This thesis seeks to portray how an objectifying intra-diegetic gaze influences and constructs the plot devices Frances Burney uses in her four novels: Evelina, Cecilia, Camilla, and The Wanderer. Burney creates a literary reality within her four novels’ narratives and breaks that reality down with the influence of the gazes and judgments of her novels’ characters upon each of her heroines. The gaze is an almost microscopic examination that objectifies and depersonalizes all of Burney’s heroines. Burney shows how the gaze shifts perspectives and manipulates that which it objectifies. Burney places her audience and her heroines into unfamiliar situations and then she shows the costs and benefits of reasserting one’s gaze. This thesis will show how Burney portrays the power of objectification in her novels upon her heroines, and the consequences that arise from the tensions of bombarding social gazes in all their duplicitous forms.

In "Postmodernism, or, the Cultural Logic of Late Capitalism," Fredric Jameson describes the disappearance, within postmodernism, of an objective framework for mapping the social totality. In order to illustrate this concept, Jameson draws upon the ideas of urban planner Kevin Lynch as formulated in his seminal work, The Image of the City. For Lynch, the design of the postwar alienated city results in varying and fragmentary "cognitive maps" used by its inhabitants to negotiate urban space, a problem that can be rectified by "good" urban planning, which aims to create mappable public space through the implementation of external orientation markers. Utilizing this framework, this thesis suggests the existence of an aesthetic countertendency, within postwar literature, to Jameson's vision that is exemplified in William S. Burroughs's Naked Lunch and Samuel R. Delany's Dhalgren. These novels integrally deploy alienated urban environments as settings; however, rather than suggesting structural public spaces as solutions, they offer an alternative, opposite stratagem: the externalization of the intimate onto the public sphere through the integration of pornography. By using the sexual to map character space, they suggest an alternative to Michel Foucault's discursive formulation of sexuality, one that resonates with more recent theoretical work by Leo Bersani and Michael Warner. In order to examine the role of pornography within these works, this thesis integrates Frances Ferguson's account of the pornographic from her study, Pornography, the Theory, which looses pornography from prior "interpretive" models and recasts it as a distinct regime of representation that stresses objectivity and concretization, particularly in relation to the abstract notion of the "social body." While Delany's Dhalgren offers an image- based deployment of the pornographic experience, in which characters' viewing of the pornographic / sexual leads to full cognition and visual perception, Burroughs's Naked Lunch presents a more physical model, wherein subjective sexual experience (particularly in the rendering of the "mosaic orgasm") ultimately affords the subject with panoptic capabilities.

A numerical circulation model of Tampa Bay, Florida is used to simulate the flow field and tidal residual circulation for 2001-2004. This model is used to investigate the effects of extreme events on the residual circulation of the bay. The three extreme events that are used in this study are: Hurricane Frances, Hurricane Jeanne, and an extreme winter frontal passage that occurred on December 26, 2004. Each extreme event was divided into phases that were chosen by wind peaks and times of velocity inflow and outflow. There were three phases to the hydrodynamics effect of Frances on Tampa Bay. Hurricane Jeanne and the winter frontal passage each had two phases. An important difference between the three extreme events is the duration of each; Hurricane Frances lasted approximately two and a half days, Hurricane Jeanne affected the bay area for about twenty-four hours, and the extratropical storm passed within 16 hours. Winds were six standard deviations higher than the 2004 mean (4.06 m s-1) during Hurricane Frances, and seven standard deviations higher during both Hurricane Jeanne and the extratropical storm. Water levels reached four standard deviations during Hurricane Frances and the extratropical storm, and two standard deviations during Hurricane Jeanne. The difference between these results is due to the timing of each event with the tides, whether it was in or out of phase with the tides. During phase 2 of Hurricane Frances there was a total volume inflow of m3, for an increase of 60% in bay volume. There was a total volume outflow during phase 3 of m3, a 28% decrease. During Hurricane Jeanne there was a total volume inflow of m3 (30% increase) and total volume outflow of m3 (14% decrease). The extratropical storm showed a total volume inflow of m3 (29% increase) and a total volume outflow of m3 (31% decrease). Though the increase and decrease of volume for each event was different, they all had the same affect on the bay, causing changes in the residual circulation over time scales of these extreme events.

The text investigates the history of the Canterbury Museum’s collection of Japanese ukiyo-e prints and paintings focusing mainly on four major contributors: Sir Joseph Kinsey (1852-1936), Frances May Bailey (c.1891-1967), Greggory Kane (1921-1978) and Ronald J Scarlett (1911-2002). The images are set in the context of the ‘floating world’ (ukiyo). The introduction examines the early directors of the Museum and how their interests and policies influenced the collections. The method of grading the prints and the process by which the data base was formed are explained. Chapter One examines the way New Zealand was influenced by a growing interest in Japan during the early twentieth century, the effects of Japanese activity in the Pacific and the way the collectors responded. It also looks at the local cultural context in which the collectors acquired and exhibited their works. Exhibitions of Japanese and Chinese art occurred in 1935 and 1952 in Christchurch; such events widened the knowledge and aesthetic appreciation of Asian art. Chapter Two considers the subjects, scope, and range of ukiyo-e art and the artists represented in the Museum’s collection. It looks at the condition of the images, how they were made, the formats used, and whether they were printed from original or recut blocks. Japanese Government censorship and works of particular interest are discussed. Comparisons are made with the Dunedin Public Art Gallery’s and Auckland Art Gallery’s collections. Works by major artists including Hiroshige (1797-1858), Hokusai (1760-1849), Eizan (1787-1867), Eishi (1756-1829), Chikanobu (1838-1912), Toyokuni I (1769-1825), Kunisada (1786-1864) and Kuniyoshi (1798-1861) are evaluated. By reconstructing the collections of Japanese art in the Museum, the chapter reveals the collectors’ diverse interests and individual preferences. The research presented in this discussion stems from an extensive study of the 427 images in the collection and is supported by an illustrated database of all the Museum’s ukiyo-e works.

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Thomas L. McHaney, committee chair; Pearl McHaney, Beth Burmester, committee members. Electronic text (330 p.) : digital, PDF file. Description based on contents viewed Jan. 7, 2007. Includes bibliographical references (p. 314-330).

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 50-52).

Thèse--Universidade de São Paulo, 1955. / Bibliography: p. [191]-195.

Thesis (Ph.D.)--Bowling Green State University, 2005. / Document formatted into pages; contains viii, 214 p. Includes bibliographical references.

Orientador(a): Wagner Francisco Araujo Cintra / Banca: Agnaldo Valente Germano da Silva / Banca: Dalmir Rogério Pereira / Banca: Mario Ferreira Piragibe / Banca: Vinicius Torres Machado / Resumo: A presente pesquisa se estrutura por dois eixos principais. O primeiro se orienta pela análise dos processos de transformações das dramaturgias da Companhia Philippe Genty, especialmente a partir da década de 1980. Esse momento foi marcado por mudanças nos processos criativos do grupo, desencadeadas com a inserção do humano na cena como parceiro de jogo do inanimado; com a investigação do corpo, do movimento e de suportes expressivos como o papel e o plástico; com a ressignificação artística de ideias psicanalíticas, possibilitando à Genty desenvolver dramaturgias fincadas na memória, no sonho e nas suas experiências de vida; além do desenvolvimento de novas técnicas cênicas e de novas relações de Philippe Genty e Mary Underwood com as suas criações. O segundo eixo se norteia pelas mudanças acarretadas, a partir de então, na poética da Companhia, que passou a se orientar, cada vez mais, pelos jogos de ilusões capazes de tornar visivelmente possíveis situações insólitas, e pelas dicotomias que nascem do encontro entre o humano e o inumano. O teatro gentyniano desenvolveu-se na direção de um teatro de constantes metamorfoses visuais, que desafia as convenções espaciais, gravitacionais e volumétricas e que amiudadamente coloca o espectador diante de encadeamentos de imagens incomuns e impossíveis / Resume: La présente recherche est structurée en deux axes principaux. Le premier s'oriente sur l'analyse des processus de transformations des dramaturgies de la Compagnie Philippe Genty, particulièrement à partir de la décennie de 1980. Ce moment a été marqué par des changements dans les processus créatifs du groupe, déclenchés par l'insertion de l'humain dans la scène en tant que partenaire de jeu de l'inanimé; avec l'étude du corps, du mouvement et des supports expressifs tels que le papier et le plastique; avec la re-signification artistique des idées psychanalytiques, permettant à Genty de développer des dramaturgies ancrées sur la mémoire, sur le rêve et dans leurs expériences de vie; ainsi que le développement de nouvelles techniques scéniques et de nouvelles relations entre Philippe Genty et Mary Underwood et leurs créations. Le deuxième axe est guidé par les changements apportés, de partir de là, à la poétique de la Compagnie, qui s'est de plus en plus orientée vers les jeux d'illusions capables de rendre visible ment possibles des situations inhabituelles, et par les dichotomies qui naissent de la rencontre entre l'humain et l'inhumain. Le théâtre gentynien a muté vers un théâtre de métamorphoses visuelles constantes, qui défie les conventions spatiales, gravitati onnelles et volumétriques et qui place largement le spectateur devant des fils d'images inhabituelles et impossibles / Doutor

When period instruments first appeared, audiences were highly skeptical of their musical value. It was not until the early-1900s—and performers like Arnold Dolmetsch—that they began to become not only accepted, but increasingly mandated for early music performances. However, while criticisms regarding their use persisted into the 1940s, it has never received the type of intense debate other details of performance practice have. Perhaps because of this lack, scholarship has also neglected to consider what ideological roles period instruments have played in historical performance. Why does the role of period instruments matter?  Partly because most writing about early music includes assumptions about them and their importance; for instance, mid-20th century performance practice guides implicitly assign them considerable authority over the ever-contested designation of “authenticity.” However, this is not the only role period instruments play. I argue that early advocates for period instruments like Arnold Dolmetsch used them to create a type of “intimacy” crucial to many aspects of performance practice. Created through both the instruments' materially and their timbres, this intimacy closes temporal and spatial historical gaps, allowing performers and their audiences to connect with distant musics in a modern way—and allowing “old” music to develop a living musical value.