Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 133-147). Also available on the Internet.

Thesis (Ph. D.)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 172-182).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 133-147). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 163-177). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 163-177). Also available on the Internet.

Thesis (M.E.)--University of New South Wales, 2003. / Also available online.

Thesis (Ph.D.) - University of Queensland, 2006. / Includes bibliography.

HNC incidence and mortality is greater in men and is associated with high risk behaviours and social deprivation. HNC is frequently diagnosed at advanced stages requiring multi-modality treatment which can have a significant impact on appearance and function. Gender can influence health behaviours yet research into male experiences of cancer has primarily focussed on prostate cancer and HNC is an area which is under investigated. The aim of this study was to explore how men with HNC experience appearance and functional change in the first 12 months following diagnosis. Grounded theory methodology (GT) was chosen as the overall purpose of GT is the generation of theory from the data which has explanatory power and advances the understanding of social and psychological phenomena. Retrospective semi-structured interviews were performed with 12 men who were 12 to 24 months post-diagnosis. Key components of GT practice used were simultaneous data collection and analysis, constructing analytic categories from the data, constant comparison, memo-writing and theoretical sampling. Three categories emerged from the data which were inter-related: normalising change; “under siege”: getting through treatment; and reclaiming self. The core category was reconciling change; a new normal which reflects the social and psychological processes involved in accommodating and assimilating change in appearance and function for men with HNC. The substantive theory provides insight into how men with HNC prioritise function and actively distance themselves from concerns regarding appearance. Furthermore, it identifies men who are at risk of social anxiety and isolation due to multiple changes or body incompetence. This study builds on theories of masculinity, body image and disfigurement. The substantive theory developed provides health and social care professionals with new knowledge to support clinical practice and improve care provision.

L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates.