Thesis (Ph. D.)--University of Wyoming, 2006. / Title from PDF title page (viewed on March 20, 2008). Includes bibliographical references (p. 40-48).

Thesis (Master's)--Guo li zheng zhi da xue. / Includes bibliographical references (p. 74-76).

Thesis (M.S.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 89-91).

Thesis (Master's)--Guo li zheng zhi da xue. / Bibliography: p. 74-76.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1976. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 182-192).

The need for a science of the literary text is created when a startling number of critical theories succeed in mystifying rather than in clarifying the work of literature. The literary text disappears and it is replaced by one of its possible interpretations: certain aspects of the text are selected to serve as explanation for the whole. Even in more current critical trends the tendency is to subordinate the literary text to the methodology and to view it as one form of expression in an all-embracing typology of texts. In all of these cases the applied methodological canons are all foreign to the literary work in that they were elaborated to explain objects other than literature. When these canons are utilized to explain literature they are bound to give us only a partial and unsatisfactory rendering of its real complexity. To found a science of the literary text and to depart from the traditional critical approaches it is necessary first of all to define what is a literary text and what is this literariness which distinguishes it from other texts. On these bases a methodology is elaborated which is proper only to the literary text and to no other object. The manner in which we have attempted to approach the problem can be generally divided into two stages: deconstruction and reconstruction. The first stage indicates a process of demystification of the literary text by means of a critique of the basic methodological assumptions of the more dominant and current critical trends. As a result, the second stage points to the attempt to determine the laws which govern the production of the literary work: literary laws which underlie any literary work, an understanding of which is necessary to the explication of literature. This double theoretical undertaking can be more specifically subdivided into four parts: l) Marginalia: a general critical account of the basic critical fallacies of modern literary criticism; 2) Theory: a definition of the literary text and of the laws which condition literary production; 3) Theoretical Practice: the elaboration of a critical methodology developed in terms of literary laws; h) Critical Practice: the practical application of this method to a contemporary novel. In consideration of the complexity and difficulty of the task we are aware of the limitations and of the inadequacies of our own theoretical effort, and we cannot but present our findings as suggestions towards a future and more rigorous scientific elaboration. The paper itself indicates where the major obstacles are to be found and what are the major fallacies to be avoided. The main purpose of this thesis, for writer and reader alike, is then to contribute to a greater degree of critical self-clarification. / Arts, Faculty of / English, Department of / Graduate

The study sample was composed of 110 teaching faculty at Vernon College, a multi-campus northwest Texas community college in Wichita Falls, TX. Participants completed two surveys: the Socio-communicative Orientation Scale (SCO) and the Teacher Satisfaction Scale (SAT). Demographic information was collected as well for generalizability purposes. As measured by the SCO, communicator style is a multi-dimensional concept including aspects of assertiveness and responsiveness communication behaviors; the assertiveness and responsiveness dimensions acted as independent variables. Instructor job satisfaction acted as the independent variable. The strength of the independent variables was measured separately in ratio to job satisfaction. Regression analysis results demonstrated that the assertiveness dimension of instructor communicator style is not a statistically significant contributor to instructor satisfaction. However, the responsiveness dimension can explain 12% of the variance in instructor job satisfaction. Beta weight and structure coefficient analysis confirmed the initial regression results for both independent variables. Further, commonality analysis clarified that the two independent variables within the study are in fact orthogonal in nature, meaning that they do not overlap and are not correlated. Hence, the responsiveness dimension of instructor communicator style is directly related to relationship building in an educational context and may be considered in professional development activities. With respect to sampling methods and use of the SAT instrument, recommendations for future research are included as well.

Bright Sheng (b. 1955) has won international acclaim for successfully fusing disparate musical elements in his works. Listeners can trace Chinese pentatonic scales and instrumental effects mixed with Western classical structures. Postcards (1997) is a well-received orchestral work that successfully merges diverse musical styles and compositional techniques. Sheng based Postcards on material from his Four Movements for Piano Trio (1990). He applies masterful and distinctive orchestration to transform the chamber work into a multi-layered and colorful orchestral canvas. He fuses polyrhythm and post-tonal compositional techniques such as polytonality with Chinese musical elements, including folk song quotations, pentatonic scales and extended instrumental effects. The resulting hybrid is an outstanding artistic work that warrants further discussion and analysis for deeper understanding This study provides an overview of Sheng’s life experience and educational background in Chapter 1. Chapter 2 and 3 present a detailed analysis of the important compositional attributes and orchestration techniques Sheng applies in Postcards. Chapter 4 provides important performance considerations for conductors to enhance preparation. With an understanding of Sheng’s hybrid style, it is hoped that conductors will have a better interpretative grasp to lead an informed performance and scholars will have a better context for Sheng’s orchestral compositions.

Research in the area of feedback seeking behaviors (Ashford & Cummings, 1983) has failed to examine the impact of a supervisor's feedback style on a subordinate's subsequent feedback seeking. This is an important area for investigation due to the positive relationship between feedback seeking and performance. Deci and Ryan's cognitive evaluation theory suggests that intrinsic motivation may be an important mediator between feedback style and FSB in that feedback style impacts an individuals desire for mastery of his or her environment which is related to feedback seeking in Ashford and Cumming's model. It is hypothesized that a controlling, in contrast to an informational, feedback style will decrease feedback seeking. It was found that feedback style, while it did impact intrinsic motivation, did not have an effect on feedback seeking behaviors. The valence of the feedback also impacted intrinsic motivation but only had a marginally significant effect on feedback seeking from the experimenter and no effect on feedback seeking from the task itself. Feedback style and valence did not interact to effect level of intrinsic motivation or FSB. In only one case, the effect of feedback valence on feedback seeking from the experimenter, did it appear that intrinsic motivation acted as a mediator. Possible explanations for the results are discussed, including the nature of the task itself. / Master of Science