Thesis (M.A.)--University of Hong Kong, 1978. / Carbon-copy of typescript.

No description available.

Thesis (M.A.)--George Mason University, 2007. / Title from PDF t.p. (viewed Jan. 21, 2008). Thesis director: Adam Winsler. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Psychology. Vita: p. 65. Includes bibliographical references (p. 58-64). Also available in print.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 185-195). Also available in electronic format on the Internet.

Thesis (Ph. D.)--Open University.

Thesis (M.A.)--University of Hong Kong, 1978. / Also available in print.

Thesis (Ph.D.)--Georgetown University, 2010. / Includes bibliographical references.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This thesis entails an explorative and argumentative study that is concerned with the importance and relevance of artist books, as substantiated by art-historical research into the way in which people present, organize and interpret knowledge about their world as observed in the history of the ever-evolving book; as well as related critical and theoretical discussions surrounding language and art. The structure of the thesis is based on the triadic treatment of book types as presented in philosophers Deleuze and Guattari’s theory of the Rhizome in A Thousand Plateaus: Capitalism and Schizophrenia (1987). Each book essentially stands for a particular system or paradigm of thought that is described in terms of a biological structure. These are the Root book, the Fascicular book and the Rhizome. The root and fascicular structures are shown to be ubiquitous within dominant Western habits of thought, emphasised by the tendency to organize elements around a singular, central motif and, as a result, to create binaries. Although useful for certain practices in life, these patterns of thought have potentially problematic socio-political implications, and they are especially limiting with regards to creative work. An argument is developed in defence of the third book type, the rhizome, as a means of thinking in a non-linear, acentred and more complex and connected way about art, oneself and one’s world. At its core, this thesis works towards establishing a theoretical framework for the practice of artist books, showing how, in numerous ways, artist books encompass this rhizomatic way of thinking. / AFRIKAANSE OPSOMMING: Hierdie tesis omvat ’n verkennende en argumentatiewe studie wat gemoeid is met die belang en relevansie van kunstenaarsboeke, soos gestaaf deur kunsgeskiedkundige navorsing oor die maniere waarop mense kennis aanbied, organiseer en vertolk, soos dit in die geskiedenis van die altyd-veranderende boek gesien word. Die tesis sluit ook verwante kritiese en teoretiese besprekings rondom taal en kuns in. Die struktuur van die tesis gebruik as basis die drievoudige indeling van boektipes in die *losowe Deleuze en Guattari se teorie van die Risoom in hulle werk A Thousand Plateaus: Capitalism and Schizophrenia (1987). Elke boek verteenwoordig in essensie ’n bepaalde sisteem of paradigma van denke wat in terme van ’n biologiese struktuur beskryf word. Die drie tipes is die Wortelboek, die Fassikulêre of Trosboek, en die Risoom. Die wortel- en trosstrukture word uitgewys as alomteenwoordig binne dominante Westerse denkgewoontes, waar dit beklemtoon word deur die geneigdheid om elemente rondom ’n enkele sentrale motief te organiseer, en sodoende binêre opposisies te vorm. Alhoewel dit nuttig mag wees vir sekere lewenspraktyke, hou hierdie denkpatrone potensieel problematiese sosio-politiese implikasies in, en hulle is besonder beperkend vir kreatiewe werk. Die tesis ontwikkel verder ’n argument ter verdediging van die derde boektipe, die risoom, as ’n wyse om op ’n nie-lineêre, a-sentriese en meer komplekse en verbonde manier oor kuns, die self en die wêreld te dink. Die kern van die tesis is gemoeid met die vestiging van ’n teoretiese raamwerk vir die praktyk van kunstenaarsboeke, en dit wys hoe kunstenaarsboeke op velerlei maniere die risomatiese wyse van denke omvat.

From 1934 — when guidelines for Socialist Realism were established at the first All-Union Congress of Soviet Writers — to Stalin’s death in 1953, Soviet folklore deliberately promoted the new social order and encouraged the rural masses to support it. So-called Soviet Tales (sovetskie skazki), one of the most interesting but under-researched folktale forms to arise in the 1930s, were prose wondertales created through the collaborative efforts of traditional rural story-tellers and “party-minded” folklorists, who provided the tellers with new motifs and plots and “collected” and published the results as folklore. The Soviet Tale was conceived as an ideological weapon for the agitation and education of the rural masses. Its goals were to promote class consciousness and “Socialist patriotism” among the peasantry. Soviet Tales promoted the goals of the new regime and its particular realization of what it regarded as the masses’ dream for a better life. Themes and motifs ranged from the October Revolution and the Russian Civil War to social and technological progress; from the new role of women in Soviet society to the opening of the Moscow Metro and the VSKhV (All-Union Agricultural Exhibition); and from the Stalin-era “cults” of aviation, Arctic exploration, and the “Wise Leader” himself to warnings against foreign and internal enemies. These tales promoted three types of heroes. First, the ideal people of Communism: strong, healthy, young peasants and workers who support revolutionary transformation. Second, the brave and self-sacrificing heroes of the Russian Civil War such as Vasilii Chapaev and Semyon Budennyi. Third, Soviet leaders — especially Stalin, the “Hero with Black Curls.” The Soviet Tale offers a paradoxical representation of the historical and cultural development of its time. On the one hand, it reveals Soviet propaganda and the evolution of the “cult” of Stalin. On the other, it may well express certain aspirations of the peasantry and other working people. My thesis offers a representative collection of Soviet Tales, in particular wondertales. It is divided into three parts: an introduction, a critical edition of selected tales in Russian, and their English translation. In the introduction, I provide historical background and definitions of Soviet Folklore. I also discuss problems of interpreting (and editing as well as translating) narrative forms which are called “fakeloric” or “pseudofolkloric” and raise the question of whether it is appropriate to refer to Soviet Tales as folklore. The critical edition consists of eight wondertales that I have taken from collections of Soviet Folklore published from the 1930s to the 1950s and 60s. In my view, they best represent the themes and characteristics of the “Soviet Wondertale.” The earliest printing of each tale is used for the copy-text: accidentals (punctuation and spelling) are preserved; substantives are examined and, when possible, their earliest form is determined. The edited tales are translated in an English fairy-tale idiom. My thesis makes them accessible in English for the first time, in the hopes of raising interest in the phenomenon of Soviet Folklore. / A Thesis submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the Master of Arts. / Summer Semester 2017. / July 21, 2017. / fakelore, folklore, propaganda, socialism / Includes bibliographical references. / Robert L. Romanchuk, Professor Directing Thesis; Lisa R. Wakamiya, Committee Member; Alina Dana Weber, Committee Member.

Narrative writing samples were collected and analyzed for a total sample size of 826 students (413 twin pairs; 159 monozygotic and 524 dizygotic pairs) from the Florida Twin Project on Behavior and Environment (FTP-BE) database who comprise a subset of the Florida Twin Project on Reading (FTP-R). Twins' writing samples were coded using Systematic Analysis of Language Transcript (SALT) conventions to derive measures of syntactic complexity (mean length utterance, clausal density); measures commonly used to assess adolescent writing. Concurrent measures of reading comprehension and spelling were obtained from the Florida Progress Monitoring and Reporting Network (PMRN). Using a behavioral-genetic approach, the common and unique genetic, environmental, and non-shared environmental influences on each variable were analyzed using univariate and multivariate Choleskey decomposition models. Findings suggest that non-shared environmental influences are responsible for much of the variation we see in students' written syntactic complexity, with minimal influence from genes. In contrast, reading comprehension and spelling appear to be highly heritable, with some genetic influences overlapping between the two skills. Shared environmental influences were negligible for all literacy constructs other than reading comprehension. The discussion centers on our need to further understand differential methods of writing assessment, with a focus on the use of traditional elicitation contexts for language sampling within writing, similar to writing expectations on state- and national-level achievement assessments. / A Dissertation submitted to the School of Communication Science and Disorders in partial fulfillment of the Doctor of Philosophy. / Fall Semester 2015. / August 6, 2015. / quantitative genetics, reading, spelling, syntactic complexity, twins, writing / Includes bibliographical references. / Carla Wood, Professor Directing Dissertation; Christopher Schatschneider, University Representative; Hugh Catts, Committee Member; Sara Hart, Committee Member.