Thesis (M.S.)--Kutztown University. / Source: Masters Abstracts International, Volume: 45-06, page: 2705. Typescript. Includes bibliographical references (leaves 91-97).

Inaug.-diss.--Freiburg i. B. / Lebenslauf.

Thesis (Ph. D.)--University of North Carolina at Greensboro, 2006. / Title from PDF title page screen. Advisor: Svi Shapiro; submitted to the School of Education. Includes bibliographical references (p. 117-120).

Monstera Deliciosa är en serveringsbricka för servitriser och servitörer vid servering av drycker och tillbehör. Projektet växte fram då jag blickade bakåt i min tidigare yrkesroll som servitris på restaurang. Kroppen är hela tiden arbetsverktyget i många olika tunga arbetssituationer. Serveringsbrickan fungerar med olika variationsmöjligheter i användandet för att skapa mindre monoton belastning, det går att servera med både höger och vänster kroppshalva vilket annars har varit ett problem för serveringspersonal. Brickan kan alltså bäras vilande på arm/plan hand med val att kunna greppa fast brickan med fingrar i de urfrästa hålen, sedan på axel och sist vilande på höften. Valet av bärande beror på vad som serveras på brickan. Brickan har fyra öppna spår in från kanterna, två på vardera sida. De fungerar som vinglashållare då vinglaset förs in i spåret och hänger vilande och tillför säkerhet vid servering. Namnet på brickan framkom när formen tycktes likna blombladet på växten Monstera Deliciosa. / Monstera Deliciosa is a serving tray for waitresses and waiters when serving beverages and accessories. The project emerged when I looked back at my former profession as a waitress in a restaurant. The body is a constantly working tool in many different heavy work situations. The serving tray works with several variation options in use to create less monotonous load, thus solving the problem of working from from both right and left hand side. The tray can be worn resting on the arm / hand with the choice to grab the tray with the fingers in the recessed holes, then the shoulder, and finally resting on the hip. The placing of the tray depends on what is served on the tray. The tray has four trails openings from the edges, two on each side. They provide a safe way of carrying wine glasses. The name of the tray is referring to its visual resemblance with leafs of the plant Monstera Deliciosa.

Sublimity is a term originally coined by Longinus to deal with an author¡¦s strong influence upon the reader by using his excellent rhetorical techniques to compose a great poem that stirs up the reader¡¦s innermost emotions. Undoubtedly it is a literary concept. But, after Burke released his A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful in 1757 and Kant published his Critique of Judgement in 1790, the sublime lost its original meaning, turning out to be a counterpart of the beautiful. Since then, the sublime fell into a rubric of aesthetics. However, when we study Longinus¡¦s, Burke¡¦s, and Kant¡¦s theories, we are likely to run into the contradictions between them. For instance, Kant insists that ¡§we must not point to the sublime in works of art¡¨ (Critique 100). His words imply that the sublime cannot refer to literature either. If so, then we could not call Milton¡¦s Paradise Lost or Emily Bronte¡¦s Wuthering Heights sublime. On the contrary, if literature can be included in the sublime, then Kant¡¦s ¡§disinterested delight¡¨ in the judgment of taste will fail to make a good case for itself. It is the conflicts between theories that cause my research interest. Therefore, the aim of this thesis is to discuss the meanings of the sublime, and try to solve the two problems: ¡§whether literature can be included in the sublime¡¨ and ¡§whether the sublime contains morality.¡¨ This thesis contains four chapters. Chapter I is ¡§Introduction,¡¨ which briefly states the basic concepts of the sublime and the questions of research. Chapter II is ¡§The Theoretical Foundation of the Sublime,¡¨ which discusses several important theories of the sublime, and attempts to solve the conflicts between different theories. Chapter III is ¡§The Romantic Sublime,¡¨ which discusses respectively Wordsworth¡¦s aesthetics and Weiskel¡¦s psychoanalysis of the sublime. And, Chapter IV is conclusion. In this thesis, we can see the evolution of the sublime and Wordsworth¡¦s endeavors to integrate these theories.

This thesis outlines one's overcoming of nihilism by consulting two figures, Martin Heidegger and John Dewey. Each thinker holds a pivotal role for art, such that, a turn to the aesthetic allows the individual to overcome this nihilistic age. I intend to show that Heidegger and Dewey mutually inform each other's project. Heidegger is able to shed light on Dewey's project; however, Dewey ultimately takes Heidegger's thought a step further. Heidegger understands the current age to be overcome with nihilism as a consequence of modern technological enframing as well the end of classical religious sensibilities. Heidegger, like Dewey, relies on aesthetics to correct this dilemma. Because of Heidegger's diagnosis of the problem, we can see a new context for Dewey's thought. Dewey does not speak in the language of nihilism, however, through Heidegger, we can see that they share a similar concern. Where Dewey takes Heidegger's thought a step forward is in regard to Dewey's emphasis on personal experience. This emphasis shifts the responsibility of overcoming nihilism away from Heidegger's poet and onto the individual. Dewey understands aesthetics to be a process of experience and art to be the culmination of this experience. This shift in responsibility is placed upon the individual because the individual is the arbiter of their doings and sole recipient of their undergoings. Consequently, the individual bears the consequences, and therefore the responsibility, of their experiences. Meaning, each individual holds the tools necessary to overcome nihilism inherent in one's own experience. The name for the process of properly weathering one's doings and undergoings is called the aesthetic life. The turn to personal responsibility, in the aesthetic life, allows the people to be the genesis of change rather than necessitating a leader, or poet. A community of people engaged in the aesthetic life is understood as democracy. Dewey's formulation of democracy, then, is not only a work of art but it also prevents the return of nihilism through the creation of a society always creating more possibility for its citizens.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Sept. 16, 2008). PDF text: 76 p. : music ; 2 Mb. UMI publication number: AAT 3302728. Includes bibliographical references. Also available in microfilm and microfiche formats.

Thesis (Ph. D.)--University of Chicago, 1918.

Thesis (M. A.)--Trinity Graduate School, 2007. / Abstract. Description based on print version record. Includes bibliographical references (leaves 151-159).

Thesis (Ph. D.)--University of Wisconsin--Madison, 2001. / Includes bibliographical references (p. 111-112). Also available on the Internet.