Research evaluating the surgical repair of femoral neck fractures in dogs is limited. This study evaluated the in vitro mechanical properties of canine femoral neck fractures stabilized with two medium Orthofix® Partially-threaded Kirschner Wires (Orthofix pins), a 2.7 mm cortical bone screw placed in lag fashion with anti-rotational Kirschner wire (K-wire), and three 1.1 mm divergent K-wires. This study compared the mean compressive pressure, compressive force and area of compression created by the insertion the Orthofix pins and a 2.7 mm cortical bone screw placed in lag fashion. Monotonic testing was used to quantify mechanical strength and pressure sensitive film was used to quantify compression. There was no significant difference in the stiffness or load to failure for the three repair methods evaluated. There was no significant difference in the compressive pressure, compressive force or area of compression in osteotomies stabilized with Orthofix pins and 2.7 mm bone screws.

The American Dream and Other Fiction is a collection of four magical realism short stories focusing on the idea of revealing the human condition through the ridiculous. Although the four stories are written independently of each other, they all carry the similar motif of entrapment. This collection also remarks on the growing absurdity of American capitalism and political correctness. The critical introduction analyzes techniques of verisimilitude in magical realism by traditional authors as well as the techniques of more contemporary magical realists. The collection focuses specifically on the techniques of frontloading and authoritative voice.

AN ABSTRACT OF THE THESIS OFRosemary Pearl Moore, for the Master of Fine Arts in Playwriting, presented on April 3, 2023, at Southern Illinois University Carbondale. TITLE: A LOVE LETTER TO PAST, PRESENT, & FUTURE FRIENDS: THE DEVELOPMENT PROCESS OF MURPHY’S LAW OF PRETENDERS MAJOR PROFESSOR: Dr. Jacob JuntunenThis thesis examines the process of taking Murphy’s Law of Pretenders from pre-writing to a full production at Southern Illinois University in March 2023 and my own growth during this time. My inspiration ranges from different aspects of pop culture to looking a staged versions of Little Women by Louise May-Alcott to The Lion, the Witch, and the Wardrobe by C.S. Lewis. Murphy’s Law of Pretenders continues to explore my style of taking realism and fantasy while exploring deeper issues like mental health, and the idea of what forms does friendship take and what does it do to us.Chapter One examines the process before I started writing the play. Chapter Two explores the development process from the feedback and advice that was provide for me while I was here at Southern Illinois University. Chapter Three dives into the production process here with the director, actors, and designers in The School of Theater and Dance here at Southern Illinois University. Chapter Four details what I’ve learned from my experiences here at Southern Illinois University, and what I hope for the future of my writing. Chapter Five is the play itself, Murphy’s Law of Pretenders, where you will find what I am most proud of from this process.

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This collection of original poems focuses on the effect of not only small-town Midwest, but also the generational weight of inheritance in this place—the ties and expectations of the land, patterns of alcoholism, and undiagnosed mental illness. As a writer, I am most interested in place and how it informs, shapes, and effects individuals. My poems navigate a lifetime of familial losses, the haunting of them, and the anticipation of a greater one to come. They also consider, challenge, and instill the agency of women—what that looks like over time, specifically, in the rural Midwest. Additionally, my project attempts to see how folklore and poetry can work together as they are both born from the need to understand the world. With my family’s Irish heritage in mind, I reference Irish folklore and family curses as a way to address alcoholism and family trauma, but also as an outlet for the speaker trying to navigate understanding herself and the roots she wants to establish. Each poem placed in Ireland is a moment of direct growth for the speaker, a space where they are still influenced by their family history but not ruled by it. While there are only a few poems physically placed in Ireland, folklore and cultural references can be found throughout the thesis to demonstrate parallels between where the family originated and where it is now—how behaviors, illnesses, expectations, and stories have been passed down. My thesis was heavily influenced by poets such as Margaret Atwood, Louise Glück, and Lucille Clifton; John McCarthy and Joy Priest; Sandy Longhorn and Catherine Pond; and Franny Choi and Noelle Crook. Work by these poets showed me how to weave familial relationships with the landscape, how to treat the landscape as an additional character and the importance of maintaining that throughout each poem, how to embrace and challenge ideas of femininity, and how to allow images to become strange. Much of my work attempts to understand and balance the clash of comfort and trauma regarding family and home. My hope for this project is to emphasize the value in understanding family history, in embracing and appreciating unique familial cultures. I want my poems to validate readers who feel trapped by their family’s roots and show how they can both appreciate those roots and abandon them.

This dissertation proposes a theory of architectural representation based on a close examination of Carlo Scarpa's drawing practices at the Brion cemetery located in San Vito d'Altivole, Italy. Informed by the literary practice of magic-realism and Massimo Bontempelli's thoughts on the ontology of the real, it projects Scarpa's drawing practices into larger questions of theory that parallel and intersect Giambattista Vico's philosophy of knowledge as making. Architectural drawing is understood herein as a practice that belongs in the realm of magic. In theorizing on the intersection between magic and architectural representation, this dissertation focuses in the twentieth century, where magic in its original sense had seemingly become an obsolete tradition. Magic-realism acts as the contemporary theoretical framework to investigate the question. Such a framework is relevant because the movement acknowledged the perennial gap between how reality is defined and what reality really is. The movement intensified the notion that reality is not given but must be constructed, and its point of departure in the modern world is not something extraordinary, but that which circumvolves everyday life. Structured in nine chapters that investigate a very specific set of drawings, Scarpa's way of working emerges through a very close reading of minimal events that become the locus for the theory proposed here. Architectural drawing understood as place of ambiguous realities offers a unique approach to architects' imagination. Such realities, however, are not a product of aleatory allegories, but they emerge within an immersive and witty approach to the work and the world. / Ph. D.

The gradual blending of classical science and epistemology with indigenous/traditional practices and modes of understanding (particularly magic and religion) in the early western Middle Ages tends to be misunderstood. The purpose of this study is to address the reason(s) why the early medieval West has been labeled an irrational, unscientific "Dark Age" in order to point out that this conception's existence has more to do with limited historical perspectives than with reality. The anachronistic superimposition of modern presuppositions and methodological expectations is a very old phenomenon. Ironically, however, it has crept into the history of science and extended to ostensibly objective "scientific" historiography to such a degree that dismissiveness regarding the other ways of knowing that have informed our scientific and epistemological development frequently tends to obscure historical continuity. My goal in this undertaking is to firmly establish how we may understand that the intellectual revolution beginning in twelfth-century Europe was founded on a rich and multifarious tradition of knowledge and understanding; the preceding seven or eight centuries of the early Middle Ages was not one of intellectual "darkness" and should not be discarded as such. The approach I have taken is intended to demonstrate, rather than simply state, this goal by roughly imitating of the process of intellectual transmission in the early Middle Ages. Therefore, primary sources are supplemented by numerous secondary interpretations from various academic disciplines in the hope that collecting and reforming ideas in this fashion will draw out the inherent connectivity of ideological thought structures and approaches to the natural world. / Master of Arts