Thesis (M.A.)--Trinity Evangelical Divinity School, 1981.

Thesis (D.M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: William P. Carroll; submitted to the School of Music. Includes bibliographical references (p. 113-119).

Thesis (Ph. D.)--Catholic University of America, 1943. / Description based on print version record. "Select bibliography": p. xi-xv.

The ecological movement in the psychology of perception, founded by James J. Gibson, hold that traditional approaches to perception are based upon certain fundamental mistakes. The chief one, ecological theorists claim, is that perceptual information pickup consists of the application of certain cognitive processes to sensory input which is not specific to features of organisms' environment. Gibson's fundamental claim is that perception does not require the processing of some form of sensory input. In this sense, the ecological approach is said to be a theory of direct perception. An important debate over the Gibsonian view concerns the question of whether or not perceptual information pickup without cognitive processing is a coherent notion. Among the more recent writers who claim that the ecological view will not work as it stands are Jerry A. Fodor and Zenon W. Pylyshyn. They claim, essentially, that Gibson's approach has no means for accounting for intentionality. Fodor and Pylyshyn are answered by four prominent Gibsonians who claim such criticisms are utterly baseless. These ecological theorists, Michael Turvey, Robert Shaw, Edward Reed, and William Mace endeavour to show how their approach can indeed account for intentionality. This debate between Fodor and Pylyshyn on the one hand, and Turvey, Shaw, Reed, arid Mace on the other is a perfect example of the kinds of misunderstandings that have arisen between Gibsonians and proponents of traditional view. In this thesis, I supply a detailed description of Gibson's model as it relates to the issue of how intentionality could survive perception without processing. Fodor and Pylyshyn's understanding and assessment of the Gibsonian position will then be examined. Although these defenders of traditional views have, some important concerns,.they also seem not to have a proper grasp of some Gibsonian concepts. In particular, Fodor arid Pylyshyn have an unsatisfactory grasp of the notion of an invariant. There are more serious misunderstandings evident in the response to Fodor arid Pylyshyn given by Turvey et al. I point out that these ecological theorists have difficulties with philosophical terms and theories they employ in defense of Gibson. As a result of evident confusions over notions of intension, extension, and property, arid confusions over the nature of Fred I. Dretske's theory of natural laws and Hillary Putnam's theory of natural kinds, Turvey et al do not manage to show how Gibson's approach could account for intensionality. I conclude by suggesting that the ecological approach nevertheless is compatible with the idea, of analyzing perceptual information pickup in terms of behaviour, or dispositions to behave. On such an interpretation, the ecological approach is similar in many important respects to the D.M. Armstrong's philosophical theory of perception. The comparison provides ecological theorists with a precedent as well as philosophical model to consult in order to better, understand the philosophical language and terminology. On the other hand, the comparison with Armstrong provides philosophers of perception with a means for approaching Gibson's view and the problems with which it will he confronted. / Arts, Faculty of / Philosophy, Department of / Graduate

This dissertation explores Jerome’s use of space in the Vita Hilarionis, through the use of the theory of critical spatiality. Three different spaces, all interrelated, are explored: desert space, monastic space and city space. The vita falls within the genre of Hagiography, a short biography that attempts to capture the life of a saint or holy man or woman. The Vita Hilarionis centres around the saint Hilarion, and follows his journey into the desert of Palestine in his goal to become an ascetic. One of Jerome’s goals with the writing of the vita is to show that Hilarion was the originator of monasticism in Palestine. Upon closer inspection of the spaces that Jerome describes to us, his greater ideological goal can also be exposed. Jerome, a Christian with a classical Roman education, makes use of older classical models in order to write his social geography of the late ancient Mediterranean world, such as traditional notions of centre and periphery. However, as theologian, he also reconstructs or re-imagines Roman spaces, such as the circus, to propagate Christianity, the new religion for the old world. Critical space has not yet fully been applied to text in late antiquity (100 – 600 CE) or early Christianity. This approach is steered by insights from social scientific criticism that not only views a text such as the vita as a literary piece of fiction, but also as a social product of its time. Through this view, largely spiritual themes in the vita can be viewed as also ideologically motivated, the social position and role of the ascetic in late Roman/ early Christian society understood, the spaces he/she moves in analysed and applied to shed light on early Christian identities. / Dissertation (MA)--University of Pretoria 2015. / Ancient Languages / Unrestricted

This Master's thesis analyzes Three Men in a Boat, a famous work by a British author Jerome Klapka Jerome. It is a very popular humorous novel published in 1889 which rightly belongs to the classics of British humour and is still attracting new readers today. The novel has been translated into dozens of languages including Chinese. The thesis is based on comparing the original work to its modern Chinese translation produced by Wang Bi, the analysis is conducted in the direction from English to Chinese. For reference, it also uses the Czech translation by J. Novák. Methodologically, the thesis builds on structuralist terminology created by the Czech translation theorist Jiří Levý. For text analysis, it utilizes an influential theoretical concept invented by the German translation scholar Christiane Nord. It also takes into account specialized studies on humour literature and the problems of its translation. The thesis attempts to define British humour and characterize the author's devices to achieve comic effect. It thoroughly decribes the strategies chosen for translating some of the individual literary devices (e.g. hyperbole, irony, understatement or personification) into Chinese. The complex analysis presents specific examples of translating verbal, cultural and situational humour. It also...

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