This essay discusses different ways of understanding inclusion from the perspective of existential experiences in the church with the help of communion ecclesiology. The aim is to analyze other ways of creating inclusion that are not founded on the principle of consensus which has been a preferred method in the broader church community trough the ages. As a contrast, this essay looksat an ecclesiology of communion as another way to be inclusive from the idea of unity through diversity and differences. By comparing the theology of Elisabeth Johnson and John D. Zizioulas and their views of the other through Paul Jones theory of theological worlds this essay tries to answer the question: How can an ecclesiology of communion contribute to a broader church inclusion from the perspective of existential pluralism? After looking at how these theologians view inclusion in relation to Christian tradition, high and low ecclesiology and their relationship to different theological worlds the conclusion is that an ecclesiology of communion can create a more genuine form of inclusion by focusing more on the sensus fidei fidelis rather than the consensus fidei. By looking at the church more as a vessel of a multitude of experiences and personhoods combined by the relationship and narrative of Christ which find the community in the eschaton, rather than tradition, the church as a community can be a more inclusive place.

Denna studie undersöker om det föreligger en skillnad i resultatkvalitet mellan familjeföretag och icke-familjeägda företag i en svensk kontext. Likt tidigare studier utgår denna studie från agentteorin, the alignment effect och the entrenchment effect. Majoriteten av tidigare studier inom området har främst genomförst i USA eller Ostasien och finner tvetydliga resultat. För att mäta hur ovan nämnda teorier påverkar familjeföretags resultatkvalitet i Sverige använder denna studie den modifierade Jones-modellen för att beräkna företagets diskretionära periodiseringar, vilka används som proxy för resultatkvalitet. Genom en multipel regressionsmodell på ett stickprov om 1475 observationer från NASDAQ Stokholms Large-, Mid- och Small cap-listor under perioden 2003 - 2013 finner denna studie, i enlighet med the entrenchment effect, att familjeföretag i genomsnitt har en högre grad av diskretionära periodiseringar än icke-familjeägda företag.

This study, "A Guide to Teaching Materials for Industrial Arts," was prompted by the fact that the writer is concerned with teaching aids available to the shop teacher in the field. Several years teaching has brought the writer face to face with the problem of supplementary teaching materials. Knowing that complete listings of teaching aids for the teacher are not available, the writer determined to make available such a listing which would be most beneficial to the shop teachers. The problem is fourfold: To catalogue industrial arts teaching aids. To determine the extent of the educational departments in the industrial firms. To determine the free and low cost teaching aids made available for the industrial arts teacher. To educate the teacher and the pupil as to the materials available and thus educate them to better buying.

The seaport of Bombay is often referred to as India's "Gothic City." Reminders of British colonial rule are seen throughout South Bombay in its Victorian architecture and sculpture. In the heart of Bombay lies the Victoria Terminus, a towering, hybrid railway station blending gothic and vernacular architectures. Built at the height of the British Empire, the terminus is evidence of the rapid modernization of Bombay through the philanthropy of the Parsis. This religious and ethnic minority became quick allies to the British Raj; their generous donations funded the construction of the "Gothic City." The British viewed the Parsis as their peers, not the colonized. However, Parsi-funded architectural ornament reveals that they saw themselves on equal footing with Bombay's indigenous populations. The Parsis sought to integrate Indian and British art, design, and culture. Through their arts patronage they created an artistic heritage unique to Bombay, as seen in the architectural crown of Bombay, the Victoria Terminus.The Parsi philanthropist, Sir Jamsetjee Jeejeebhoy was the most influential in Bombay's modern art world. He was chosen with other Indian elites to serve on the selection committee for the Great Exhibition of 1851 in London. He selected India's finest works to demonstrate India's rich tradition of the decorative arts. In turn, these works were viewed within the Indian Pavilion by the Victorian public and design reformer Owen Jones. Jones used many of the objects at the India Pavilion in his design book, The Grammar of Ornament. This book went on to inspire the eclectic architectural ornament of Victorian Britain and eventually Bombay. Jeejeebhoy sold the majority of the works from the exhibition to the Victorian and Albert Museum and the Department of Sciences and Art in South Kensington. The objects were studied by design students in South Kensington who were later hired by Jeejeebhoy to be instructors at the Bombay School of Art. This school taught academic European art alongside traditional Indian design forthe purpose of creating public art works. Thus, the Parsis were important cultural mediators who funded British and Indian craftsmen to create symbols of "progress," such as the Victoria Terminus, for a modern India.

En 1984 Jones découvrit son invariant polynomial, qui ne ressemblait à aucun concept connu auparavant. En quelques années cette découverte a provoqué l'invention de nombreux autres invariants polynomiaux et des invariants dits quantiques ou de type fini, issus des représentations du groupe des tresses et souvent inspirés par des analogies avec la physique théorique. Malgré leurs mérites pour la théorie des nœuds et des 3-variétés, ces invariants restent peu compris du coté de la topologie algébrique, et parfois de la topologie tout court. Ce mémoire présente et discute quelques éléments de réponse.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Driving while drowsy is a major cause behind road accidents, and exposes the driver to a much higher crash risk compared to driving while alert. Therefore, the use of assistive systems that monitor a driver’s level of vigilance and alert the fatigue driver can be significant in the prevention of accidents. This thesis introduces three different methods towards the detection of drivers’ drowsiness based on yawning measurement. All three approaches involve several steps, including the real time detection of the driver’s face, mouth and yawning. The last approach, which is the most accurate, is based on the Viola-Jones theory for face and mouth detection and the back projection theory for measuring both the rate and the amount of changes in the mouth for yawning detection. Test results demonstrate that the proposed system can efficiently measure the aforementioned parameters and detect the yawning state as a sign of a driver’s drowsiness.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

This dissertation studies quantum invariants of knots and links, particularly the colored Jones polynomials, and their relationships with classical invariants like the hyperbolic volume and the A-polynomial. We consider the volume conjecture that relates the Kashaev invariant, a specialization of the colored Jones polynomial at a specific root of unity, and the hyperbolic volume of a link; and the AJ conjecture that relates the colored Jones polynomial and the A-polynomial of a knot. We establish the AJ conjecture for some big classes of two-bridge knots and pretzel knots, and confirm the volume conjecture for some cables of knots.

Thesis (M.A.)--Florida State University, 2003. / Advisor: Dr. Maxine Montgomery, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Apr. 9, 2004). Includes bibliographical references.