A case study was conducted to document the changes in the attitudes of academic administrators at Langston University with regards to the use of various types of information sources for strategic planning. Environmental scanning of external factors was accomplished for six months by the use of a selective dissemination of information (SDI) service. Pre- and post-assessments of the perceived reliance on, satisfaction with and adequacy of personal and library-type information sources were conducted. Findings indicated the continued reliance on personal sources. No statistically significant changes were found in perceived adequacy levels in the use of library-type materials. The overall satisfaction level for the use of library-type information sources and retrieval methods showed a significant increase. Further study is recommended that will utilize additional information technology and other academic institutions.

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.

The Middle Cambrian Langston and Ute formations were studied in the northern portion of the Bear River Range and the south-central part of the Portneuf Range in southeastern Idaho. The rocks of the Langston and Ute formations were divided into 17 different rock types. The 17 rock types were formed within four recognizable lithofacies: I) Shoal - or Coastal -Peritidal Carbonate Complex; 2) Agitated Shoal; 3) Inner Marine Shelf; and 4) Outer Marine Shelf. Clastic sediments belonging to the Spence Shale Member of the Langston Formation (outer marine shelf) were deposited over the carbonate complex . A transgressive sequence marks the base of both formations. Paleomagnetic evidence suggests that during the time of the deposition of the two formations, the study area was located near the outer reaches of an equatorial epeiric sea. Clay mineralogy of insoluble residues suggests a warm, humid, tropical climate. Eogenetic diagenetic features include compaction, cementation, aggrading, and degrading neomorphism, birdseye structures, and initiation of dolomitization . Mesogenetic diagenetic features include dolomitization and pressure solution. Telogenetic diagenetic features are confined to fracturing and subsequent calcite infilling, and the oxidation of pyrite. Massive dolomitization in the northernmost section is believed to be the result of a downward flux of fluids originating as hypersaline brines. The nonconformable lower contact, conformable upper contact, the vertical and lateral extent of dolomitization, and the general association with coastal-peritidal facies have led to this conclusion. Two other subordinate types of dolomite are believed to be the result of: 1) the release of magnesium caused by the decomposition of magnesium-rich organic matter; and 2) the formation of a secondary ferroan dolomite as Fe/Mg ratios in the precipitating fluids increased under reducing conditions.

The Middle Cambrian Spence Shale Member contains meter-scale, shallowing-up cycles (parasequences) and record approximately 360 ky of deposition. These meter-scale cycles are nested within transgressive systems tracts (TST) and highstand systems tracts (HST) which reflect different stages of a lower-order, higher-magnitude sea-level excursion. Fossil assemblages are located in stratigraphic positions within the Spence Shale Member that can be predicted on the basis of sequence architecture. The cycle architecture, taphonomy, and geochemistry of the Spence parasequences confirm synthetic sections and theoretical models of meter-scale cycles developed in other studies. Delineation of meterscale cycles, based on taphonomic and sedimentologic criteria, allows high-resolution (100-500 ky) correlation. This study also documented the Cambrian existence of the Tooele and Arco Arches and aided in further understanding paleoenvironmental conditions within the Spence Shale Member.

This study responds to the need for an understanding of the relation of form and political critique within the sonnet form, and hopes to demonstrate that the sonnet can be used to effectively articulate the experience of racism, especially the Du Boisian concept of "double- consciousness," a sense of two-ness born of being both black and American. The fundamental structure of the sonnet (octave, volta, sestet) is dialectical; it "contests the idea it just introduced" (Caplan, Poetic Form: An Introduction 75). The sonnet's self-reflexive structure has been adopted and adapted by poets such as McKay, Cullen, Hughes, and Brooks. The formal and social characteristics of sonnets by African-Americans function synergistically: the way that the octave and the sestet respond to each other in a single poem is also similar to the "call-and- response" movement of African American oral culture. Its tendency to mix two unlike things is like Harlem itself: a compressed space where the street sweeper rubs shoulders with the business tycoon. Perhaps most importantly, the sonnet can be a Trojan horse, a genteel container that conceals a potentially subversive message. This study is constructed around related lines of questioning: First, why did African American poets, in an era usually associated with free verse, choose to adopt a traditional form? Second, how do African American poets adapt a European form as a lens into African American experience? Sonnets by African Americans reflect the complexity of a seemingly simple triangulation between the traditional requirements of form, the promise of equality, and the reality of racism. African American poets infuse "Harlem in Shakespeare," pouring black consciousness into the European form, and they raise "Shakespeare in Harlem," elevating the status of African American forms to the highest levels of literary art. At the same time, this study demonstrates the value of a prosody-based approach for examining how small formal details contribute substantially to the reader's impression of the sonnet. These poets deploy the "rules" of the sonnet ingeniously and unexpectedly. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together. Additionally, the sonnet is a way to separate from and simultaneously be a part of the dominant culture by writing a critical message in a recognizable form. Black culture can criticize white culture, while at the same time acknowledging the mutual, inescapable relationship that binds blacks and white Americans together.

As Paul Gilroy has argued, the Black Atlantic is a cultural and literary network that has emerged in the aftermath of the Atlantic slave trade. The concerns of the Black Atlantic are made visible in the poetry of African American Langston Hughes and Cuban Nicolás Guillén. Gilroy’s theorization of the Black Atlantic draws on W.E.B. Du Bois’s idea of ‘double consciousness’ which describes the “doubleness” that blacks can experience when belonging to two groups at the same time which have been constructed as oppositional and exclusive in a society. One of Du Bois’s main concerns is to highlight the troublesome situation of the African Americans in the time after the emancipation, and to advocate for the inclusion of black people’s culture and identity into the U.S. national identity. Gilroy develops the idea of double consciousness to question national identities, notions of ethnicity, and the assumption that cultures always flow into congruent patterns with national borders; he further suggests that the Atlantic should be taken as a single, complex formation of black cultural expression. The analysis in this essay of the poems by Hughes and Guillén show that even though the poetry of these writers emerges in different contexts their poetry share essential similarities in their expressions of the Black Atlantic: the expression of a collective subject’s experience of slavery and displacement, the experience of double consciousness, and the aspiration for a whole identity, which can either, or simultaneously, be a desire of belonging to a national identity or to a cosmopolitan identity. Furthermore the analysis displays that the poems express a belonging to a certain kind of ‘rootless cosmopolitanism’ in which the subject’s experience of not belonging and the unification in the dispersion is fundamental; this rootless world identity is in itself a manifestation of the Black Atlantic culture which Gilroy describes.

That marginalized discourse communities practice differing modes of communication is a claim recently argued; critics have focused on the trope of metonymy as a means of signifying a discriminated-against group's silenced status within the mainstream society. What seems to be ignored in this discussion is how differing media--literature, music, painting--constitute texts that cut across discursive space (the site of these media) in a similar fashion. By positing the intertextuality (i.e., the similarity) of psycholinguistic metonymy and jazz phraseology, this thesis demonstrates how literary texts issuing from marginalized discourse communities can speak their subjectivities' full names. In Langston Hughes' "The Blues I'm Playing," metonymy and jazz serve as methods of analysis which show the subject-object relationship in artistic production. Jack Kerouac's On The Road constitutes a narrative subjectivity that, like jazz music, metonymically disrupts itself as silences speak from the realm of an Other. By accounting for the similarities between metonymy and jazz, this thesis asserts that more accurate readings can be derived from literature issuing from discourse communities which use jazz to signify. / Department of English

Thesis (Ph. D.) -- University of Maryland, College Park, 2007. / "Langston Terrace Dwellings is a complex of 274 units of apartments and row houses in Washington D.C. that opened in 1938 under the auspices of the New Deal's Public Works Administration. Designed by Hilyard Robinson, this modern housing program was built principally by African American professionals for African American families"--Abstract. Includes bibliographical references (leaves [220]-232.

Thesis (M.A.) -- Central Connecticut State University, 2006. / Thesis advisor: Antonio García-Lozada. "... in partial fulfillment of the requirements for the degree of Master of Arts in Spanish." Includes bibliographical references (leaves 102-104). Also available via the World Wide Web.

Thesis (M. A.)--Florida State University, 2006. / Advisor: W.T. Lhamon, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 9, 2006). Document formatted into pages; contains vii, 67 pages. Includes bibliographical references.