Thesis (M.A.)--Bowling Green State University, 2005. / Title from PDF t.p. (viewed Apr. 30, 2006). Includes bibliographical references (p. 66-68).

This diploma thesis entitled: "Bible and Pastoral Counseling - Two Concepts of American Pastoral Care in the 20th Century" deals with two types of pastoral counseling (nouthetic counseling by Jay E. Adams and biblical counseling by Larry Crabb), which consider the Bible to be their basic and most important source and standard, and the context of their creation. The thesis describes the context, influences and life events that accompanied the authors during the creation of both counselings; it explains the basic ideas of both counselings and represents the way of using the Bible in a counseling conversation that the authors promote. It also mentions the criticism of other authors. The text first introduces the reader to the American concept of Christianity and pastoral care on the basis of historical development and later to both counseling directions - the nouthetic counseling and the biblical counseling. Keywords Pastoral care, Pastoral counseling, Biblical counseling, Nouthetic counseling, Jay E. Adams, Larry Crabb

This dissertation explains how and why some American artists investigated visual phenomena and heightened perception during the 1960s and 1970s. As an analytical account grounded in the perceptual experience of artworks and in archival research of the claims artists made for their creations, this study is centered around the themes of re-sensitizing one’s body and perceptual faculties, the process of empirical discovery, and the ultimate inability of language to satisfactorily describe sensory phenomena. In Chapter 1, I establish a brief intellectual history of research concerning the sensory faculties from fields in the humanities, including psychology, philosophy, and art history. In Chapter 2, I analyze Judd’s art-critical concept of optical phenomena and consider the art about which he wrote, including his own, on the basis of this tentative classification. In Chapter 3, I evaluate John Chamberlain’s lacquer paintings in terms of the visual phenomena generated by his innovative paint mixtures and application techniques, then consider his provisional separation of intuition and intellect. In Chapter 4, I examine Robert Irwin’s efforts to refine his visual attentiveness and, in the course of doing so, I also test the accompanying artworks he made that demand such unusually acute observation. In Chapter 5, I argue that distinguishing physical, pictorial, and reflected visual phenomena in Larry Bell’s pieces proves to be an exceptional challenge, a problem compounded by the inefficacy of trying to communicate visual discoveries using language. In the Conclusion, I demonstrate that by restoring the role of heightened perception and sensory discovery to the history of art of the 1960s and 1970s, this dissertation helps to preserve the complexity and variety of works made during that time. / text

Ce mémoire propose une conception naturaliste et normative de l'axiologie scientifique contemporaine, c'est-à-dire des buts de la science et des scientifiques. Nous commençons par présenter le naturalisme en philosophie des sciences, en particulier ses dimensions scientifique, méthodologique et ontologique. Nous discutons le sophisme naturaliste et l'objection de la normativité souvent adressée aux approches naturalistes, principalement à travers le prisme de l'épistémologie naturalisée de Quine (1969). Nous illustrons ensuite ces thèmes - naturalisme, normativité, et axiologie scientifique - au moyen de la théorie de Laudan (1987), qui articule un début de théorie axiologique de la science qui se veut naturaliste et normative. Nous soulignons le caractère insatisfaisant de sa théorie, et proposons une conception plus riche et plus détaillée de l'axiologie scientifique. Nous analysons pour ce faire différents liens entre la science, l'industrie, le gouvernement et la société. Nous dégageons en particulier une tendance axiologique pragmatique de la science contemporaine. Finalement, nous ébauchons un cadre normatif instrumental inspiré de Laudan (1987)pour réfléchir sur l'axiologie scientifique. / This master proposes a naturalist and normative conception of contemporary scientific axiology, i.e., of science's and scientists' goals. We start off by discussing some naturalistic positions in philosophy of science, their scientific, methodological and ontological dimensions as well. We review the naturalistic fallacy and the normativity objection against naturalistic approaches, mostly in light of Quine's (1969) naturalized epistemology. We then illustrate these themes - naturalism, normativity, and scientific axiology - by discussing Laudan's (1987) naturalistic and normative theory of scientific axiology. We underscore the unsatisfying character of his theory, and propose instead a richer and more detailed one. In order to do that, we analyse some relations between science, industry, government and society. We identify and discuss a pragmatic axiological trend in particular. Finally, we sketch an instrumental normative framework for thinking about scientific axiology.

Ce mémoire propose une conception naturaliste et normative de l'axiologie scientifique contemporaine, c'est-à-dire des buts de la science et des scientifiques. Nous commençons par présenter le naturalisme en philosophie des sciences, en particulier ses dimensions scientifique, méthodologique et ontologique. Nous discutons le sophisme naturaliste et l'objection de la normativité souvent adressée aux approches naturalistes, principalement à travers le prisme de l'épistémologie naturalisée de Quine (1969). Nous illustrons ensuite ces thèmes - naturalisme, normativité, et axiologie scientifique - au moyen de la théorie de Laudan (1987), qui articule un début de théorie axiologique de la science qui se veut naturaliste et normative. Nous soulignons le caractère insatisfaisant de sa théorie, et proposons une conception plus riche et plus détaillée de l'axiologie scientifique. Nous analysons pour ce faire différents liens entre la science, l'industrie, le gouvernement et la société. Nous dégageons en particulier une tendance axiologique pragmatique de la science contemporaine. Finalement, nous ébauchons un cadre normatif instrumental inspiré de Laudan (1987)pour réfléchir sur l'axiologie scientifique. / This master proposes a naturalist and normative conception of contemporary scientific axiology, i.e., of science's and scientists' goals. We start off by discussing some naturalistic positions in philosophy of science, their scientific, methodological and ontological dimensions as well. We review the naturalistic fallacy and the normativity objection against naturalistic approaches, mostly in light of Quine's (1969) naturalized epistemology. We then illustrate these themes - naturalism, normativity, and scientific axiology - by discussing Laudan's (1987) naturalistic and normative theory of scientific axiology. We underscore the unsatisfying character of his theory, and propose instead a richer and more detailed one. In order to do that, we analyse some relations between science, industry, government and society. We identify and discuss a pragmatic axiological trend in particular. Finally, we sketch an instrumental normative framework for thinking about scientific axiology.

Plusieurs études ont déjà relevé la place singulière qu’occupe le personnage dans la dramaturgie de Larry Tremblay. Les œuvres de cet auteur québécois regorgent effectivement d’individus tourmentés par l’environnement dans lequel ils évoluent. Durant les 20 dernières années, la thématique des médias a particulièrement été l’objet de l’attention de l’auteur. En créant des pièces ayant comme centre l’univers médiatique, Larry Tremblay entreprend de poser un regard critique sur cet aspect important touchant la société actuelle. Dans le cadre de ce mémoire, l’objectif est donc d’étudier plus spécifiquement les différents personnages du dramaturge lorsque ceux-ci sont placés dans des contextes où ils sont envahis par les médias. Il s’agira de montrer comment le dramaturge expose les effets néfastes du pouvoir des médias en abordant la question du regard, de la banalité, du vide, du narcissisme ainsi que de la désillusion marquant l’époque contemporaine. L’analyse des œuvres Ogre (1995), Téléroman (1997) et Grande écoute (2015) permettra de montrer que c’est par l’intermédiaire de personnages dont l’identité se morcelle et se transforme, que Larry Tremblay expose les conséquences les plus importantes qu’entraine la société médiatique sur l’individu. L’objet de ce mémoire est de saisir l’évolution de la pensée de l’auteur à l’égard des médias et de comprendre comment ses personnages ont évolué au fil du temps parallèlement au domaine médiatique. / Many studies have already examined the singular place occupied by the character in Larry Tremblay’s dramaturgy. This Quebec author’s works are filled with many individuals who are deeply affected by the environment they live in. For the past 20 years, the playwright’s particular interest in the theme of media has been observed. By creating plays in which the media are at the forefront, Larry Tremblay takes a critical look at an important aspect of current society. In the context of this thesis, the objective is therefore to study more specifically Tremblay’s characters who are in environments pervaded by the media. In order to show how the author exposes the negative impacts of the power of the media, we will address the question of the gaze, the banality, the void, the narcissism, as well as that of the disillusion that touches our time. The analysis of Ogre (1995), Téléroman (1997) and Grande écoute (2015) will demonstrate that it is through characters whose identity is crumbling and changing that Larry Tremblay denounces the most disastrous consequences stemming from the media for individuals. The purpose of this thesis is to grasp the evolution of the author’s thought regarding media and to understand how his characters have evolved over time alongside the media.

This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.

This thesis presents new models for determining piezoresistive response in long, thin polysilicon beams with either axial and bending moment inducing loads or torsional loads. Microelectromechanical (MEMS) test devices and calibration methods for finding the piezoresistive coefficients are also presented for both loading conditions. For axial and bending moment inducing loads, if the piezoresistive coefficients are known, the Improved Piezoresistive Flexure Model (IPFM) is used to find the new resistance of a beam under stress. The IPFM first discretizes the beam into small volumes represented by resistors. The stress that each of these volumes experiences is calculated, and the stress is used to change the resistance of the representative resistors according to a second-order piezoresistive equation. Once the resistance change in each resistor is calculated, they are combined in parallel and series to find the resistance change of the entire beam. If the piezoresitive coefficients are not initially known, data are first collected from a test device. Piezoresistive coefficients need to be estimated and the IPFM is run for the test device's different stress states giving resistance predictions. Optimization is done until changing the piezoresistive coefficients provides model predictions that accurately match experimental data. These piezoresistive coefficients can then be used to design and optimize other piezoresistive devices. A sensor is optimized using this method and is found to increase voltage response by an estimated 10 times. For torsional loads, the test device consists of a slider-crank connected to two torsional legs. The slider-crank creates torsional stress in the legs which causes a change in the electrical resistance through the legs. A model that predicts the effects of a scissor hinge on the slider-crank is presented. Torsional stresses in the legs are calculated delete{using the membrane analogy.} and the legs are discretized into long parallel resistors and the stresses delete{from the membrane analogy} applied to each resistor. Assuming a second-order piezoresistance, an optimization is then done to find the piezoresistive coefficients by changing them until the model prediction fits the test data. These coefficients can be used to predict angular displacement from resistance measurements in fully integrated torsional sensors. Potential applications are discussed, and a torsional accelerometer is presented.

No description available.

The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”