Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 194-207). Available also in a digital version from Dissertation Abstracts.

This dissertation is a study of the construction of meaning below the word level, specifically how roots and morphemes combine to create verbs, and the contribution of each to the meaning that a verb construes. It uses data from the verb system of Modern Standard Arabic to bring together the theory that roots combine with different structures to produce verbs describing different types of event, and the observation that many roots cannot form verbs on their own, and must combine with other morphemes do to so. The thesis is that Arabic roots lexicalize events, states or things, but remain free to create new meaning in combination with the different verb stems of Arabic, each of which contains one or more morphemes that determine the type of event that a root may come to describe. The findings are that the morphemes present in the different verb stems of Arabic condition verb meaning in four main ways: through reflexivization; through providing an Actor subject argument; through marking plural event phases; and through marking the presence of two relations construed as one event. A root combines with a morpheme that determines the type of event that a verb may describe, and it contributes meaning within the limits set by that morpheme. Thus morphemes do not modify a fixed concept, but root and morpheme create verb meaning together. The implication of this for a theory of meaning below the word level is that the semantic concepts which humans communicate remain relatively constant, but they are expressed at different levels of granularity: at the root level; by combining roots below the word level; by combining roots with morphemes below the word level; and by combining words at the clause level. This opens up avenues for further research to establish the differences, if any, between the meanings construed at these different levels of granularity. / text

This textual analysis examines computer simulations as rhetorical objects and acts. In particular, this work examines scientific simulations from organic chemistry and astrophysics in order to expose how rhetorical and social aspects influence the ad hoc decisions (e.g., setting initial parameters, excluding and adding arbitrary elements, and making other choices) that comprise simulations. Prior works in philosophy, critical theory and technical communication underscore fictional and formal features of simulation. In contrast, this dissertation dissects multiple levels of documents surrounding actual simulations—not only drafts of published articles but also software and code interiors, e-mail and letter correspondence, newsletters and white paper reports—in order to discuss the relational (rather than purely formal) meaning of the simulations. This work also compares simulation to other modes of the scientific imagination—paradox, thought experiments and metaphor, in particular. My findings suggest that simulations hinge upon abductive (rather than deductive or inductive) reasoning and qualify as virtual evidence. Also, while published drafts of simulation articles tidy the ad hoc twists and turns necessary for creating simulations, prior drafts and peripheral documents attest to the fact that organizational affiliations, earlier projects, and rhetorical strategies help establish the scope and meaning of simulation projects. Further, meaning-making takes place well before and long after the article drafting process—in prior incarnations of the work for presentation, in correspondence between article writers and reviewers, and in citations in others’ writing. / text

The present study combines quantitative and qualitative methods to investigate translation strategies applied in a translation of a few chapters in Cat Counsellor, which is a book about cat behaviour. A cognitive approach and translation strategies are the focus of this essay, which arrives at the conclusion that figurative language in general, and conceptual metaphors and hyperboles in particular, are used to manipulate, or rather convince readers of Cat Counsellor of a certain outlook. The translation strategies investigated in this essay are literal translation, transference translation and meaning translation. Of these translation strategies literal translation was applied 70% of the time, which indicates that similar cultures use similar figurative language. It also indicates that the target text and language often benefit from new figurative language rendered in the source language and source text. An important conclusion is that metaphorical language, such as conceptual metaphors and hyperboles may seem easy to translate, while in fact concepts can vary across cultures, which indicate that the translator carefully has to consider his or her translation choices in order to produce an accurate translation.

Background and Purpose: Progressive cerebellar ataxia is a rare neurological condition characterised by uncoordinated movement, and impaired speech articulation. Rehabilitation and physiotherapy in particular, form the cornerstone of healthcare intervention. Little qualitative research has been undertaken to understand the subjective experience of this complex condition. This study explored the experience of progressive cerebellar ataxia, physiotherapy and physiotherapy services from the perspective of people living with this condition. Method: Interpretative Phenomenological Analysis underpinned this inductive qualitative enquiry. Twelve people with a progressive cerebellar ataxia participated in semi-structured interviews. All participants had some experience of physiotherapy. Interviews were transcribed. A case by case idiographic analysis was undertaken followed by a cross case analysis. Findings: Five super-ordinate themes were identified. ‘The embodied experience of progressive cerebellar ataxia’ emphasised the foregrounding of the body, and the disruption of the skilful interaction between body and world. ‘Identity, stigma and disrupted embodiment in public spaces and places’ encapsulated how participants made sense of actual and perceived stigma and discrimination. ‘Lifeworld meets biomedicine: a complex juxtaposition’ described participants’ problematic relationships with healthcare practitioners and their disease-centric world. ‘Wresting control in the face of uncertain and changing forces’ portrayed participants’ attempts to understand and reinterpret their condition on their own terms. ‘Exercise: a multifaceted contributor to managing life with ataxia’ captured the meaning of exercise and physical activity. One over-arching theme, ‘Retaining a homelike way of being-in-the-world’, cautiously indicated that whilst participants described ‘unhomelike’ lifeworlds (uncomfortable and disturbing); they simultaneously held onto, and sometimes realised, the possibility of ‘homecoming’, for example through the generation of new modes of belonging. Conclusion: This study provided a detailed, phenomenological account of the lived experience of progressive cerebellar ataxia. New insights were developed that have the capacity to inform not only physiotherapy practice but also other healthcare disciplines. New avenues for future research were also identified.

published_or_final_version / abstract / Philosophy / Master / Master of Philosophy

published_or_final_version / Psychology / Doctoral / Doctor of Philosophy

published_or_final_version / Psychology / Doctoral / Doctor of Philosophy

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This thesis examines _The Desert Music_ by Steve Reich in the context of the composer's artistic perspective and advocates studying the subjective listening experience as a tool for musical analysis. Challenging conventional approaches in musicology and music theory, this work examines how a specific analytical approach in turn shapes the values assigned to that work. Systematic documentation of the author's listening experience is presented as an application of this premise and as a template to use in subsequent investigations of how other listeners respond to the work. The author concludes, mirroring the ideas implied in _The Desert Music_ itself, that instead of suppressing individual responses as opinions too myriad and divergent to be relevant, we should recognize that these reactions are products of shared cultural experience and that discussing them collectively may lead to powerful revelations about artistic meaning that may not emerge any other way.