Since the Tax Reform Act of 1986, Low-Income Housing Tax Credit (LIHTC) has been a major source of affordable housing provision for low to middle-income families. Meanwhile, growing concern about potential decrease of property value in neighborhoods has been the main obstacle for most of the affordable housing projects. As a result, LIHTC projects are facing backlash from neighborhoods near the potential affordable housing projects – NIMBYism (Not In My Back Yard). However, during decades, it has been always controversial whether LIHTC is actually affecting neighborhood property value in negative way. This study tests the hypothesis that the LIHTC projects affect negatively on neighborhood single-family home property value in Austin, Texas. Single-family homes within 2000-feet radius from the selected LIHTC projects were analyzed based on the Travis County Appraisal District annual appraisal values between 1993 and 2008. / text

This diploma thesis focuses on the sociolinguistic analysis of the language of female characters in a play, musical and film. The theoretical part summarizes sociolinguistic literature and it also scrutinizes the current findings of the influence of gender, social class and identity on language. These concepts are discussed both from linguistic and sociological point of view. The practical part is aimed at the analysis of woman's language in George Bernard Shaw's Pygmalion and its two adaptations, the musical My Fair Lady and the film Pretty Woman. It deals with the change of the main characters that become representatives of upper social class. The change is discussed diachronically in terms of language, especially pronunciation, lexis, grammar and style, but also in terms of identity and social class.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-06-11T12:11:53Z No. of bitstreams: 1 Stela Aparecida Leite Lima.pdf: 1714960 bytes, checksum: ebfe237613060d2943c7d44f19761756 (MD5) / Made available in DSpace on 2018-06-11T12:11:53Z (GMT). No. of bitstreams: 1 Stela Aparecida Leite Lima.pdf: 1714960 bytes, checksum: ebfe237613060d2943c7d44f19761756 (MD5) Previous issue date: 2017-02-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / This dissertatiom is included in the research line called Text, Discourse and Social Relations, and the theoretical field for its development is linked to Discourse Analysis of Michel Pêcheux’s filiation. The research establishes considerations on the Movement O Sul é o Meu País (OSMP), a civic association, minded to emancipate the social and administrative organization of three southern Brazilian states of the Federative Republic. The central objective is to understand the thoughts in circulation by the OSMP Movement and the senses that follow. Therefore, we focus our attention on the Manifesto Libertário (2000/2017), the group's institutional document. Given the objective, we present the guiding problems of this research: How does the Movement sustain and fortify secessionist discourse, keeping it alive? What are the group discursive strategies for the promotion of some senses and not others? For the interpretative gesture, we make cuts that enable us to sample the regularities present in the discursive functioning of the OSMP, and the methodological procedures we take to analyze the selected discursive sequences are: i. discursive interlocution; ii. excess and split statement; and iii. strangeness and transverse discourse. The study is divided into five chapters: the first is destined for the contextualization of the Movement, dealing with its constitution and the imaginary that permeates the materiality of the Manifesto. The second is reserved for an understanding of the ideological formation and the discursive formation, in which we configure the separatist discursive formation in which the group subscribes as subject-position OSMP. The third is dedicated to understanding the conditions of production of separatist discourse. The last two are for the analytic-interpretative procedure. In this way, we work on the sense effects produced by the Movement. It can be observed some legitimate and legal senses for the separatist discourse, demanding a true-effect of its ideological assumptions, and others that can go through its saying, jeopardizing its goal. Between sayings and unsaid, implications of meanings can be on, promoting their ideal, the group spreads intolerance in our society / Esta dissertação inscreve-se na linha de pesquisa do Programa de Pós-Graduação em Letras, denominada Texto, Discurso e Relações Sociais, e o campo teórico para o seu desenvolvimento está vinculado à Análise de Discurso, com filiação em Michel Pêcheux. A pesquisa estabelece reflexões sobre o Movimento O Sul é o Meu País (OSMP), reconhecido como uma associação cívica que se propõe a viabilizar a emancipação política e administrativa de três estados do sul do Brasil, da República Federativa. O objetivo central é compreender os saberes colocados em circulação pelo Movimento OSMP e, os sentidos que daí advêm. Para tanto, a atenção centrou-se no Manifesto Libertário (2000/2017), documento institucional do grupo. Dado ao objetivo, eis as problemáticas norteadoras do trabalho: como o Movimento sustenta e fortifica o discurso secessionista, mantendo-o vivo? E que estratégias discursivas são utilizadas pelo grupo em promoção de alguns sentidos e não de outros? Para o gesto interpretativo, efetuaram-se recortes que possibilitaram uma amostragem das regularidades presentes no funcionamento discursivo do OSMP, cujos procedimentos metodológicos tomados para análise das sequências discursivas selecionadas são: i. interlocução discursiva; ii. excesso e enunciado dividido; e iii. estranhamento e discurso transverso. O estudo divide-se em cinco capítulos: o primeiro destinado à contextualização do Movimento, tratando a sua constituição e o imaginário que perpassa a materialidade do Manifesto; o segundo, reservado para a compreensão da formação ideológica e da formação discursiva, em que foi configurada a formação discursiva separatista na qual o grupo se inscreve enquanto posição-sujeito OSMP; o terceiro, dedicado à compreensão das condições de produção do discurso separatista; e os dois últimos, propostos para o procedimento analítico-interpretativo. Nesse caminho, se trabalhou os efeitos de sentido produzidos pelo Movimento. Dentre eles, temos sentidos em prol da legitimação e legalidade do discurso separatista, a busca por um efeito de verdade de seus pressupostos ideológicos, e outros, nocivos, que, podem atravessar seu dizer, colocando em risco seu objetivo. Entre ditos e não-ditos, as implicações de sentidos podem se dar quando, ao promover seu ideal, o grupo acaba por disseminar a intolerância em nossa sociedade.

Although Willa Cather's My Antonia and Sarah Orne Jewett's The Country of the Pointed Firs have been highly regarded by numerous literary critics, neither text conforms to conventional expectations for narrative content or structure. Episodic in construction, the novels lack such traditional narrative ingredients as conflict, action, drama, and romance. Furthermore, explicit connections between episodes and stories related within the narratives are not drawn for the reader. Formalist and structuralist critics have approached the problem of structure in Cather and Jewett's works by employing conventional literary tools of analysis, by "unearthing" the narrative elements that we as readers and critics have come to expect: identifiable structure, a plot complete with conflict and resolution, and characters that develop. Likewise, many feminist critics have sought to uncover in Cather and Jewett's work the ideal elements for a woman's text such as the employment of a feminine method of writing. Unfortunately, both approaches utilize interpretive templates that would pin down meaning and thus "solve" the texts' seeming peculiarities. Instead of prescribing structure according to accepted conventions or ideals, this study attempts to describe the narrative construction of My Antonia and The Country of the Pointed Firs. I argue that these texts are not structures in a traditional linear fashion, but rather are "conversations" among a variety of "readers" -the narrator, other characters, and the actual readers of the text - who attempt to construct an understanding of the world around them, or the meaning of the overall story. The chapters in this thesis explore this dialogue present in Cather and Jewett's work; the various participating, as well as their proposed constructions. Both Cather and Jewett, through their innovative narrative techniques, dramatize the human need to make sense of life, our capacity to create meaning, and at the same time the fallibility of such constructions. By employing a form which resists conventional strategies of explanation, Cather and Jewett encourage an interpretative approach that favors cumulative readings, a certain responsiveness, and an allowance for indeterminacy.

The major purpose of this study was to evaluate the impact of a science course for prospective elementary teachers on their perceptions of the learning environment, attitudes towards science, and understandings of the nature of science. The sample consisted of 525 female students enrolled in 27 classes of A Process Approach to Science (SCED 401) at a large urban university in Southern California. Also comparisons were made between SCED 401 and the students' previous laboratory course with regard to the learning environment and attitudes. Perceptions of the learning environment were measured using scales from the Science Laboratory Environment Inventory (Open-Endedness and Material Environment) and the What Is Happening In this Class? (Student Cohesiveness, Instructor Support, Cooperation, Investigation). Attitudes towards science were assessed using the Enjoyment of Science Lessons scale from the Test of Science-Related Attitudes (TOSRA). Students completed the Nature of Scientific Knowledge Survey (NSKS) based on their entire science education experience-not just the one laboratory class which they had taken previously. Comparisons were then made with their understandings after having completed SCED 401. Finally, associations between the learning environment and the student outcomes of attitudes and understandings of the nature of science were explored. This study embraced the current trend in classroom learning environments research of combining quantitative and qualitative methods. Qualitative components included items from the open-ended questionnaire, Views of Nature of Science, interviews with students, and an analysis of concept maps. The qualitative findings expanded and complemented the quantitative results and, in several cases, supported the construct validity of scales assessing the learning environment and attitudes. / Another purpose of this study was to investigate the effects of using real research data for growth rates of four species of Antarctic seabirds (i.e., implementing an 'intervention') in six classes of SCED 401. The objective of the intervention was to increase the authenticity and quality of an experimental design project. In addition, the wildlife biologist who collected the data guided the students during the project. Although the intervention did not lead to an appreciable improvement in students' perceptions of the learning environment, differences between intervention and nonintervention classes were statistically significant for Enjoyment of Science Lessons from the TOSRA and for Creative from the NSKS (effect sues were 2.64 and 2.06 standard deviations, respectively). Results of this study indicated that during a factor analysis, the large majority of learning environment items belonged to their a priori scale (43 out of 46 items had factor loadings above 0.40) A valid instrument for use with prospective elementary teachers was produced by combining relevant scales from the Science . Laboratory Environment Inventory and the What Is Happening In this Class? A weaker factor structure was found for the Nature of Scientific Knowledge Survey. However, by moving close to half of the -faulty' items from the NSKS, the internal consistency reliability of scales improved considerably. This study also found large and statistically significant differences between students' previous laboratory class and SCED 401 for all six leaning environment scales. The largest difference was found for the level of Open-Endedness (effect size was 6.74 standard deviations). / A statistically significant difference also was found for Enjoyment of Science Lessons (effect size was 2.98 standard deviations). Differences were not as dramatic with regard to understandings of the nature of science, although differences for two scales (Creative and Unified) from the NSKS were positive and statistically significant. This study replicated past research by finding statistically significant positive correlations between all six learning environment scales and Enjoyment of Science Lessons. However, by far, Instructor Support had the largest independent association with enjoyment, using both the individual and class mean as the units of analysis. A positive link between a favorable leaning environment and the student outcome of understanding nature of science also was found. This research makes a distinctive contribution to the learning environments field because it is the first study to investigate laboratory classroom environments at the university level with prospective elementary teachers. The study is also the first to build a bridge between the classroom learning environment and the student outcome of understanding the nature of science. The study has implications for undergraduate laboratory course instructors, for science teacher educators who develop and instruct in elementary teacher preparation programs, and for future elementary teachers and the science learning of their future students.

<p>Syftet med denna uppsats är att studera rumsligheten i två musikalfilmer, My fair lady (Cukor, 1964) och Moulin Rouge (Luhrmann, 2001), och undersöka huruvida den rumsliga estetiken har någon funktion för filmerna i deras egenskap av just musikaler. Analysen är uppbyggd främst kring Richard Dyers teori om musikalfilm som förmedlare av utopiska värden genom bland annat dess komposition som förmedlar glädje och energi, men också kring delar av Rick Altmans musikalgenreteori, Jacques Aumonts bok The Image som behandlar bildens rumsliga aspekter samt dessutom antaganden om ljudets betydelse i formandet av filmens rum, från texter av Michel Chion och Claudia Gorbman. Studien är begränsad till endast de nämnda två filmerna, uppsatsen gör inte anspråk på att visa varken något generaliserande mönster för musikaler i allmänhet eller någon historisk utveckling. Däremot görs en jämförelse mellan de två analysobjekten. Några nyckelbegrepp i analyserna är glädjekomposition, expansionsmotivet, kulturellt rum, haptiskt seende, plasticitet och utopisk representation. Uppsatsens huvuddiskussion behandlar genom dessa begrepp huruvida filmernas rumsliga utformning kan sägas förmedla utopiska lösningar till åskådaren på de problem som finns i det verkliga samhället. Detta kan göras på både en representerande nivå och en icke-representerande, där bildernas grundläggande element står som förmedlande tecken. Båda filmerna visar sig förmedla utopisk känsla på den sistnämnda nivån, medan My fair lady också gör det på den rent representerande nivån. Moulin Rouge visar däremot ett filmiskt rum som innehåller lika svåröverkomliga problem som verkligheten.</p>

This dissertation presents thirty-two poems and an introduction to the collection. In After My Third Tattoo, the poems’ speaker explores methods with which she perceives and constructs reality. Her exploration is the dramatic situation of each poem and the plot of the collection. The poems’ speaker regards physical objects, recalls experiences, and discovers how these objects and experiences hold psychological significance for her. With the intellectual and emotional associations she makes among objects and experiences, the speaker constructs, repeats and varies image patterns. Through her associations, she perceives overlaps in: the rational and emotional, the earthly and divine, the order imposed on her by society and the order that she builds through her own agency, and her perception and the perceptions of others. Finding agency through meditation and language liberates the speaker from identity-making terms that the lesbian speaker rejects.

ABSTRACT A COMPARATIVE ANALYSIS OF SENSE OF BELONGING AS A PART OF IDENTITY OF THE COLONIZER AND THE COLONIZED IN THE GRASS IS SINGING AND MY PLACE Cansu G&ouml / ktan M.A., in English Literature Supervisor: Assist. Prof. Dr. Margaret S&ouml / nmez May 2010, 205 pages This thesis investigates how two loosely autobiographical works unveil the effects of colonization on their major characters in terms of their identities and senses of belonging. The Grass Is Singing by Doris Lessing, a second-generation member of the colonizer, and My Place by Sally Morgan, a third-generation hybrid Australian Aborigine, are selected because both novels essentially deal with colonial issues by depicting their major characters in a process of maturation within a colonial and post-colonial framework, the former using a semi-autobiographical narrative tone and the latter using an Aboriginal version of autobiography, which integrates oral tradition and storytelling. These two books reveal that a sense of identity is closely related to a sense of belonging and that both are fundamentally affected by the colonial situation. The effects of a sense of identity and a sense of belonging, which boil down to the demise or survival of the individual, interacts with family and society, physical environment, and race issues that the thesis investigates by dedicating a chapter to each. The method used in this point-by-point comparative analysis is to approach the issues of sense of belonging and identity in a colonial context with a close reading of the two works, to find out what the texts say for themselves regarding the effect of family and society, environment, and race as depicted in The Grass Is Singing and My Place. The theoretical background that is most relevant to this study is post-colonial literary theory, although here it is taken as secondary to the close reading that is the thesis&rsquo / s primary approach to these works. Keywords: Doris Lessing The Grass Is Singing, Sally Morgan My Place, Colonial and Post-colonial Literature

Syftet med denna uppsats är att studera rumsligheten i två musikalfilmer, My fair lady (Cukor, 1964) och Moulin Rouge (Luhrmann, 2001), och undersöka huruvida den rumsliga estetiken har någon funktion för filmerna i deras egenskap av just musikaler. Analysen är uppbyggd främst kring Richard Dyers teori om musikalfilm som förmedlare av utopiska värden genom bland annat dess komposition som förmedlar glädje och energi, men också kring delar av Rick Altmans musikalgenreteori, Jacques Aumonts bok The Image som behandlar bildens rumsliga aspekter samt dessutom antaganden om ljudets betydelse i formandet av filmens rum, från texter av Michel Chion och Claudia Gorbman. Studien är begränsad till endast de nämnda två filmerna, uppsatsen gör inte anspråk på att visa varken något generaliserande mönster för musikaler i allmänhet eller någon historisk utveckling. Däremot görs en jämförelse mellan de två analysobjekten. Några nyckelbegrepp i analyserna är glädjekomposition, expansionsmotivet, kulturellt rum, haptiskt seende, plasticitet och utopisk representation. Uppsatsens huvuddiskussion behandlar genom dessa begrepp huruvida filmernas rumsliga utformning kan sägas förmedla utopiska lösningar till åskådaren på de problem som finns i det verkliga samhället. Detta kan göras på både en representerande nivå och en icke-representerande, där bildernas grundläggande element står som förmedlande tecken. Båda filmerna visar sig förmedla utopisk känsla på den sistnämnda nivån, medan My fair lady också gör det på den rent representerande nivån. Moulin Rouge visar däremot ett filmiskt rum som innehåller lika svåröverkomliga problem som verkligheten.

'The core of the theatre is an encounter. The [character) who makes an act of self revelation is, so to speak, one who establishes contact with himself. That is to say, an extreme confrontation, sincere, disciplined, precise and total - not merely a confrontation with his thoughts, but one involving his whole being from instinct and his unconscious right up to his most lucid state'. (Jerzy Grotowski, in Catron, 2000:19) This dissertation investigates the construction of the marginalised self, an identity, and the impact that context, pre and post-apartheid South Africa, may have on that constructed masculine identity. This examination of the self is mediated through the medium of theatre. It is this 'encounter', which theatre offers, that becomes an important instrument through which the self, society and social issues may be examined and critiqued; and it is through this critique that change may be sparked and brought about. This investigation of the self, the construction of a masculine identity, is looked at through the writings of, amongst others, Stuart Hall (1996 (a) & 1996 (b); 1997), Lawrence Grossberg (1996), Judith Butler (1993, 1999), Robert Connell (1987; 2002) and Robert Morrell (1998, 2001(a) & 2001 (b)). Further discussions around the construction of identity and its relationship to context (a multicultural and multiracial context) is examined via the writings of Richard Schechner (1991) and Patrice Pavis (1992). The theatrical forms of self-standing monologues and stand-up comedy are useful forms through which 'protest' against the status quo may be engaged. These forms are utilised by Quincy Fynn (self-standing monologues) and Kaseran Pillay (stand-up comedy); and it is through their performance works Walking like an African (2004) and My Cousin brother (2003), respectively, that this dissertation looks at their challenges to hegemonic forms of masculinity. / Thesis (M.A.)-University of KwaZulu-Natal, 2006.