This historical survey of speech journals and sixty-one textbooks covers seventy years of the treatment of the concept of impersonation within the Art of Oral Interpretation, from 1916 to 1985. The purpose of the study is to investigate the concept of impersonation, synthesize the material for the benefit of contemporary thought, provide clarity for the student, surveying scrutiny for the curious, and finally, provide additional contemporary knowledge in the light of' "a gradual evolution of teaching methods." The essential questions are: 1. How has the concept of impersonation within the Art of Oral Interpretation been treated in the past? 2. How is the concept of impersonation within the Art of Oral Interpretation treated in the present? 3. How should the concept of impersonation within the Art of Oral Interpretation be treated?

This dissertation focuses on text-image conceptual models for literary interpretation and composition in the digital age. The models investigate an interactive blend of textually-based linear-sequential approaches and visually-based spatial-simultaneous approaches. The models employ Gestalt-inspired figure-ground segregation models, along with other theoretical models, that demonstrate the dynamic capabilities of images as conceptual tools as well as alternate forms of text. The models encourage an interpretative style with active participants in openended, multi-sensory meaning-making processes. The models use the flexible tools of modern technology as approaches to meaning-making with art strategies used for research strategies as well as a means to appreciate reading and writing in the context of an increasingly visual environment.

Various cultures interpret visual rhetoric differently; therefore, technical communicators must adjust their rhetoric accordingly by creating effective visual rhetoric for their international and multicultural audiences. Although there is a great deal of research in the field regarding how to create effective visual rhetorical rhetoric, this research often fails to take into international and multicultural audiences into consideration. Many visual rhetoric solutions proposed in technical communication involve 'catch all' approaches that do little to communicate to people of non-Western cultures and can even serve to offend or confuse international and multicultural audiences. These solutions are generated by a globalization mindset, but are not realistic when we acknowledge how varied technical communication audiences are with regard to culture. The globalization approach also fails unless technical communicators intend to limit the reach of their communication to certain types of Western audiences. To create the most useful visual rhetoric, technical communicators must learn to use color, graphics, icons/symbols, and layouts (web and print) appropriately for audiences. They must learn more about different types of cultures (individualistic or collectivistic, universalist or particularist, high-context or low-context, high uncertainty avoidance or low uncertainty avoidance, monochronic or polychronic, linear thinking or systemic thinking, masculine or feminine), and they must address these different cultural expectations accordingly.

The purpose of this thesis is to examine ten movie posters while hypothesizing whether or not their tagline texts could interest a reader. A linguistic framework Relevance Theory, is used in the analysis of this project.

A fantasy world, that exists only in our minds, provides us a place where we can mentally escape from everyday reality. Escapism, such as indulging in daydreams, allows us to experience comfort and makes us feel safe, eliminating feelings of insecurity and vulnerability. This study aims to use playfulness and reverie as a tool to access and confront mental discomforts. Transforming disturbing situations into an experience of reverie; a correction of unsatisfying reality, by converting a solid component of the real world into a desirable infinite form will provide alternative viewpoints. Throughout my work, this method has been employed to address personal phobias, violent conflicts, political insecurity, and racial inequality. It is my hope to employ daydreaming as a form of serious play to provide a new way of perceiving unsatisfying reality.

The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision of the world, not the world itself. From the inception of photography, traditions of aesthetic interpretation have challenged this dominant view. Here, the created image becomes a vehicle for the artist's unique expression. Proponents of social scientific and critique of ideology perspectives, however, reject the aesthetic view and typically see art objects as social constructs, instruments which enhance and maintain a certain social order. Each of these perspectives ultimately holds that the meaning of photographs can be determined objectively. At the same time, each presents a world view which tends to exclude the insights of the others. Any attempt to preserve the apparent insights of these views must, then, transcend the basic contradictions and incompatibilities between them. Philosophical hermeneutics holds that the presumption of an absolute, objective grounding represents a failure to grasp the nature of the path toward understanding, a path which can never arrive at its destination because it always exists in history. It argues that (1) the photograph cannot be transparent to the world for the world is constituted in our representations of it; (2) art is a creation whose origin and meaning always exceeds the artist's own understanding of it; (3) critique is not the application of universal reason but a reading from a particular vantage point and is always grounded in a tradition of its own. Most importantly, however, it calls us to recognize the participatory nature of all understanding, the universality of language and provides a criterion for assessing the relative value of our interpretations across the entire language world.

This study analyzes the appearance of eighty visual religious symbols in the Improvement Era, Ensign, and New Era, published by the Church of Jesus Christ of Latter-day Saints from 1952-1972. The study notes their frequency and distribution as well as noting their size, the medium used to render them and the correlation of their religious meanings to the articles they illustrate.The findings of this study indicate that visual religious symbols are used and that many of them have a high degree of correlation to the articles they illustrate.This study gives suggestions to those artists who wish to produce works of art for the above named publications and gives some reflection of editorial policies concerning the use of religious symbols in the publications.

Previous literature has exposed the impact of concerns and beliefs on a teacher's decision to adopt online teaching methods, and in particular for Graphic Communications teachers, the extent to which their concerns and beliefs influence whether or not they decide to teach online. The potential problem that may exist is that of Graphic Communications teachers' concerns and beliefs are playing a role in impeding their transitioning to teaching in the online environment. The purpose of this study was to examine how teacher concerns and beliefs might be affecting a Graphic Communications teacher's adoption of online teaching. Although there are a multitude of factors that may inhibit Graphic Communications teachers from teaching online, this study sought to document the extent to which teacher concerns and beliefs toward online teaching impact their decision to adopt these practices. This study included a purposeful sample of 79 Graphic Communications educators across the United States and Canada. Data collected from the Graphic Communications Teachers Beliefs Towards Teaching Online (GCTBTTO) survey were analyzed using the Stages of Concern scoring device, simple means, and sample correlation coefficients to examine participant concerns and beliefs towards online teaching and the relationship between their concerns and beliefs. A theme analysis of open-ended responses about teaching online provided further assessment of participant beliefs and concerns towards the innovation. Findings from this study revealed Graphic Communications teachers who had taught online had higher levels of external concerns and stronger beliefs towards teaching online. Graphic Communications teachers who had not taught online had higher levels of internal concerns and average beliefs towards teaching online. T-tests revealed the difference in concerns between the sub-groups of teachers was significant across all stages except Management, where online and non-online teachers had similar management concerns about online teaching. For online teachers, task value and cost beliefs were found to have a moderately strong negative correlation to concerns in the Awareness stage, with no significant relationship between expectancy/ability beliefs and any stages of concern. For teachers not teaching online, task value and cost beliefs had a strong positive correlation with their Collaboration concerns, and expectancy/ability beliefs were strongly positively related to their Refocusing concerns. These findings also revealed that most Graphic Communications teachers do not believe hands-on courses which require manipulation of machinery can be taught online, although online teachers are teaching these types of classes with hybrid methods of instruction. The findings from this study provide implications for change facilitators and their consideration of faculty concerns and beliefs. The recommendations for this study suggest ways in which researchers, educators, and change facilitators can address concerns and beliefs in order to develop new innovative teaching methods for hands-on classes. / Ed. D.

The present study is an attempt to bring into focus one of the many bases of party power over Soviet citizens. It is no great revelation that the Soviet government has long indulged in anti-American propanda, but the continuity, elaboratness and virulence of ths "crusade of hatred" demands further study. It is essential that such study be undertaken parallel with an appraisal of Soviet-American relations since 1917. In outlining the chronological development of anti-American libel campaign, some space will be devoted to methodology, technology and apparent purposes of the Soviet propagandists. Space limitations preclude an elaborate study of Soviet propaganda as a whole; however, the selected theme--graphic propaganda--includes within its scope many aspects of the whole and thus is representative of the broader subject.

I am interested in two spaces obverse to each other: open and closed. An open space develops organically based on how people inhabit it. Interacting with an open space is a dynamic, sporadic, multisensory, immersive, and subjective experience. In such spaces, we are confronted with an alternative aesthetic, one that is in conflict with the seamlessness of a closed space. A closed space is anchored on definite variables like structure, use and boundaries. While interaction between people and space is important, the space is tightly controlled and interaction is designed. Through this thesis project, I present a method that metaphorically transforms the experience of a walk through a closed space into an open-ended and immersive experience. When space develops as a response to our actions, it affords intimacy and a sense of belonging. It facilitates deeper expressiveness through engagement. By applying a method that uses fragmentation, recurrence and motion, I am metaphorically transforming an urban closed space to open. Through this transformation I am creating a fresh person-space dialogue that temporarily destabilizes perception and encourages physical sensation which allows for an intimate experience of the space. An immersive interaction with an open space transgresses the urban sterility of a closed space and is capable of creating a diversity of distinct experiences.