Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 85-98). Also available via the Internet.

Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Includes bibliographical references (leaves 189-195). Issued in print and online. Available via ProQuest Digital Dissertations.

Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.

Thesis (Ph. D.)--University of California, Santa Cruz, 1993. / Typescript. Includes bibliographical references (leaves [238]-254).

Thesis (Ph. D.)--Illinois State University, 2000. / Title from title page screen, viewed May 4, 2006. Dissertation Committee: John Shields (chair), Lucia Getsi, Nancy Tolson. Includes bibliographical references (leaves 179-190) and abstract. Also available in print.

No description available.

In this study, I attempted to understand how a history of literacy in the U.S. continues to shape the ways in which Latino/a/e/x students learn in English classrooms today. Through the work of scholars such as Gloria Anzaldúa and Ofelia Garcia and with authors such as Richard Rodriguez, Judith Ortiz Cofer, and Lorna Dee Cervantes, I have come to believe that Latino/a/e/x students often experience years of an education system that views literacy so narrowly that it can silence languages that do not fit the perceived academic language of standard English. To understand what an expanded view of literacy could possibly look like in this study, I turned to scholars including The New London Group (1996), Cary Jewitt (2017), and Gunther Kress (2017) who study multimodality, as well as other researchers who examine digital literacies, particularly digital storytelling, in both formal and informal spaces. I did this in an effort to understand how multimodality and narrative might impact my Latino/a/e/x students’ learning and creative processes in the classroom. In this study, I wanted to learn what happens when the notion of literacy is expanded in my classroom and my Latino/a/e/x college students incorporate digital literacies to create their own digital stories in our English composition class. More specifically, I wanted to have a clearer understanding of the processes students experience as they embark on their digital storytelling journey. What I have learned throughout this journey is that digital storytelling does, indeed, offer another lens through which to view Latino/a/e/x students in my English composition classroom and their work and that perhaps it is time to see how digital storytelling might fit into the larger field of English education.

Thesis (Ph.D.) -- La Trobe University, 2006. / Research. "A thesis submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy, La Trobe Law, Faculty of Law and Management, La Trobe University, Bundoora, Victoria". Includes bibliographical references (leaves 318-338). Also available via the World Wide Web.

“Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship. / text

In August 2000, Justice O�Loughlin of the Federal Court of Australia handed down the decision in Cubillo v Commonwealth in which Lorna Cubillo and Peter Gunner took action against the Commonwealth Government, arguing that it was vicariously liable for their removal from their families and communities as children and subsequent detentions in the Northern Territory during the 1940s and 1950s. The case is the landmark decision in relation to legal action taken by members of the Stolen Generations. Using the decision in Cubillo as a key site of contestation, my thesis provides a critique of legal positivism as the dominant jurisprudential discourse operating within the Anglo-Australian legal system. I argue that the function of legal positivism as the principal paradigm and source of authority for the decision serves to ensure that the debate concerning reconciliation in Australia operates rhetorically to maintain whiteness at the centre of political and discursive power. Specifically concerned with the performative function of legal discourse, the thesis is an interrogation of the interface of law and language, of rhetoric, and the semiotics of legal discourse. The dominant theory of evidence law is a rationalist and empiricist epistemology in which oral testimony and documentary evidence are regarded as mediating the relationship between proof and truth. I argue that by attributing primacy to principles of rationality, objectivity and narrative coherence, and by privileging that which is visually represented, the decision serves an ideological purpose which diminishes the significance of race in the construction of knowledge. Legal positivism identifies the knowing subject and the object of knowledge as discrete entities. However, I argue that in Cubillo, Justice O�Loughlin inscribes himself into the text of the judgment and in doing so, reveals the way in which textual and corporeal specificities undermine the pretence of objective judgment and therefore the source of judicial authority.