Mischlingskinder, also referred to as brown babies were the illegitimate children of African American occupation soldiers in post-World War II Germany. The complexities of their existence are often discussed in the context of national identity, racial identity and diplomacy. Their existence in Germany presented social struggles for the children as well as their mothers as a post Nazi German began towards society of racial acceptance. A few cases, through the cooperation of both the US and German government, some of the children were eligible for adoptions by African American families in America through the Brown Baby Adoption Plan. A thematic analysis was performed on 20 archived newspaper articles to uncover the different themes in which the children are discussed. My question is whether these themes connect to a lager theoretical concept of the “priceless child”. The results uncovered themes in which the brown babies were discussed which included their treatment in Germany, neglect, adoption and arrival in adoptive homes. The narratives of the children change over time in relation to the specific themes.

Globally, competition for hosting the Olympic has become fierce. The social and economic advantages resulting from hosting the Olympic Games are huge, but the cost is also formidable. In particular, Sochi, where the 2014 Winter Olympic Games will be held, invested over $50 billion in building the stadium facilities and developing Sochi and the surrounding area as modernized systems. These Olympic facilities have the potential to attract visitors both during and after the Olympic Games. Prior literature suggests that sport tourism is emerging as a prominent component of many economic development plans (Kotler, Haider and Rein 1993) and the market’s expanding opportunities in tourism and sport businesses suggest the need for studies of sport tourism (Glyptis 1991). Earlier research has verified story impact as a fundamental communication tool and analyzed narrative contents. Past sport research suggests that American Olympic naaratives focus on specific themes. Given the literature, this study examines whether story theme preferences between the Korean and the American are different with cultural difference because some researcher indicates such cultural differences can influence communication behaviors. This research examined the impact of story themes on interest in host city and host nation for Korean and American students. The study employed an experimental survey and designed 3 themed Korean stories and American stories (hero, facility, and non-theme) based on actual news articles for the experiment. The experiment results showed that the Korean and the American students have statistically significant differences in all of the dependent variables. Overall, compared to American students, Korean students had higher interest in watching and attending the Winter Olympics as well as visiting the host city. Korean students also had positive intention to watch, to attend the Winter Olympics, and to visit the host city than the American students. With regard to the findings, the differenct approaches need to be developed between two nations. Cultural differences found in this study would affect the host city’s promotional efforts. / text

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Studies on mythological themes have largely ignored the Spanish Middle Ages, and critical works on literature of this period have neglected the mythological aspect. This is, therefore, not only a vast, but on the whole a new, subject, and my thesis cannot be definitive. I explore some of its possibilities in the hope that this will inspire further study. Having examined various mythologies I conclude that classical mythology is the principal one to receive treatment in medieval Spain. In my introduction I consider the works through which the writers of the Spanish Middle Ages received their knowledge of mythology and the ways in which they adapted it to suit a medieval reader. In chapters II-IV, I study a selection of medieval works, both prose and verse and from different genres. In each work I examine the writer's treatment of the mythology he found in his sources and the ways in which he introduced his own original mythological details and the purpose they serve. In chapter V, I consider the development of the use of two mythological characters through the period and chapter VI draws the thesis to a conclusion. I compare the use of mythology in the early and late Middle Ages and show that the passing of time increases interest in, and knowledge of, mythology. The didactic use that" the early writers made of mythology develops into the aesthetic use made of it by the fifteenth-century writers. A detailed analysis of the use a fifteenth century work makes of a thirteenth-century one proves that works from the earlier century must have had a much greater influence on the later ones than has been generally acknowledged; it also throws into doubt the conception of the fifteenth century as pre-Renaissance.

This thesis focuses on the creative work of Edgar Allan Poe, and pieces together how various references to music in his poems and tales function in ways that echo throughout his oeuvre. By taking into account the plots and themes that surround references to music in Poe’s works, this thesis explores how Poe uses and describes music as it inhabits real world settings, liminal spaces, and otherworldly sites. The literature this thesis draws from ranges from tales little-discussed in Poe criticism, such as “The Spectacles” and “The System of Doctor Tarr and Professor Fether,” to more complex and popular tales such as “The Fall of the House of Usher” and “The Masque of the Red Death”; the same is true of the poems, which range from “Fanny” to “Annabel Lee.” The exploration of the less critically popular texts in conjunction with the more critically popular ones brings to light a clear hierarchy of music’s function in the tales and poems of Edgar Poe in ways that converse with his treatment of madness and the divine. The work of music and literature scholars will serve as the basis for distinguishing and historically positioning Poe’s use of certain musical terms, as well as ultimately providing a means to express the mythical, philosophical, and theological implications of music’s place in Poe’s works.

Yeung, Yu Ling. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 66-68). / Abstracts in English and Chinese. / "Abstract,撮要" --- p.4 / Introduction --- p.6 / Traditional Definition of Signature Painting --- p.12 / Problems with Traditional Definition of Signature Painting --- p.15 / Redefinition of Signature Painting --- p.18 / Reasons for Redefinition of Signature Painting --- p.20 / Chapter (1) --- Change of Society --- p.21 / Chapter (2) --- Change of Ideology --- p.22 / Chapter (3) --- Conclusion to This Section --- p.26 / Challenges on Redefinition of Signature Painting --- p.27 / General Conclusion --- p.32 / Appendix / Relation between My Artworks and Redefinition of Signature Painting --- p.34 / Graduation work - Magazine Series / Chapter (1) --- Breif Description --- p.38 / Chapter (2) --- Ideas behind Magazine Series / Chapter ■ --- Mass Arts and Fine Arts --- p.41 / Chapter ■ --- Fashion and Art --- p.44 / Chapter ■ --- Fashion and Identity --- p.49 / Chapter ■ --- Fashion and Gender --- p.54 / Chapter (3) --- Artistic Technique on Magazine Series --- p.59 / Reference --- p.66

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Artists’ books extend the limits of the conventional book. They take liberties with its form, content and configuration; they include subjects that might be considered insignificant, risqué, abstract or obscure. Their print run is too limited for ordinary publishing and marketing procedures. This thesis engages with the artists’ book in terms of its various moods as suggested by the bodily humours of Hippocrates and Galen. It argues that humour (in its embodied sense) takes many forms in the artists’ book: from the angry, the despairing or the melancholic to the comic or the joyful. In building a foundation for this approach to the artists’ book the thesis also connects with crucial moments in the evolution of twentieth century conceptual thought about art. Chapter One introduces the idea of humour as a strategy used by book artists to negotiate an art world in which the aesthetic canon is under scrutiny. Up to this point a characteristic feature of this negotiation has been a search for a consistent definition of artists’ book. My concerns are not so much with a fetishization of the book in a digitally challenging age, but, rather with the focus on the artists’ book’s ironic techniques that are employed to oversee the nature of the form relative to changes in its context, both technological and cultural. In the second chapter, I connect the artists’ book to some of its experimental origins within the literature of humour. I discuss a number of artists’ books that exemplify the sharpness of wit, the use of irony, the depth of melancholy and the place of nonsense among other forms within the spectrum of humorous possibility. The “anatomy” of humour is dissected in the third chapter, according to the way in which it embodies the creative process. The concepts of appropriation and détournement are basic tools, for the collection of subject matter. Every one of the books discussed use “wit” to carve a direct channel to the core of the idea it expresses. The diverse manifestations of irony enable the artists’ book in its various guises to mislead, riddle, surprise and seduce its reader. “Nonsense” keeps rationality honest by arguing a case for a productive form of “uselessness” that reflects upon an art world burdened by the weight of “usefulness” and overproduction. The fourth chapter examines a number of artists’ books and writers who, in various ways tap the rich field of the mundane: here is a source that like a compost heap, nurtures and produces those species of humorous surprise that also rejuvenate. The fifth chapter looks at larger aspects of the world, which shape our consciousness through spectacular images and the media. How these pressures permeate and influence the creative activities of the book artist is mapped in Chapter Six, which examines the shared internal space of the reader and the creator of the artwork. This internal space is the workshop of the book artist. Here the tactics are honed and the dynamics of the exterior world are in effect moulded and shaped into the subject matter and forms of artists’ books. In a culture in which “success” is commensurate with the accumulation of wealth, to be unsuccessful is to belong to an under-class, to be invisible. Chapter Seven makes use of an ironic sense of failure as a strategy to support the main objective of the thesis, which is to test the limits for the possibility of an art practice that continues to thrive as it ducks and weaves its way through and under the radar of contemporary cultural conditions. It argues a case for a fugitive practice that even as it is on the move is congruent, and in its selfreflexivity, accountable for its political and aesthetic stance. There has been a considerable resurgence of interest in the artists’ book since the late twentieth century with an increase in small press publications, the development of significant public and private collections of artists’ books and a growing body of critical commentary on them. Digital technology and desk top publishing have enabled many artists to produce books rapidly, cheaply and with qualities ranging in quality from the photocopy through to slick high-end productions. From the 1970s until the present, however, the commentary on artists’ books has been preoccupied with a search for a definition of the genre. Underpinning this endeavour has been a yearning for “consecration” (in Pierre Bourdieu’s sense) where acceptance would elevate the artists’ book to the same level as the “legitimate” art forms – painting, sculpture, photography and the finely crafted art object. By contrast, this thesis considers the artists’ book as an alternative art form and explores its ability to evade the constraints of consecration, to remain fresh and mischievous in creative and subversive ways / Doctor of Philosophy (PhD)

This study examines changes in representation of dissident male sexualities in twentieth century British and American theatre, from early attempts to depict the homosexual as a distinct identity to more recent depictions of sexual dissidence which threaten the traditional boundaries of the gay/straight dichotomy. It relates a selection of plays to thought and to later theories of postmodern sexuality. It examines commentaries of contemporary critics of gay theatre, and takes reference from interviews conducted with the playwrights Neil Bartlett, Kevin Elyot and Michael Wilcox. Examination of the earlier plays reveals a range of strategies employed by playwrights who attempted to represent the homosexual identity, despite censorship. This study describes how pseudo-medical/scientific constructs of sexual ‘otherness’ established heterosexual normativity and how those constructs influenced theatrical representations of homosexuals. It shows how contemporary commentators have criticised these plays, applying a critique that fails to take into account the social context in which they were written. After the relaxation of censorship, the more overt characterisations of homosexuals created in the I 970s and 1 980s by Gay Sweatshop and playwrights concerned with the issue of AIDS often served to confirm rather than challenge concepts of sexual ‘otherness’. The second half of the thesis considers the work of British playwrights Kevin Elyot, Jonathan Harvey and Mark Ravenhill, identifying aspects of their work which reflect changing attitudes to sexuality. While some of these plays are influenced by postmodern concepts of diverse sexualities and the relationship between sex and consumerism, others continue to reinforce traditional stereotypes of the homosexual as a distinct entity confined within the gay/straight binary. This thesis concludes that personal narratives of sexual identity in contemporary drama, which transgress the heterosexual hegemony (notably those found in the plays of Mark Ravenhill), are beginning to usurp the modern grand narrative of gay emancipation

The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.