Thesis (M.A.)--Harding University Graduate School of Religion, 2001. / Includes bibliographical references (leaves 154-173).

Thesis (M.A.)--Harding University Graduate School of Religion, 2001. / Includes bibliographical references (leaves 154-173).

Thesis (M.A.)--Harding University Graduate School of Religion, 2001. / Includes bibliographical references (leaves 154-173).

The purpose of this study was to analyze for oral presentation a selected body of poetry by Langston Hughes. Because Hughes read his own poetry in lecture recitals throughout his career, which spanned more than four decades, it is appropriate that he be considered for such a study.

Now, it is the purpose of this dissertation to present a study of the imagery in the poetry of Langston Hughes with special emphasis upon (1) its sources, (2) its types, (3) its functions, and, (4) its imprtance as a factor in evaluating Hughes' poetic contributions to society.

This thesis focusses on the literary self-reflexivity of Birthday Letters, Ted Hughes's collection of poems addressed to his long-dead first wife, poet Sylvia Plath. By close attention to the language of select poems and a discussion of cross-referencing images and allusions across the volume, and intertextually, I argue that the collection is more self-consciously ordered and designed than the mainly biographical criticism the work has met with suggests. The thesis focusses on the poets' art rather than the biographical context of Birthday Letters, though it does not draw a neat distinction between their lives and their poetry - rather it demonstrates how Birthday Letters itself treats the relationship of art to life thematically. The introduction outlines the context of the volume's genesis and publication and the notions of poetry, myth and drama out of which Hughes works, and introduces the central metaphor of metamorphosis as figured in Ariel's song "Full Fathom Five" from The Tempest, as well as the importance of that play to Plath. Each of the chapters that follow focusses on a cluster of inter-related imagery through a discussion of four or five key poems. Chapter One examines Hughes's portrayal of himself as imprisoned by Plath's poetic portraits, and relates this to the recurring motifs of the snapshot and the Medusa myth. The poems discussed emphasize Hughes's consciousness of the metamorphic and "magical" relationship of art to life. The second chapter discusses Hughes's use of the myth of the labyrinth and the Minotaur, tracing it back to Plath's writings and reading, and pointing out its self-reflexivity: the labyrinth figures Hughes's own loss as well as the labyrinthine nature of writing. The third chapter considers the themes of possession and loss, and how they attach themselves to images of houses and jewels. Possession and loss tum, self-reflexively, upon issues of inheritance and remembrance, notably Hughes's inheritance of Plath's poetic legacy, and his remembrance of her and her poetry through his own poetry. The conclusion pursues connections between the observations made in the separate chapters, outlining the larger context out of which the poems emerge, and returning to the trope of metamorphosis as figured in "Full Fathom Five"

In this paper I will thoroughly analyze the thesis film, Bicycle Season, as it relates to specific areas of film production. The goal is to determine the effectiveness of specific approaches to narrative filmmaking, when the intention of the narrative to portray believable human behavior in moments of dramatic conflict. I will discuss this thesis from the point of conception on a screenwriting level; analyze the steps along the way as they relate to film production, and conclude at the point of final screening to an audience. Direct feedback from audience members in test screenings will serve as a measurement of achievement of said goals for the narrative.

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.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

EU-NAVFOR är den första insatsen som den Europeiska Unionen skapat och den första okonventionella konflikten till havs som ska bekämpas med konventionella medel. Forskningsläget angående hur dessa konventionella styrkor ska agera mot denna typ av motståndare är väldigt begränsad. Syftet med denna uppsats är således att undersöka om Wayne P. Hughes konventionella krigföringsteorier är användbara i en nutida konflikt samt att se om det finns några likheter eller skillnader mellan dessa teorier och den taktik ME02 använde sig av under insatsen utanför Somalia. Denna uppsats baseras på en kvalitativ metod där Wayne P. Hughes teorier om ”The Great Constants” studeras och beskrivs för att sedan nyttjas som analysverktyg i en teoriprövande fallstudie på ME02. Fallstudien baseras på ME02:s Operations plan och den Marintaktiska chefens slutrapport. Som komplement används även en kvalitativ intervju med en av ME02:s tre vaktchefer. En av slutsatserna är att Wayne P. Hughes taktiska teorier om ”The Great Constants” till viss del visat sig vara användbara av den svenska styrkan ME02 i deras verksamhet. Trots det faktum att moståndaren är av en helt annan karaktär än den som Hughes utgår ifrån i sin teori. Generellt har de delar av Hughes teori som syftar till offensiv krigföring varit mer användbara än de defensiva.