Thesis (M.A.)--Villanova University, 2009. / English Dept. Includes bibliographical references. Mode of access: World Wide Web.

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 93-96). Also available via the World Wide Web.

Zugl.: Halle, University, Staatsexamensarbeit, 2007.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on August 26, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jonathan Eller, John Rudy, Thomas Marvin. Includes vita. Includes bibliographical references (leaves 67-68).

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 85-89).

Thesis (M.A.)--Ohio State University, 1986. / Includes bibliographical references (leaves 86-88). Available online via OhioLINK's ETD Center.

1 score (vii, 56 p.) Includes one sound recording in AIFF (Audio Interchange File Format) / <italic>The Amber of the Moment</italic> is a thirteen-minute composition for orchestra. Inspiration for this piece is drawn from two sources: the novel <italic>Slaughterhouse Five</italic> by Kurt Vonnegut Jr., and my desire to utilize techniques derived from various musical cultures, including Balinese gamelan and African drumming and marimba playing. Although not directly narrative, much of the imagery portrayed in <italic>Slaughterhouse Five</italic> informed the emotional landscape of the piece. As to the use of techniques from other cultures, my aim is not to merely imitate them, but to utilize them in a manner appropriate to the tradition of orchestral concert music. / Committee in charge: Dr. David Crumb, Chairperson; Dr. Robert Kyr, Member; Dr. Stephen Rodgers, Member

This study analyzes the novels of Kurt Vonnegut, Jr. from the aspect of point of view. Point of view refers to the reflective mind through which a reader perceives the story. Traditionally, the narrator delivers his narrative in either first or third person point of view, but Vonnegut frequently mixes points of view. Mixed point of view presents a particular challenge to the oral interpreter and the adapter/director of readers theatre scripts. The narrator and the narrative structure are discussed, as well as numerous innovative narrative techniques. Suggestions are made for script adaptations and production direction featuring the narrative structure and point of view.

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