Thesis (Ph. D.)--Pacific Graduate School of Psychology, 1997. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 179-189).

Thesis (M.E.)--University of Canterbury, 2007. / Typescript (photocopy). "March 2007." Includes bibliographical references (p. 123-127). Also available via the World Wide Web.

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Greg Smith, committee chair; Angelo Restivo, Gayle Austin, Shirlene Holmes, Thomas Flynn, Raphael Miller, committee members. Electronic text (252 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 12, 2007. Includes bibliographical references.

This research centres on the Balinese performance tradition known as topeng which translates as Balinese masked dance-drama. In Bali this genre is performed traditionally in spaces reserved for religious ceremonies. The research questions the extent to which, and how, it may be possible for a non-Balinese person to embody a culturally coded, sacred object (the mask) and how a woman is able to make meaning and express herself within a genre which is traditionally the preserve of men. The research has therefore sought to develop an individual and intercultural approach to both the design of new masks and their performance. The thesis critiques modes of cultural understanding in relation to notions of balance, based on colonial and dualistic trajectories between Bali and the UK. Alternative modes of exchange explore in-between and hybrid space that is informed by Lo and Gilbert’s dynamic model of intercultural practice which they visualise as a ‘spinning disc held by an elastic band’ (Gilbert and Lo 2002: 45). The key issues explored are notions of training; the relocation of ritual and the cultural specificities of ‘home’; mask-making and design; non-Balinese stories on which to base alternative performances of topeng, ones that more strongly position female characters; and finally the embodiment of Balinese masks from a traditional and also a somatic perspective. The practical form the research takes is through making masks and devising performances, the outcomes of which form a part of the thesis. The thesis both discusses and practically demonstrates how particular modes of embodiment, for instance cakra work, somatics and experiential anatomy may serve as strategies to communicate to a Western perspective how to bring ‘life’ to the mask, how to make it ‘work’ from a Balinese position and how these modes can assist in the process of intercultural (self) translation.

In this article, the author dissects and refracts a single, defining moment in his life using autoethnography and the lenses of specific communication and social theories. The author mines the moment in first, second, and third person to uncover the different responses to overwhelming emotions ranging from the noble to the shameful in response to his father’s “coming out of the closet.” A torrent of emotion took the author by surprise and is the total moment of his analysis in this article. The author scrutinizes the multiple ways in which this moment was a release, a turning point, an ending, a beginning, bittersweet, hateful and hate filled, selfish, guilt ridden, and loving. Through multiple retellings of the event, like the film Groundhog Day, the author presents the moment in different narrative formats, from multiple perspectives, with relevant quotations and passages to thoroughly dissect the emotional layers.

In this thesis, different approaches in synthesizing molecular resist are examined, and structure-property relations for the molecular resist properties are studied. This allows for design of resists that could be studied further as either negative or positive tone resists in photolithography. A series of compounds having different number of acrylate moiety, and different backbones were investigated for photoresist application. Thermal curing of acrylate compounds in organic solvent was also examined. Film shrinkage, as well as auto-polymerization was observed for these compounds that make them unsuitable as photoresist material. Furthermore, calix[4]resorcinarenes (C4MR) was chosen as backbone, and the functional groups was selected as oxetane and epoxy. Full functionalized C4MR compounds with oxetane, epoxy and allyl were synthesized. Variable-temperature NMR of C4MR-8Allyl was studied in order to get a better understanding of the structure’s conformers. Energy barrier of exchange (ΔG#) was determined from coalescence temperatures, and was 57.4 KJ/mol for aromatic and vinyl hydrogens and 62.1 KJ/mol for allylic hydrogens.

Taking Paris as its geographical nexus, this dissertation tracks European and African modernist appropriations of African sculpture across a three-tiered historical trajectory spanning from 1905 to 1980. Part I charts engagements with West and Central African masks and statues by the Fauves and Pablo Picasso; Part II assesses the work of pioneering black South African artists Ernest Mancoba and Gerard Sekoto; and Part III chronicles the nationalization of modern art in Senegal under President Léopold Sédar Senghor. Through examinations of the cross-cultural, formal, and politicized dynamics of African sculpture--or so-called art nègre--in modern art discourse and practice on two continents, the dissertation argues that European and African artists shared certain form-based approaches to African objects, coupled with tactical understandings of those objects' cultural origins. The artists diverged--both individually and by movement--insofar as they appropriated African art to different ends reflective of historical period, social context, and personal approach. More broadly, the dissertation argues that the early-20th-century European avant-garde "discovery" of African sculpture became globally significant through its eventual catalytic role for modern art movements in Africa. It argues that some of the most important modernist appropriators of African sculptural forms were African painters who both studied and subverted their European precursors in that practice.

abstract: In the United States, seasonal influenza is responsible for enormous medical costs and lost earnings as well as thousands of deaths. Medical masks are effective non-pharmaceutical preventions for minimizing the spread of illness in the event of an influenza outbreak. However, people in the United States rarely wear face masks the way many people in Asian countries do. In a previous study of public response to the 2009 influenza A H1N1 pandemic, 71% of United States respondents supported the recommendation to wear a mask during the flu outbreak, while only 8% of respondents reported they wore a mask in public to protect themselves from getting sick. What are the factors that cause this gap? The purpose of this exploratory study is to identify barriers to the wearing of masks among adults in the United States. The research was conducted through an online survey of 84 American residents via the Survey Monkey Audience service to collect their opinions on influenza, mask-wearing, and the perceived barriers to wearing face masks for flu prevention. The results are presented in the descriptive analysis and the non-parametric analysis. The results showed a barrier against social interaction is a significant factor (p=0.003) regarding the impact between flu experience and the perceived barriers. The participants believed mask-wearing may lead other people difficult to perceiving their feelings. Regarding the relationship between mask-wearing experience and the perceived barriers, there were significant differences in perceived benefits (p=0.028), perceived risks (p= 0.003), and social value (p=0.021). Participants who have had worn masks had perceived higher benefits of mask-wearing, higher risks of catching the flu, and a higher agreement of importance to protect other people from getting the flu from them. The most common perceived barrier among the participants is product satisfaction. 85.71% of the participants agreed that wearing face masks is uncomfortable. 80.95% of the participants agreed with the importance to wear face masks as it protects other people from getting the flu from them, but only 37.5% of the participants with flu history had worn face masks. By examining barriers to the wearing of masks for influenza prevention, this study can assess public willingness to adopt personal prevention behaviors and provide information for related policies in the future. / Dissertation/Thesis / Masters Thesis Design 2018

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