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The youth-led March For Our Lives is founded on the idea of young people forced into advocacy by unthinkable tragedy. The movement exists in a digital age where the lines between the physical and digital have become increasingly blurred. By using the work of scholars such as Manuel Castells and Henry Jenkins as a foundation to analyze this movement, we can gain a deeper understanding of why MFOL has succeeded and failed in the ways that it has. These noted digital activism academics will be used to explore how collective anger is expressed and created through the use of personal stories about gun violence to create unity across the United States in the hopes of fueling legislative action. These concepts will then collide with classic film theory, utilizing scholars such as Bertolt Brecht, Walter Benjamin, and Bela Balazs to examine how this physical protest is immortalized in a digital format, using film conventions to translate the emotional impact online. This analysis points to the unique structure of a movement fueled by emotion and run by a digitally native generation. It will also point out ways in which the original research on digital social movements can be updated to reflect changing models of social activism.

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Concern about water quality has become an important environmental issue in the world, the United States, and Virginia. Volunteers have increasingly stepped forward to assist in the water quality monitoring task, and both state and federal protection agencies increasingly depend upon such voluntary assistance. The Izaak Walton League's Save Our Streams (SOS) is one such volunteer citizen water quality monitoring program. Recruiting, training, organizing and retaining volunteers are among the most resource intensive tasks of volunteer organizations. The purpose of this thesis is to document the motivations of SOS volunteers and the primary causes of their attrition in order to improve the SOS program as well as to enhance the experience of SOS volunteers. We also compared motivations of SOS volunteers, differences in SOS volunteers' evaluation of the program, and suggestions for improvements by varying participation levels in volunteerism. We found that SOS volunteers are primarily motivated by a desire to protect streams and to improve water quality. Learning about streams and teaching these concepts to others were also important motivations. Volunteers cited not enough time and having too many other obligations as the main reasons why they stopped participating in SOS activities. Recruitment and retention of SOS volunteers may be aided by providing feedback about how volunteer data are being used by protection agencies to protect streams, and providing opportunities for learning about streams and teaching these concepts to others. Lastly, we found that those volunteers who were most active in SOS differed in their motivations for participating, tended to be the most critical of the services and materials, and were most adamant about their data being used to protect streams. / Master of Science

One rarely sees the names James Joyce and Ernest Hemingway together in the same sentence. Their obvious differences in writing styles, nationalities, and lifestyles prevent any automatic comparison from being made. But when one compares their early short story collections, Dubliners and In Our Time, many surprisingly similarities appear. Both are collections of short stories unified in some way, written by expatriates who knew each other in Paris. A mood of despair and hopelessness pervades the stories as the characters are trapped in the human condition. By examining the commonalities found in their methods of organization, handling of point of view, attitudes toward their subjects, stylistic techniques, and modes of writing, one is continually brought back to the differences between Joyce and Hemingway in each of these areas. For it is their differences that make these artists important; how each author chose to develop his craft gives him a significant place in literature.

Med utgångspunkt i James Joyce definition av litterär epifani undersöker denna uppsats ögonblick avepifani i Ernest Hemingways första novellsamling In Our Time. Joyce definierade epifani som ettfenomen som plötsligt avslöjar ”the whatness of a thing”. Denna uppsats identifierar genom textnäraläsning sex dylika passager från fem olika noveller i In Our time. De prosalyriska vinjetterna mellannovellerna diskuteras i förhållande till hur de leder fram till, bygger upp och kontextualiserar deanalyserade ögonblicken av epifani. Meningen som uppstår fenomenologiskt i ögonblicken av epifaniundersöks därefter i uppsatsen. Uppsatsen argumenterar för att ögonblicken av epifani inte avslöjar enbestående religiös eller sekulär mening (eller sanning), snarare representerar de meningsfulla mentillfälliga insikter för de fiktiva karaktärerna. Denna subjektiva och bortflyende mening kopplasdärefter samman med metamodernismens syn på mening, såsom den definieras av van den Akker ochVermeulen. Slutligen argumenterar denna uppsats jag för att de fiktiva karaktärernas ständiga sökandeoch finnande av tillfällig mening korrelerar med den metamodernistiska synen på mening som någotflyktigt och omöjligt att verkligen nå (annat än i kortvariga ögonblick), detta samtidigt som sökandetav denna tillfälliga mening upplevs djupt meningsfull och eftersträvansvärd. Denna uppsats bidrarsålunda med nya insikter om vad ögonblick av epifani representerar i Hemingways tidigaförfattarskap. / Based on James Joyces definition of literary epiphany, this essay examines moments of epiphany inErnest Hemingways first collection of short stories: In Our Time. Joyce defined epiphany as aphenomenon that suddenly reveals “the whatness of a thing”. This essay identify and closely examinesix such passages from five different short stories in In Our Time. The vignettes between the shortstories are discussed in relation to how they lead up to, strengthen and contextualize the analyzedmoments of epiphany. The meaning that arises phenomenologically in the moments of epiphany arethen examined in the essay. The essay argue that the moments of epiphany do not reveal an enduringreligious or secular meaning (or truth), rather they represent meaningful but short-lived insights for thefictional characters. This subjective and transient meaning is connected to the metamodernist view ofmeaning as defined by van den Akker and Vermeulen. In conclusion this essay argue that the fictionalcharacters constant seeking and finding of transient meaning correlates with the metamodernist viewof meaning as something fleeting and impossible to truly attain (other then in brief moments), whilesimultaneously experiencing the search for such transient meaning as deeply meaningful and desirable.This essay thus contributes to new insights into what moments of epiphany represent in the earlyworks of Hemingway.

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This thesis serves as documentation of my efforts to define accurately my creative process as an actor in creating the role of Doc Gibbs in Our Town by Thornton Wilder. This includes research, rehearsal journal, character analysis and evaluation of my performance. Our Town was produced by the University of New Orleans Department of Film, Theatre and Communication Arts in New Orleans, Louisiana. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center at 7:30 pm on the evenings of April 22 through April 24, 2010 and April 29 through May 1, 2010 as well as one matinee at 2:30 pm on Sunday, May 2, 2010.

In a time of rapid social change pilgrimages are resurfacing as significant and visible social phenomena. Australia has historically been noted as a very secular society but in recent years there has been some scholarly attention to forms of spirituality outside of the orthodox, Church religion. In matters of national identity and commitment to place it is argued that there could be an upsurge in spirituality, in contrast to the decline of those practising formal religion. In this dissertation it is argued that two journeys undertaken by contemporary Australians can be considered true pilgrimages with spiritual dimensions and are therefore part of a growing spirituality apart from formal Church. A survey of the theological and anthropological literature about pilgrimages allowed the development of an eight-point frame of criteria that could be used as a standard against which an assessment of contemporary journeys could be made. Pilgrimage is a non-local physical journey to a historically and or mythically significant site or shrine that embodies the centre of a person’s most valued ideals. These ideals may or may not be theistic but must be portrayed within the limits of the culture. The shrine casts an image of the culture and has an expert shrine custodian, but has the capacity to absorb a multiplicity of discourses. Pilgrims go to a shrine to experience the place of past events, take home spiritual traces and to model a changed or improved future. In order to apply this frame to two Australian journeys, field trips were made to the plaster image of Mary at Our Lady of Yankalilla Church in South Australia and to Gallipoli in Turkey around the Anzac Day commemorations in 2000. Participant observations and interviews with six key informants, when considered in association with the historical context and media reports, provided ‘thick description’ of the behaviour at the journey destinations and insight into participants’ experiences, motives and understandings. Both journeys, the sacred and ostensibly secular, satisfied the frame of criteria for a pilgrimage. Furthermore they may also exemplify some features that are distinctively Australian, in that in these pilgrimages spontaneity and egalitarianism jostled against bureaucratic structures and national hierarchies.

Thesis (M.A.)--Wheaton College Graduate School, 2005. / Abstract. Includes bibliographical references (leaves 162-169).