This study investigated the influence of Tyler Perry‟s House of Payne and Meet the Browns on black viewers‟ racial identity, based on a survey of 145 members of four predominantly African American churches in the Central Florida area. Mirroring Allen, Dawson, and Brown‟s (1989) model of an African American racial belief system, this study proposed that both shows would positively influence three dimensions of the black identity including closeness to blacks, black separatism, and the belief in positive stereotypes about blacks, while negatively influencing the dimension that emphasizes negative stereotypes about blacks. Socioeconomic status and religiosity were also hypothesized to predict exposure to both shows. The results show that while House of Payne positively influenced two dimensions of the black identity including closeness to blacks and the belief in positive stereotypes about blacks, Meet the Browns did not have a statistically significant relationship with any of the dimensions of the black identity. Additionally, results showed mixed support for the relationship between socioeconomic status, religiosity, and show exposure. While education had a negative relationship with exposure to both House of Payne and Meet the Browns, the income variable revealed no significant results with either show. Lastly, religiosity was shown to be a significant predictor of exposure to House of Payne, but not Meet the Browns. The findings suggest that Perry‟s shows may be considered by viewers as more beneficial than harmful to viewers to their racial identity and experience, which contradicts the critiques of his images as reverberating with negative stereotypical images of the past. Findings also suggest the importance of education and religion to black socialization patterns.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Stephanie A. Rolley / The Urban Land Institute / Gerald D. Hines Student Urban Design Competition offers teams of multi-disciplinary graduate students the opportunity to address a large scale site that presents complex challenges requiring practicable, innovative solutions reflecting responsible land use. Solutions must incorporate design, planning, market potential, market feasibility, and development. Some of the brightest students from universities across the United States and Canada compete annually, incorporating bold ideas, outstanding graphics, and great presentations in order to win the competition. The scale of the competition and the quality of entries makes it difficult to advance from the initial submission round to the final four entries selected for the final phase of the competition. Entering the competition is a complex process requiring adherence to a multitude of rules and regulations about team formation, design solutions, financial information, presentation materials, and deadlines. This study documents the process of one student team entering the 2009 competition. Analysis of previous competition responses and principles of urban design theory informed an innovative design solution that incorporates sustainability, livability, and connectivity. This project analyzes previous project entries, looking for patterns and indicators to guide the competition response. Combining the analysis and design philosophy, which utilizes specific sustainable landscape architectural principles, forms the framework of the design solution. The response focuses on process-driven design implementing sustainable frameworks that account for existing an emergent ecologies, historical and cultural relevance, energy efficiency, hydrological patterns, and public transportation. Results of the study led to conclusions regarding team organization, teamwork, graphic composition, and presentation that will be beneficial for future competition entrants.

This study explored media discourse of gender violence against Black women in Black contemporary films. Four Tyler Perry films were examined using a novel, qualitative and analytical framework: Black Feminist Discourse Analysis. Discourses that were studied include, but were not limited to: portrayals of gender violence and victims, character dispositions and interactions, stereotypes, relationship dynamics as well as portrayals of race, gender, sexuality and religion. The use of new and existing controlling images based on systems of race, gender, sexuality and religion were revealed in a transitional and systemic model. Common themes across the films are provided. This research closes with concluding assertions grounded by existing literature and the current study’s findings, as well as recommendations for future film writing and production and implications for social work.

For this study, a web-based survey method was used as a means of collecting data to test a predictive model of education, supervised clinical experience (SCE), age, human services experience (HSE) and cognitive complexity. The theoretical framework for the study was Perry's (1970; 1999) scheme of intellectual development. The sample consisted of 332 counseling and social work students in graduate training programs in four different regions of the United States. The instruments used in the study were a researcher-developed demographic questionnaire and the Learning Environment Preferences (LEP) instrument (Moore, 1987). The results of the hierarchical regression analysis indicated that education and human services experience predicted a significant proportion of the variance in cognitive complexity. However, age and supervised clinical experience did not significantly predict any of the variance in cognitive complexity. Additional analyses were conducted to examine the effects of gender, ethnicity, programs, and earned degrees on a measure of cognitive complexity. Results of the Analyses of Variance (ANOVAs) did not reveal significant gender, ethnicity, program differences; however, as expected there were differences in terms of previously earned degree. Students who previously earned master's degrees had significantly higher cognitive complexity scores than students who had only earned a bachelor's degree. This study provided partial support for Perry's theory of intellectual development. The study also has implications for supervision, education and training of students in counseling and related fields.

Joseph Raz has developed a concept of authority based on the special relationship between reasons and action. While the view is very complex and subtle, it can be summed up by saying that authorities are authorities insofar as they can mediate between the reasons that happen to bind their subjects and the subjects’ actions. Authorities do this by providing special reasons via directives to their subjects. These special reasons are what Raz calls “protected reasons.” Protected reasons are both first-order reasons for action and second-order “exclusionary reasons” that exclude the subject from considering some reasons in the balance of reasons for or against any action. I first make clear what Raz’s view of authority is, and I then defend this view from some contemporary critics.

xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation examines the relationship between British and American conceptualizations of the Anglophone Caribbean and the way that Anglophone Caribbean fiction writers and filmmakers tend to represent the region. Central to my project is the process of reexportation, whereby Caribbean artists attain success at home by first achieving renown abroad. I argue that the primary implication of reexportation is that British and American conceptualizations of the Anglophone Caribbean have had a determining effect upon attempts by Anglophone Caribbean fiction writers and filmmakers to represent the region. Chapter I introduces the dissertation. Chapter II, "The 'Double Audience' of Samuel Selvon and The Lonely Londoners ," concerns Trinidadian author Samuel Selvon, who--along with George Lamming, Derek Walcott, and V. S. Naipaul--is cited as being among the most important and influential of the West Indian authors who began publishing in the 1950s. Although I consider all of Selvon's ten novels in that chapter, my main concern is The Lonely Londoners (1956), Selvon's best known and perhaps most pivotal and misread novel. Chapter III, "Contrapuntally Re-reading Perry Henzell's The Harder They Come, " features a reevaluation of the Jamaican filmmaker's 1972 motion picture, which in many complex ways remains the Caribbean film. Chapter IV, " Pressure and the Caribbean," focuses on Trinidadian filmmaker Horace Ove's Pressure (1975), which I deliberately treat as a Caribbean film although it is still best known as Britain's first feature-length dramatic movie with a "black" director. Vital secondary texts include selected works by Edward Said, Mikhail Bahktin, and Richard Dyer, as well as Kenneth Ramchand, Keith Warner, and D. Elliott Parris. The three existing book-length analyses of Selvon's fiction are the main voices with which the Selvon chapter is in discourse. David Bordwell's work in cinematic narrative theory and Marcia Landy's contribution to the study of British genres are essential to the frameworks through which I read the cinematic primary texts. / Adviser: Gordon Sayre

The correspondence of stationary, axisymmetric, asymptotically flat space-times and bundles over a reduced twistor space has been established in four dimensions. The main impediment for an application of this correspondence to examples in higher dimensions is the lack of a higher-dimensional equivalent of the Ernst poten- tial. This thesis will propose such a generalized Ernst potential, point out where the rod structure of the space-time can be found in the twistor picture and thereby provide a procedure for generating solutions to the Einstein field equations in higher dimensions from the rod structure, other asymptotic data, and the requirement of a regular axis. Examples in five dimensions are studied and necessary tools are developed, in particular rules for the transition between different adaptations of the patching matrix and rules for the elimination of conical singularities.

In literary trauma theory, victimized victimizers represent an ambiguous area. In my thesis, I show how Perry Smith, a historical figure in Truman Capote's In Cold Blood, and Josef Kavalier, a fictional character in Michael Chabon's The Amazing Adventures of Kavalier & Clay, represent these ambiguities. Both men become murderers acting out violence that was inflicted upon them as children. However, only Kavalier seems to work through the trauma.

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This thesis is a reception study of Susanne Ostens book, theatre play and children’s film Flickan, mamman och demonerna. The study aims to examine how proffesional crituiqe, published in daily press and journals, handles the crituiqes genre conventions with the theorie that if the cirtic averts from the crituiqes genre conventions that their/societys doxa on what we expect from children’s art will become more visible, and the inescapable follow up question: does this ecpectation mirror how we perceive children and their capabilities?  The theorie is an investigation of the professor and litterary scholar Anders Johansson’s essay Slitas itu publisched Critica Obscura: Litteraturkritiska essäer, where Johansson makes the claim that socitys doxa will become visible if the ciric does not follow the crituiqes genre conventions and that this will lead to an erosion of the crituiqes porpose. Johanssons theory is acompanied by, amongst others, Jaquline Rose’s The Case of Peter Pan, Or, The Impossibility of Children's Fiction, and Perry Nodelmans article “The Other: Orientalism, Colonialism, and Children’s Literature” pulished in Children’s Literature Association Quarterly17, no, chosen since the thesis as a whole practices a post colonial reading of the chosen crituiqe. The result of the investigation is that: where the critic averts from the crituiques genre conventions, and involves their own oppinions without porper motivation (E.g. where affective failures has occurred) in the text, a clear pattern of our conteporary doxa of how we perceive children and how the art made for them should behave/be. The pattern/tendancy found is that children’s art is expected to have a didactic value, that the piece of art should mirror the childs “reality”, have an indisputable and understandable point, and not evoke too many negative feelings. The thesis is woven, in a esseyistic style, with hard-to-grasp memories of the authors childhood and the academic form.