This monograph provides an in-depth examination of the background, musical, and performance issues related to Duke Ellington’s wordless melodies, as well as epigrammatic biographies of Ellington and three female vocalists whose voices he employed as instruments: Adelaide Hall, Kay Davis, and Alice Babs. As early as the twenties, Ellington innovatively used the voice as a wordless instrumental color—an idea he extended into both his secular and sacred works. His iconoclastic instrumentalization of the soprano voice in compositions such as “Creole Love Call”, “Minnehaha”, “Transblucency”, “On a Turquoise Cloud”, and “T.G.G.T.” merits consideration by scholars and performers alike; these artistically complex melodies offer valuable insights into Ellington’s organic and collaborative compositional process. Although Ellington’s wordless melodies for the soprano voice have fallen on the periphery of discussions on twentieth-century American music, perhaps out of sheer obscurity, the need for alternative teaching and performance materials gives rise to a host of topics for further study regarding these pieces. Assimilating Ellington’s programmatic and mood pieces for the instrumentalized soprano voice into the canon of chamber repertoire opens a new arena of scholarly and artistic endeavor for the trained singer. Therefore, central to this study are the following considerations: context, pedagogical challenges (range, tessitura, vowels, phrase length, etc.) nature of accompaniment and instrumentation, form, and the nature of Ellington’s vocal writing as it pertains to the wordless obbligato and concert works featuring the wordless voice including, “Minnehaha,” “Transblucency,” “On A Turquoise Cloud,” and “T.G.T.T.” aka “Too Good To Title.” This study evaluates Ellington’s technique of casting the wordless female voice in unique musical contexts via musical analysis, as well as pedagogical and interpretive assessments of selected Ellington pieces,. The resultant amalgam of musical identities, both instrumental and vocal, fostered creative polyphony and epitomized the coined “Ellington Effect.” The following analysis centers on a chronological survey of Ellington’s wordless melodies performed and recorded by Adelaide Hall, Kay Davis, and Alice Babs. The goal of this project is to present a study in historical context and significance, style, device, and pedagogical/performance considerations of those works that employ the flexibility, technique, and aural training of the studied singer with instrumental jazz idioms in a cross-genre context.

Though bound historically through hundreds of years, the African-Native American relation has not received much attention by scholars of literature; hence, the emphasis of this thesis is to investigate the literary portrayal of the interethnic relation between African Americans and Native Americans through the blues trope. The blues trope provides an intriguing literary platform for the psychological and physical struggles in finding an identity within such a diverse multiethnic society like the United States. For African American writer Alice Walker and Native American author Sherman Alexie the blues trope is a successful literary device in expressing long lost and rediscovered emotions, identities and hopes among an ever growing multiethnic nation.

Decreasing enrollments, lower rates of student retention and changes in the learning styles of today's students are all issues that the Computer Science (CS) academic community is currently facing. As a result, CS educators are being challenged to find the right blend of technology and pedagogy for their curriculum in order to help students persist through the major and produce strong graduates. Visual technologies are being explored as a way to present difficult programming concepts in a manner that is easier to visualize and simpler to use. Visual technologies can make learning programming easier by minimizing the syntax of the programming language being used and providing visual feedback to the students to aid in conceptualization of the programming constructs. The goal was to improve student retention and performance by incorporating visual technologies in the introductory programming course, CS1, at East Tennessee State University (ETSU). The ADDIE approach to instructional design was used to develop and implement a curriculum that incorporated visual technologies in CS1 at ETSU. Subsequently, quasi-experimental research methods, using the Post-Test Only Nonequivalent Groups Design approach, were used to perform assessment on the effects of the revised curriculum on student performance in the course and retention in the major as compared to student performance and retention as measured prior to the course redesign. The results of the study indicate a positive impact on student performance in CS1 and student retention in the major as a result of the use of two types of visual technologies in CS1 at ETSU. Visual technologies supporting algorithm development, such as RAPTOR, had a positive impact on student performance in the area of problem solving and algorithm development as well as the use of decision and repetition constructs in programming. Visual technologies supporting program development, such as Alice, had a positive impact on student performance in the area of object-oriented programming concepts such as objects and classes. The combination of these two types of visual technologies showed evidence of improvement among student performance as a whole in the course and slight improvement in student persistence in the major.

A Research Report submitted in partial fulfilment of the requirements for the degree of Master of Arts in English Education at the University of the Witwatersrand Johannesburg, November 1998 / With the emergence of South Africa as a new democracy and the concomitant new constitution there has been interesting and subtle change in the context in which I teach. The composition of my classrooms has changed and thus I have used journal writing by the students to try to deal meaningfully and transformatively with these changes. My classroom had within a relatively short space of time, become a multi-cultural one in which silences, different from those I had previously noticed, emerged. [No abstract provided. Information taken from introduction]. / MT2017

陳時芳. / "2006年5月". / 論文(神道學碩士)--香港中文大學, 2006. / 參考文獻(leaves 62-66). / "2006 nian 5 yue". / Abstract also in English. / Chen Shifang. / Lun wen (Shen dao xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 62-66). / Chapter 第一章： --- 導論 --- p.1 / Chapter 1.1 --- 論文目的 --- p.1 / Chapter 1.2 --- 論文硏究方法及結構 --- p.2 / Chapter 第二章： --- 雅麗氏何妙齡那打素醫院的歷史背景及架構 --- p.3 / Chapter 2.1. --- 引言 --- p.3 / Chapter 2.2. --- 醫院成立的歷史及福音工作 --- p.3 / Chapter 2.3. --- ´ؤ九九七年後遷院後的歷史 --- p.5 / Chapter 2.4. --- 二零零三年「非典型肺炎」期間的處理情況 --- p.7 / Chapter 2.5. --- 那打素醫院行政架構對院牧事工發展的影響 --- p.9 / Chapter 2.6. --- 小結 --- p.11 / Chapter 第三章： --- 那打素醫院院牧事工 --- p.12 / Chapter 3.1. --- 引言 --- p.12 / Chapter 3.2. --- 那打素醫院院牧事工發展歷史（一九九七年後） --- p.12 / Chapter 3.3. --- 那打素醫院院牧事工目標及使命 --- p.13 / Chapter 3.4. --- 全人關顧及心靈關顧的重要 --- p.14 / Chapter 3.5. --- 院牧事工的五大工作範疇 --- p.15 / Chapter 3.6. --- 香港醫院院牧事工聯會 --- p.16 / Chapter 3.7. --- 被關顧者的身心社靈狀況及需要 --- p.17 / Chapter 3.7.1. --- 被關顧者的生理狀況及需要 --- p.17 / Chapter 3.7.2. --- 被關顧者的心理狀況及需要　　　　　　　 --- p.18 / Chapter 3.7.3. --- 被關顧者的社群（人際關係）狀況及需要 --- p.19 / Chapter 3.7.4. --- 被關顧者的心靈狀況及需要 --- p.19 / Chapter 3.8. --- 小結 --- p.20 / Chapter 第四章： --- 那打素醫院院牧事工的實踐現況及成效 --- p.21 / Chapter 4.1. --- 引言 --- p.21 / Chapter 4.2. --- 院牧事工的實踐現況 --- p.21 / Chapter 4.2.1. --- 對病者牧關及輔導 --- p.21 / Chapter 4.2.2. --- 對員工牧養及輔導　　　　 --- p.24 / Chapter 4.2.3. --- 訓練工作　　　　 --- p.24 / Chapter 4.2.4. --- 聯絡事工　　　　　　　 --- p.27 / Chapter 4.2.5. --- 宗教活動　 --- p.27 / Chapter 4.3. --- 院牧事工的實踐成效 --- p.28 / Chapter 4.3.1. --- 院牧個人品格及專業訓練的影響性 --- p.28 / Chapter 4.3.2. --- 病人不同的回應 --- p.31 / Chapter 4.3.3. --- 疫症期間的院牧事工的限制 --- p.33 / Chapter 4.3.4. --- 心靈關顧對於健康的正面影響 --- p.34 / Chapter 4.3.5. --- 宗教的影響力 --- p.35 / Chapter 4.3.6. --- 角色上的混淆及衝突 --- p.36 / Chapter 4.3.7. --- 對醫護人員關顧上的不足 --- p.37 / Chapter 4.3.8. --- 臨床牧關教育的影響 --- p.38 / Chapter 第五章： --- 總結 --- p.39 / Chapter 5.1. --- 硏究方法的困難 --- p.39 / Chapter 5.2. --- 五大工作範疇的檢討 --- p.39 / Chapter 5.3. --- 院牧事工仍處於被動及限制中 --- p.40 / Chapter 5.4. --- 優點成爲缺點的危機 --- p.40 / 附件一 --- p.42 / 附件二 --- p.43 / 附件三 --- p.45 / 附件四 --- p.47 / 附件五 --- p.48 / 附件六 --- p.49 / 附件七 --- p.50 / 附件八 --- p.51 / 附件九 --- p.55 / 附件十 --- p.58 / 參考書目 --- p.62 / 中文書目　 --- p.62 / 英文書目 --- p.62 / 中文期刊 --- p.63 / 英文期刊 --- p.63 / 特刊 --- p.63 / 年報 --- p.64 / 白皮書 --- p.64 / 網上資源 --- p.64 / 口述訪問 --- p.66

The Poetry of Religion and the Prose of Life: From Evangelicalism to Immanence in British Women's Writing, 1835-1925&" traces a tradition of religious women poets and women's poetic communities engaged in generic and theological exploration that I argue was intimately intertwined with their social activism. This project brings together recent debates about gender and secularization in sociology, social history, and anthropology of religion, contending that Victorian and early-twentieth-century women poets from a variety of religious affiliations offer an alternative path into modernity that embraces the public value of both poetry and religious discourse, thus questioning straightforward narratives of British secularization and poetic privatization during the nineteenth century. These writers, including contributors to The Christian Lady's Magazine, Grace Aguilar, Dora Greenwell, Alice Meynell, Eva Gore-Booth, and Evelyn Underhill, turned to social engagement and immanence, a theory of divinity within the world rather than above and apart from it, to bridge a widening gap between religious doctrine and poetic theory. Appropriating the growing interest in immanent theology within British Christianity allowed women to write about the small, the domestic, the human, and the everyday while exploring the divine presence in them, thus elevating and publicly revealing experiences traditionally allocated to women's private lives. Just as the women in this study questioned the distinction between the divine and the everyday, they also blurred the generic boundaries of poetry and theological prose. As lyric poetry was increasingly identified with private experience, they used literary experimentation across the genres of poetry and theological prose to engage public debates on a surprisingly large number of issues from factory reform, to mental disability, to urban poverty, to women's suffrage, to pacifism. This project includes four chapters, each of which examines a female poet or a poetic community of women connected through the publishing world. The first two chapters focus on tensions among commitments to poetry, religion, and social reform within Anglicanism. Trapped between the desire to encounter a transcendent God and the desire to celebrate earthly ephemera and improve earthly conditions, these poets demonstrate the tension from which a poetics of immanence arose. My third and fourth chapters follow the extension of immanence in late-nineteenth-century Catholic verse and early-twentieth-century mystical verse. These writers used a growing theological emphasis on immanence to justify poetry that relied on female experience, to suggest that the divine was at home in the constantly evolving natural and social worlds, and to illustrate God's equal proximity to the mundane and the marginalized, inspiring challenges to social and institutional hierarchies.

Finding equilibrium in forms, colour-form combinations and images has long been a concern of mine. I recognise a persistent manner of working within my art practice that utilises geometry, mathematics and colour to arrive at compositions that have a sense of beauty and equilibrium. Abstraction has been of significant interest to me and the three collections of work that I developed during my Master of Fine Arts studies - 'Colour:Form:Ratio', 'Photography-Free Zone' and 'Construction-Abstraction' - illustrate the different ways I have applied my interests in abstraction. Until the completion of the 'Colour:Form:Ratio' painting series my approach to abstraction was cerebral and self-reliant. While I was satisfied with results of my initial investigations and experimentation with abstract forms in painting I felt that the work lacked a social connection. I thus became interested in addressing what I perceived as this shortfall in my abstract painting. A new body of photographic work that had been evolving in parallel to my painting practice seemed to offer a solution. I realised that the photographs could be used to construct a new version of abstract composition. The images shared a similar colour and geometrical configuration to that illustrated in the 'Colour:Form:Ratio' Series. With this breakthrough, I began 'painting by eye', replacing my brush and palette with the camera and using it to capture and frame colours and geometric forms from my surrounding environment. In order to test my new methodology of arriving at abstract compositions extracted from the world around me, I selected two communally shared spaces - the gallery/museum and the construction site - as the sourcing ground for my photographs. The result of my experimentation has been two collections of work: 'Photography-Free Zone' and 'Construction-Abstraction'. Both series reflect my experience of the gallery/museum space and the construction site while illustrating the transferral of my painting process to the photographic medium. The most favourable realisation I made in the process of making these works was that the subject matter I captured with the camera possessed aesthetic and theoretical qualities in keeping with my former painted artistic vocabulary, despite being removed from the physical act of painting.

NIL

L'expérience ALICE auprès du LHC permettra la mise en évidence et l'étude de la transition de phase de la matière hadronique ordinaire vers un état de partons déconfinés appelé plasma de quarks et de gluons (Quark Gluon Plasma). La suppression des résonances de saveurs lourdes (J/psi , Upsilon) s'est avérée être la signature la plus prometteuse de la formation d'un QGP dans les collisions d'ions lourds ultrarelativistes. L'observation des états liés J/psi et Upsilon via leur canal de désintégration muonique sera effectuée à l'aide d'un spectromètre avant dont le trajectographe est un ensemble de dix chambres à cathodes segmentées (Cathode Pad Chambers) réparties en 5 stations. Dans ce travail de thèse, nous avons développé un modèle de CPC dont l'originalité repose sur une lecture parallèle de la charge. Les paramètres et la géométrie des chambres ont été optimisés pour la station 3. Une simulation complète a permis de calculer le taux d'impact multiples attendu et de proposer une méthode de déconvolution adaptée. L'effet du champ magnétique dipolaire sur la résolution spatiale intrinsèque des chambres a également été évalué. Les performances déduites de la simulation sont confirmées par les résultats expérimentaux issus de tests sous faisceau de prototypes au CERN. La mesure des paires de muons sera contaminée par le bruit de fond des interactions faisceau-gaz résiduel. Le niveau de ce bruit de fond est plusieurs ordres de grandeur supérieur au signal de physique en mode p-p, référence pour l'étude des collisions p-A et A-A. Afin de valider le signal de trigger dimuons dans les collisions pp, la Collaboration ALICE a récemment décidé d'équiper le spectromètre d'un compteur de déclenchement de niveau zéro (V0). Les étapes de la conception de l'hodoscope de scintillateurs V0 sont présentées dans cette thèse.

Un des objectifs de la physique des ions lourds aux énergies ultra-relativistes est la mise en évidence et la caractérisation d'une nouvelle phase de matière, le plasma de quarks et de gluons (QGP). L'une des signatures est la suppression des résonances de haute masse (J/psi,upsilon) et, en particulier, celle du upsilon, qui ne pourra être observée, (au travers de sa désintégration muonique) qu'aux énergies LHC (Large Hadron Collider) en collision Pb-Pb. Le bras dimuon, sous-détecteur de ALICE, a en charge l'identification et la caractérisation de ces muons, via des chambres de trajectographie, un dipôle et un système de déclenchement appelé "trigger". Le système de déclenchement du bras dimuon est basé sur des chambres à plaques résistives (RPC). Après avoir fait l'analyse des données recueillies durant une campagne de tests au CERN, il est apparu que la résolution en temps, délivrée par l'électronique du détecteur, ne satisfaisait pas entièrement les performances requises. Nous avons alors développé une nouvelle technique de discrimination nommée ADULT (A DUaL Threshold) qui améliore la résolution en temps du détecteur. Cette électronique permet également d'optimiser plusieurs paramètres critiques du fonctionnement d'une RPC en mode streamer. Ce nouveau système de discrimination a amené l'équipe à développer une puce de microélectronique spécifique qui a été validée lors de tests réalisés au CERN. D'autre part, des simulations de collisions Pb-Pb ont été réalisées. Les spectres de masse invariante sont présentés ainsi que l'effet des coupures en impulsion transverse du "trigger" du spectromètre dimuon sur ces spectres de masse. D'autre part, la perte d'énergie des quarks dans le milieu nucléaire est introduite. Nous montrons et commentons les effets induits sur les résultats des simulations. De plus, deux techniques d'estimation de bruit de fond combinatoire sont mises en oeuvre. Il est alors montré que la technique de "l'event mixing" est mieux adapté que la méthode des "like - sign" pour l'estimation du bruit de fond combinatoire aux énergies LHC. Il est égalementmontré comment nous pouvons obtenir une estimation de la section efficace de production de beauté à l'aide de ces deux méthodes.