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Sodek's Gold is a novel based on individuals the writer has known in the Caribbean who have been placed in fictitious circumstances. Included are social issues, conditions, and dialects found there. The main character, David Sodek, is an Englishman working in the Caribbean who discovers an ancient coin and becomes obsessed with finding more. Sodek's search is impeded by the strongarm Mostyn, but with the help of his friend Elbert he recovers an underwater cache of golden treasure. Elbert is killed. Sodek avenges Elbert's death but ultimately relinquishes the gold and himself to the sea. The theme of the work involves Sodek's obsessive personality as seen in his increasingly pedantic and destructive search, and in his unrealistic belief that money buys freedom. Included between chapters are vignettes comparing the characters and nature, and foreshadowing following events.

This screenplay, dealing with the theme of anger, is divided into three acts: setup, confrontation and resolution, respectively. Beginning in medias res, flashbacks are employed for expositions of the two main characters, Connor Tracy, alias the Angry Charmer, and Howard Goldberg. Act I opens with Connor at the wheel of a van, driving wildly, Howard accompanying. The setup is established. Act IlI returns to the careening van and then flashbacks to the college meeting of Connor and Howard. By the end of the act, the two, now unwilling relatives, go off on a European trip together. The confrontation has begun in earnest. Act III resolves the problem of Connor's anger through the purgative experi ences of the vacation, in particular the climactic ending.

Theme parks have a long history. Throughout this history, they have experienced two major growth spurts, in the 1920s and in the 1960s. The best-known contemporary theme parks are the Disney facilities, the first of which officially opened in Anaheim, California in 1955 and, as part of that second period of growth, changed the amusement industry beyond recognition. Since then, the theme park industry in the United States has grown dramatically. Winnipeg is recognized as the hometown of Winnie-the-Pooh. This begs the question of why there are no activities or events in Winnipeg that celebrate this figure. This practicum will analyze two books in the Winnie-the-Pooh series - Winnie-the-Pooh and The House At Pooh Corner and identify the significant storylines that might be represented in a themed parkland setting. The proposed site is in Assiniboine Park to the west of downtown of Winnipeg. The practicum is based on the methods outlined in Miodrag Mitrasinovic's Total Landscape, Theme Parks, Public Space. In that book Mitrasinovic addresses the properties of what he calls "privately-owned publicly accessible space in themed mode" (PROPASt) as a model for an holistic approach to the creation of public space. The proposed site will designed as a theme-based year round area within Assiniboine Park.

Theme parks have a long history. Throughout this history, they have experienced two major growth spurts, in the 1920s and in the 1960s. The best-known contemporary theme parks are the Disney facilities, the first of which officially opened in Anaheim, California in 1955 and, as part of that second period of growth, changed the amusement industry beyond recognition. Since then, the theme park industry in the United States has grown dramatically. Winnipeg is recognized as the hometown of Winnie-the-Pooh. This begs the question of why there are no activities or events in Winnipeg that celebrate this figure. This practicum will analyze two books in the Winnie-the-Pooh series - Winnie-the-Pooh and The House At Pooh Corner and identify the significant storylines that might be represented in a themed parkland setting. The proposed site is in Assiniboine Park to the west of downtown of Winnipeg. The practicum is based on the methods outlined in Miodrag Mitrasinovic's Total Landscape, Theme Parks, Public Space. In that book Mitrasinovic addresses the properties of what he calls "privately-owned publicly accessible space in themed mode" (PROPASt) as a model for an holistic approach to the creation of public space. The proposed site will designed as a theme-based year round area within Assiniboine Park.

The study seeks to evaluate Naga ga di etelane and examine the author’s craftsmanship in integrating theme and character. A closer analysis of the play indicates that the theme is encapsulated in three facets: • Exile • Wandering and • Rootlessness / Mini-Dissertation (MA)--University of Pretoria, 2015. / African Languages / Unrestricted

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The proliferation of the doppelgänger theme in so many films of Wilhemine and Weimar Germany raises the question of its historical significance, in particular during Germany’s “crisis of classical modernity”. While previous studies have addressed the double from a narrative perspective, focusing on its psychological significations as divided self, this thesis instead considers the theme from a structural and historical perspective: how, as a technical reproduction of the human body that is ontologically double, at once real and unreal, it serves as a site for reflection on the visual experience of modernity and on the medium of cinema. The thesis begins by considering the relationship between the theme of the double, born circa 1800, and the burgeoning visual regimes of modernity. Important aspects of this relationship are the abstraction of representation from stable referents in the aftermath of Kantian thought, the empirical study of the observing subject, and the development of new technologies of recording and projection. Nineteenth-century technologies of optical illusion, such as the phantasmagoria and lifelike automata, as well as the itinerant showmen who displayed them, gave rise to doubles of the human body with uncanny effects of ontological uncertainty. These not only influenced the doppelgänger stories of German Romanticism and after, but also were ancestors of cinema’s doubles and their showmen. This study considers the “cinematic” themes of a set of stories and films of the double, including repeatedly performed scenarios of exhibition and voyeurism, visual pleasure and anxiety, foregroundings of the narration, and allusions to the history of cinema and media technologies. The central chapters of the thesis offer readings of five classics of German film: The Student of Prague (1913), The Cabinet of Doctor Caligari (1920), The Golem: How He Came into the World (1920), Waxworks (1924), and Metropolis (1926). Addressing the double as a reflexive theme of optical uncertainty, these readings focus on how moments of optical distress are depicted and how film language is used to construct a cinematic uncanny: an ontological problem arising from the ambivalent character of visual experience that affects the narrative and film form, characters and spectator alike. This perspective sheds light on the historical significance of the double theme, revealing its close relationship with the problematic status of vision and the observing subject in modernity, and with a special case of modern visual experience, the technological medium of cinema.

This study is an investigation of the subject matter of eighty Italian cassone paintings of the fifteenth century now located in the United States and answers a four-part question: (1) What were the major themes pictured on cassoni panels during the Quattrocento? (2) Were the themes of cassoni in Quattrocento Italy predominantly of a religious or secular nature? (3) If secular subject matter was dominant in cassone painting, was this a reflection of the newly founded tastes of aristocratic, wealthy and middle classes? (4) Did cassoni mirror the way these classes viewed themselves and the place occupied by women in society?

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