These poems represent the vanishing world of the South and that tale is perpetuated by a series of fathers and sons which often act as the narrators. Each father passes his knowledge of language, hunting, lore, loss, and even sins onto the sons who repeat the tradition. The voice and age of the narrators evolves from the heavily dialectical to a more educated and contemplative voice as the thesis progresses.

The establishment of the National Architecture Exhibition and Awards (NAEA) program in 1987, by Chamber of Architects, coincides with the period of dissolving modernist paradigm and rising pluralist influences in Turkey. The program, as a critical medium, is expected to reflect &ldquo / national&rdquo / architectural practice and contribute in the &ldquo / contemporary&rdquo / architectural practice in Turkey. In order to evaluate the consistencies with these objectives, firstly the program identity and then the participations are analyzed. On the other hand, regarding the searches for &ldquo / innovativeness&rdquo / and &ldquo / contemporaneity,&rdquo / parallelism with the international architectural agenda and concerns for geographic differences are analyzed through the awarded projects and the jury reports. In the analysis about the position of the program as well as its indications about Turkish architectural practice, the following results are obtained: Program can be defined as having an insulated and closed character with regard to its structure. Considering the participations, it is seen that it does not reflect the heterogeneous character of its geographical scope and has an elitist profile in awards distribution. Priority given to senior architects in Grand Prizes, the weight of the restoration category and the newly established commemoration program itself point out to a conservative stance. In the thesis, the awarded submissions are analyzed comparatively with Progressive Architecture (PA) Awards program. It is an established program in United States, which perpetuate since 1954 and it is claimed to have both &ldquo / reflective&rdquo / and &ldquo / limit-pushing&rdquo / positions in the architectural platform. In NAEA program, instead of the claims for giving precedence to &ldquo / limit-pushing&rdquo / attempts, a &ldquo / reflective&rdquo / position has been maintained. In the jury reports, the &ldquo / modernist&rdquo / award criteria can be defined as parallel with the agenda of international platform. In recent years, in international platform, instead of domination by styles, conceptual productions and sustainable themes gain prominence. Thus, regarding the submissions of NAEA, these parallelisms have been diminished.

This study examined how the expulsion process works for seven male ninth grade students identified as emotionally disturbed and in particular, the perceptions students, their parents, five district representatives, and five high school administrators involved in an expulsion have of the process. Furthermore, the study investigated through in-depth interviews possible differences in perceptions between those students who are expelled, parents, and key education personnel involved in expulsion decisions. Computer-based qualitative data analysis software was used to organize and analyze the collected data. Results of the study indicate that the two primary key stakeholder participants; students and their parents, shared predominately similar perceptions of the expulsion process. These perceptions differed from the secondary key stakeholders, high school administrators and district representatives, whose perceptions were also predominately similar to each other. The students and parents' responses indicate that they did not understand the expulsion procedures and did not feel as though the expulsion decision was unanimous. District representatives and high school administrators' responses indicated that they felt trained and familiar with expulsion procedures; they understood the expulsion procedures and perceived that the placement options and decisions were made by a unanimous group decision.

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Scholars have described conflict tactics as a means to engage or avoid a conflict, and face tactics as a means of face-saving by way of defense or restoration. While theories of conflict and face flourish, few researchers have sought an explanation of conflict themes within the field of nursing or examined how nurses display face-saving tactics within their conflict interactions. The goal of this study is to identify the connection of these concepts through a qualitative analysis of conflict stories compiled from interviews with licensed floor-nurses. The data is analyzed two ways: first, as conflict themes in stories about nurses’ floor/shift work; and secondly, as communicative face tactics used in conjunction with conflict styles as viewed through a nurses’ conflict-interaction. The study identified three outcomes. From the analysis of conflict stories, an updated and extended view of conflict themes in nursing is developed. Specific face tactics surfaced within certain conflict themes supporting the concept that face tactics can directly affect the outcome of a conflict interaction. And lastly, the discovery of new restorative and defensive face tactics not previously identified in research literature. The implications for theory and practical application are also discussed, as is the proposed direction for future research. / text

No description available.

Job for Organ is an eight movement organ cycle by the Czechoslovakian composer Petr Eben (1929-2007). This work is based upon the story of Job in the Old Testament. Eben perceived the dramatic depth of the Book of Job and created a musical work that vividly portrays the consequences of a wager between Satan and God on the fate of a human being--in this case, Job. The eight movements of this cycle tell the story of Job's struggle, perseverance, and triumph in the midst of human suffering. Job remains faithful to God throughout his trials, and in the end God rewards him for his faithfulness.This document thoroughly explores the methods Petr Eben used to illustrate the story of Job, as a musical program, in the organ cycle Job for Organ. My purpose is to find connections between the program and Eben's compositional techniques. This study focuses upon three specific musical devices and how each device is used to portray a musical program: musical quotations, associative themes, and dramatic musical contrasts.I isolate the musical quotations utilized in this cycle and demonstrate how each quotation supports the program. I identify associative themes and their interrelationships and demonstrate how these devices dramatize the story as it was written in the Book of Job. Associative themes include the canon, passacaglia, and numerous motives, textures, and melodies, all crafted to symbolize portions of the narrative as it unfolds. I demonstrate Eben's use of dramatic musical contrasts to convey a musical program, including the juxtaposition of tonal and polytonal harmonies, sudden changes in timbre and (or) dynamics, abrupt rhythmic interjections, the use of unique textures, unusual melodic and harmonic transformations, and changes in registration, dynamics, meter, and range. A complete list of the devices Petr Eben used to illustrate programmatic intent in the organ cycle Job for Organ would be quite extensive. Although there is no unimpeachable way of proving that my conclusions represent the way Eben intended the listener to interpret his work, my suggestions represent logical and plausible associations between musical devices and programmatic intent based upon a thorough examination of Job for Organ. Eben's compositional technique is dramatic in nature and his music lends itself to theatrical interpretation. This document provides a detailed musical analysis of each movement of the work, and the author offers a possible recreation of the plot and its interpretation, based upon extensive analysis of the score and Petr Eben's program notes. Detailed graphic maps of each movement vividly portray the musical themes, textures, musical quotations, dramatic musical contrasts, and their interrelationships, and reveal a fabric of allusion that suggests a plausible programmatic basis for this composition based upon these musical devices. The analysis demonstrates that Job for Organ is a product of utmost craftsmanship. It is a powerful musical drama that vividly portrays Job's ordeal utilizing an extended musical program.

No description available.

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual. / Department of Art