In this thesis, we will study non-linear dispersive equations. The primary focus will be on the construction of the positive-time wave operator for such equations. The positive-time wave operator problem arises in the study of the asymptotics of a partial differential equation. It is a map from a space of initial data X into itself, and is loosely defined as follows: Suppose that for a solution Ψlin to the dispersive equation with no non-linearity and initial data Ψ+ there exists a unique solution Ψ to the non-linear equation with initial data ΨO such that Ψ behaves as Ψlin as t→ ∞. Then the wave operator is the map W + that takes Ψ+/sub; to Ψ0. By its definition, W+ is injective. An important additional question is whether or not the map is also surjective. If so, then every non-linear solution emanating from X behaves, in some sense, linearly as it evolves (this is known as asymptotic completeness). Thus, there is some justification for treating these solutions as their much simpler linear counterparts. The main results presented in this thesis revolve around the construction of the wave operator(s) at critical non-linearities. We will study the #8220; semi-relativistic ” Schrëdinger equation as well as the Klein-Gordon-Schrëdinger system on R2. In both cases, we will impose fairly general quadratic non-linearities for which conservation laws cannot be relied upon. These non-linearities fall below the scaling required to employ such tools as the Strichartz estimates. We instead adapt the "first iteration method" of Jang, Li, and Zhang to our setting which depends crucially on the critical decay of the non-linear interaction of the linear evolution. To see the critical decay in our problem, careful analysis is needed to treat the regime where one has spatial and/or time resonance.

Thesis (Th. M.)--Covenant Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 125-128).

This thesis seeks to explain how Lord George Gordon Byron achieves catharsis through the writing of his truth in Don Juan. In the poem the narrator expresses Byron's innermost emotion while at the same time the protagonist, Juan, relates to readers on a more conscious level. The ability that Byron has to work through the narrator in Don Juan provides him with an avenue of expression for his suppressed and frustrated emotions that are largely subconscious and inexpressible. Byron's poetry, and especially Don Juan, is poetry in which the scope of human experience reaches into every aspect of life as he shares with readers his innermost emotion, emotion that is significantly more intense than that of most 19th century writers. Studying Byron may be considered a study of life itself and an opportunity for literary and historical experience on a uniquely intimate level. Byron left England with his friend Hobhouse to travel through Portugal, Spain, Switzerland and Italy in 1809. At this time he wrote Childe Harold, which brought him great fame after his return. The second and final time Byron left England was in 1816. At this time the intense emotional experience and social criticism contained in his poetry brought on severe public criticism which caused him to leave in self-exile. During Byron's second exile he traveled throughout Italy, Turkey and Greece. He ultimately died in Missolonghi, Greece, in 1824 while helping the Greek people fight in a civil war with the Turks. Byron felt that it was important to remain in Greece and help the people, even though his health was failing, ultimately resulting in his death. Byron sought a hero through the writing of Don Juan, and the catharsis he achieved as a result of writing his truth uncovered the hero he was seeking. / Graduation date: 1999

John Brown Gordon was committed to the mission of national reconciliation. He knew that the South would have to embrace the North to repair the devastation of the Civil War. Driven by dedication to public service after the war, he worked through his positions in governmental offices to help the South. As his public life slowed he began work on a lecture aimed at making him a peacemaker, a missionary for reconciliation. His purpose was to provide a broad, nationalistic perspective which created a common vantage point that would allow both Northerners and Southerners to derive pride and honor from their participation in the Civil War. The lecture, "The Last Days of the Confederacy," became very popular in a short period of time, and made Gordon one of the most requested speakers of the Southern Lyceum Program and Slayton Lyceum Program. The purpose of this critical interpretation of Gordon's lecture is to account for the effectiveness of the rhetorical elements and strategies in the work. The analysis will be based on Walter Fisher's narrative paradigm. Narratives dominate the content and structure of speech; narratives provide a way of ordering and presenting a view of the world through descriptions of a situation - -the act of storytellingthe format Gordon chose in creating the lecture. After drawing conclusions from application of the narrative paradigm I will focus on identifying and evaluating Gordon's rhetorical vision, which is based in Ernest Bormann's fantasy-theme theory. Finally, due to the synecdochal nature of the narratives I will use Kenneth Burke's four master tropes literature to fully interpret the various aspects of the narrative, which complements the initial mission of narrative criticism. In "The Last Days of the Confederacy," Gordon masterfully uses anecdotes from his experiences in the Civil War to create narrative sequences, which construct a strategy of transformative discourse. A typical sequence would start with an ingratiary tactic in which Gordon, in his eloquent manner, would describe a Northern character, scene, or theme and juxtapose it to another story from the South. The purpose of this sequence is to generate irony, creating a dialectic between the two stories, which, at the surface, seem to be opposed. His third step, then, was to use that dialectic to point to the commonalities between the North and the South. This he would do by illustrating an American trait, skill, or value. The result would be a major theme demonstrating a national value or belief to add strength to his existing compendium of themes, such as unity, fraternity, and brotherhood - -all tools to salve the process of reconciliation of conflict with face-saving for both. / Graduation date: 1994

This dissertation explores the role that physical attractiveness plays in many aspects of adolescent romantic relationships, such as relationship longevity, relationship satisfaction, and power dynamics within the relationship. Three specific questions are examined in this project. First, is partner physical attractiveness associated with relationship satisfaction? Second, do adolescent couples who are well ―matched‖ according to physical attractiveness remain together longer that those who are not? Third, does the couple member who is higher in physical attractiveness have more power in the relationship? To examine these questions, we used data collected from 99 middle adolescent and 106 late adolescent dating couples. We used survey data, as well as observational coded data of recorded conversations in which the couples discussed an issue of disagreement in their relationship. In order to control for non-independence of partner-members’ responses, data was examined with hierarchical linear modeling when appropriate. Physical attractiveness was unrelated to general relationship satisfaction or to any positive relationship experiences. However, physical attractiveness was positively associated with negative aspects of relationships, such as possessiveness and emotional painfulness. Matching was unrelated to relationship length or status. In couples in which the female was the more attractive member, both couple members enacted the power pattern (self persuading followed by partner giving in) more frequently compared with other couples. Findings and implications are discussed within the framework of evolutionary, social, and feminist psychology theories. Limitations and directions for future research are also discussed.

Ricky Ian Gordon (1956-) is one of America¡¦s most distinguished contemporary composers. Though successful in writing for opera, dance, theater and film, he has gained great recognition for his song compositions. Composed in 1992, Genius Child is a song cycle of 10 songs which sets the poems of American poet, Langston Hughes (1902-1967). The study is divided into five parts for discussion: An overview of Gordon¡¦s life, art music of Gordon, an introduction to poet Langston Hughes; the background to composing Genius Child; and music analysis of six selected songs from Genius Child. By analyzing six songs from Gordon¡¦s Genius Child, the study is to discuss how Gordon tightly combines music and poems together through vocal, melody, rhythm and other music techniques, which enables to depict the poem¡¦s conception. Gordon often properly utilizes simple rhythms and relaxing genre of music, and integrates them with the textures and harmonies of classical music, to create elegant music with style. His music can appropriately reflect the conception and deep meaning of the poet writing a poem. In addition, Gordon adds popular music elements into music to express the styles of popular music, reflecting modern urban life.

Inaug.-Diss.--Erlangen. / Lebenslauf. "Wichtigere benutzte Werke": p. [vi]-viii.

Thesis (S.T.M.)--Concordia Seminary, 1999. / Includes bibliographical references (leaves [93-96]).

Graduate

This study investigates Girl Scout founder Juliette Gordon Low’s role as an art educator. The study is framed around the years of Low’s life, 1860-1927, concentrating on the years 1912-1927, when Low’s role as an art educator was most pronounced. An examination is made into Low’s early artistic influences and training, and artworks made by Low are discussed. An overview of the Girl Scout organization is presented, and Low’s working relationship with Boy Scout founder Sir Robert Baden-Powell is analyzed. Evidence of art education in the early Girl Scout movement is examined, including handbooks, artist merit badges, nature study and observational drawing, and the personal recollections of an early Girl Scout. Low’s art education contributions beyond the scope of Girl Scouts are also investigated, including her role as a charter member of the Savannah Art Club. The study concludes by suggesting a historical reframing of Low as an art educator is needed. / text