced of Hermogenes excellence, intended the inventory of theHermogenian devices for a student. These same devices can also be found in the Corpusrhetoricum (Corpus rhetoricum, M. Patillon ed., Paris, Les Belles Lettres, 2008-2014), bothin the treatise devoted to invention (De inuentione (C. rhet. III1)) by the Pseudo-Hermogenesand Hermogenes treatise dedicated to the stylistic categories of the discourse (De ideis (C.rhet. IV)). That collection was then expanded by a census of unusual devices found in theIliad scholia, to which were added some other kind of figures and additional observations.Gloses can also be found in various passages of the text, some of Christian inspiration.The current edition includes:I. 1) A reminder of various opinions on the text; 2) the dating of the text; 3) anexamination of its unity; 4) a study about the main theoretical orientations in the field ofstylistic devices; 5) an analysis of the theoretical and practical position of the author; 6) astudy of the manuscript tradition; 7) an investigation of the links between the text, theDemosthenean corpus and the Demosthenes Scholia; 8) an elucidation of the principlesguiding the current edition; 9) a few observations on prior editions;II. 1) The text established and reviewed, with footnotes (lectures, witnesses, sources); 2)a French translation; 3) a commentary.

From Introduction: The 'forensic aesthetic' presents the viewer with traces and debris - the residue that haunts sites of transgression, violence and death. In his book Scene of the Crime, art critic and curator Ralph Rugoff (1997:62) defines the forensic aesthetic as follows: "Inextricably linked to an unseen history, this type of art embodies a fractured relationship to time. Like a piece of evidence, its present appearance is haunted by an indeterminate past, which we confront in the alienated form of fossilized and fragmented remnants." Through its play on seemingly insignificant detail&, clues and traces, the forensic aesthetic suggests that meaning is dispersed, fragmentary and uncertain. According to Rugoff (1997:17), the forensic aesthetic "aims to engage the viewer in a process of mental reconstruction". It compels the viewer to adopt a 'forensic gaze' : to sift through broken narratives and fragments of information, reading the artwork as one might read a sample of evidence. Rugoff (1997:62) argues that: "[S]uch art insists that 'content is something that can't be seen' ... it requires that the viewer arrive at an interpretation by examining traces and marks and reading them as clues. In addition, it is marked by a strong sense of aftermath. ... Taken as a whole, this art puts us in a position akin to that of [the] forensic anthropologist or scientist, forcing us to speculatively piece together histories that remain largely invisible to the eye." One might argue that some of the earliest known examples of the forensic aesthetic in art presented themselves in the Renaissance period in the form of the pseudo-forensic anatomical drawings of Leonardo da Vinci. In his Studies of the Hand (fig. 1), for example, Da Vinci methodically represents the underlying structures of the human hand in a series of drawings that are scattered intermittently across the page. The remainder of the page is covered with hand-written notations. In this work, the artist approaches the human body with a scientific, almost forensic, gaze. Here the body is presented in fragments, rather than as a whole. According to Rugoff (1997:86&88), the forensic aesthetic addresses the body "not as a coherent whole but as a site of prior actions ... as a dispersed territory of clues and traces". When read in terms of the mode of the forensic aesthetic, Da Vinci's Studies of the Hand may be said to look at the human body as forensic object. In this way, this work may be said to speak of the manner in which the forensic gaze operates in the context of the artwork. Throughout the following essay, I discuss the various ways in which the forensic aesthetic manifests itself in art. I have necessarily been selective in the artworks that I have chosen for discussion, as this topic is very broad indeed. In Chapter One, I explore the tradition of the forensic aesthetic in art by way of a select number of artworks. This chapter focuses on investigating the way in which these works, whether consciously or unconsciously, speak of associations between violence and representation through the mode of the forensic aesthetic. The contents of Chapter Two concentrate on the work of South African artist Kathryn Smith. Smith's work may be said to possess a forensic quality, in that it references forensic practices and techniques. Her work has not been the topic of a lengthy monograph, but it has been considered in various exhibition catalogues, reviews and articles. For example, an essay by Colin Richards entitled 'Dead Certainties' (2004) investigates the forensic quality of Smith's imagery in terms of its play on notions of the trace. Similarly, an article by Maureen de Jager, entitled 'Evidence and Artifice' (2004), examines the manner in which Smith's work transgresses the boundaries between 'forensics and fantasy'. In her book, Through the Looking Glass (2004), Brenda Schmahmann addresses Smith's Still Life series (figs. 9, 10, 11) in relation to the issue of self-representation, exploring the relationship between the 'self' and the body as 'other'. Lastly, a review by James Sey, which was published in Art/South Africa (2004), considers Smith's work in terms of its aesthetic appeal, which serves as a framing device for the uncomfortable subject matter that informs the bulk of her imagery. My reading of Kathryn Smith's work departs from and expands on the available literature in that it focuses on the manner in which her images comment self-critically on the act of representation. I have chosen to focus on Smith's work in particular, as it uses the mode of the forensic aesthetic to speak of the field of artistic practice - a motif that runs throughout my own body of work as well. Moreover, Smith's work, like my own work, may be said to engage with the forensic aesthetic in a South African context. In Chapter Two, I compare a number of Smith's works to the artworks discussed in Chapter One, and examine the manner in which they speak of the links between art and crime. Chapter Three concentrates on outlining the ways in which my own work reads off the conventions of forensic investigation. In this chapter I discuss the manner in which my work, by way of a forensic approach, draws parallels between the medium of photography and the mechanisms of trauma. I focus on works that have been included in my Master's exhibition, Vigil (2005). The following essay is a study in representations of violence in art. In the course of this essay, I contextualize the forensic aesthetic as a mode of representation, as well as address the manner in which the forensic aesthetic seems to allow for, even facilitate, self-conscious reflection on the practices of representation itself.

Figure skating is a competitive sport that requires intensive training which can be taught in a variety of settings. There are various methods to teaching figure skaters new skills such as positive and corrective feedback, modeling and coaching procedures, and physical guidance. These different approaches may lead to a lack of consistency among coaches. Over the years, these established coaching strategies have not changed substantially as training methods are passed down from coach to student. Also, research in the area of what constitutes effective coaching methods is lacking. Skaters may progress more quickly in skill development if coaches are implementing empirically based successful coaching methods. These teaching approaches may also be enhanced by incorporating the latest technology available. This study evaluated the effectiveness of a video feedback coaching procedure using the Dartfish application. A multiple baseline design was utilized to document the impact of this video feedback coaching procedure on the demonstration of six established figure skating moves, three moves for one skater and three different moves for two other skaters. Results showed utilizing video feedback improved figure skater's performance levels on the targeted moves to an acquisition of 80% accuracy or higher.