Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 134-148).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. Includes bibliographical references.

In Nach Mitternacht, the author Inngard Keun unveils a society that is a counter-image to that portrayed by the National Socialist regime. By giving the reader an amplified yet sharp picture oflife in the Third Reich, Keun not only exposes the Regime's repression mechanisms, but she also raises the question of individual responsibility among the petit-bourgeoisie, discussing very early-on the issue of co-participation. Keun's critical engagement does not fall short of aesthetical quality. A seemingly naive narrator deconstructs Nazi discourse through various literary devices which break the one-to-one system of signification typical of totalitarian discourses. Keun succeeds in deconstructing the Nazi regime by focusing on specific parts of society, zooming in on different situations and on the lives of different people, offering the reader a dissected picture of life in the Third Reich. Hence, Keun delivers a critical and complex political analysis of the early years of the Third Reich. VI / A Thesis submitted to the Department of Modem Languages in partial fulfillment ofthe Requirements for the degree of Master of Arts. / Degree Awarded: Spring Semester, 2002. / Date of Defense: April 26, 2002. / Includes bibliographical references.

This dissertation considers the position of contemporary Algerian filmmaking (1988-2003) against the much-debated concept of national cinema. Drawing upon a range of theoretical frameworks and concepts such as Third Cinema, transnational cinema, and "accented" cinema, this dissertation asks—among key questions—whether Algerian-directed films still articulate a national coherence. In other words, do they still speak the nation? If so, how might we, based on their modus operandi, thematic and other constituents define this particular cinema? As part of a larger discussion and through the works of four distinctive Algerian-born filmmakers, each chapter takes into account questions of production, distribution, exhibition, influences, textuality, critical reception and audience (whenever feasible), and addresses each director's specificities as well as their relationship and engagement to Algeria. In doing so, this study accounts for the complexities of a body of films whose ties to the nation-state remain both significant and historically relevant for they probe specific and contemporary questions surrounding gender, sexuality, and politics, but most importantly the rise and impact of Islamic fundamentalism. Although it is often difficult if not impossible for Algerian filmmakers to openly address Algeria's political instability, the efforts which they have made in this regard, have resulted in multiple representations of a young society with an uncertain sense of identity and direction. Specific film texts are thus examined as constitutive of multiple counter-discourses of the nation. Through its analysis of such texts, the dissertation aims to bring attention to a corpus of understudied works and to highlight their national specificity. / A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall semester, 2007. / Date of Defense: July 27, 2007. / Cinema, Postcolonial, Transnational, Film, Algerian, Algeria / Includes bibliographical references. / Alec G. Hargreaves, Professor Directing Dissertation; Mark G. Cooper, Outside Committee Member; William J. Cloonan, Committee Member; Reinier Leushuis, Committee Member.

This dissertation examined the use of computerized pronunciation practice as a tool in the reduction of foreign language anxiety. Additionally, the efficacy of computerized practice on the improvement of student French pronunciation was also evaluated. The research was conducted as a quasi-experimental study with a pretest/posttest comparison group design. Students in the experimental group practiced their pronunciation using the computer while students in the comparison group practiced with cassettes. Anxiety was measured using the Foreign Language Classroom Anxiety Scale (Horwitz, Horwitz, & Cope, 1986). The data was analyzed using ANOVAs. While there was an overall decrease in anxiety levels, the statistical analyses indicated no relationship between method of practice and the decrease in anxiety. Regarding pronunciation improvement, the results showed that subjects who practiced with the computer did experience statistically significant improvement in the quality of their pronunciation while those who practiced with the cassettes did not. / A Dissertation submitted to the Department of Modern Languages and Linguistics in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Fall Semester, 2006. / Date of Defense: May 25, 2005. / tecnology, computerized pronciation practice, foreign language anxiety / Includes bibliographical references. / Leona LeBlanc, Professor Directing Dissertation; Diana Rice, Outside Committee Member; Aimée Boutin, Committee Member; William J. Cloonan, Committee Member.

Thesis (Ph. D.)--Ohio State University, 1980. / Includes bibliographical references (leaves 209-216). Available online via OhioLINK's ETD Center

Thesis (Ed.D.)--University of Tulsa, 1972. / Bibliography: leaves 73-75.

Thesis--University of Michigan. / Includes bibliographical references (p. 202-223).

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Oklahoma, 1977. / Includes bibliographical references (leaves 179-181).