Walker's latest three novels address in some way walker's notions of spirituality and her idea that many people suffer from a type of spiritual sickness which prevents them from realizing the fullest extent of their spirituality. The well as with themselves. Possessing the Secret of Joy doesnot discuss Walker's thoughts on spirituality as much as her earlier works. Instead, the book focuses on Tashi, the main character, who suffers a form of physical mutilation which leads to her spiritual suffering.By looking at Walker's novels and by reading other works, both fictional and nonfictional, including the influential work The Great Cosmic Mother by Monica Sjoo and Barbara Mor, I have developed a theory of Walker's spirituality. Using this idea about spirituality, I then examined Walker's novels for evidence of forms of spiritual sickness in her characters and studied the ways in which the characters overcame their respective spiritual difficulties. / Department of English

In her article “Visual pleasure and narrative cinema” (1975) Laura Mulvey explains how film portrays the female characters as passive sexualised objects, on display for the male (erotic) gaze. Although, Mulvey did make amendments to the original article after it was criticised, her original article is still influential and referenced in academic writing on film. This dissertation investigates how the three selected mainstream American films, namely, Alice in Wonderland, Monster and Transamerica, have female protagonists who deviate from Mulvey’s initial standpoint and enact a new dynamic, whereby the female characters possess active bodies. In order to explain this new dynamic, the dissertation provides an overview of relevant theory in order to establish the necessary analytical tools to investigate the representation of the female body. These tools are taken from feminist notions of the body, most importantly Mulvey’s notions, in order to establish what constitutes an active female body that subverts the male gaze. This subversion is most notable when examining the iconography of the active female body. The dissertation also draws from the overview the importance of place and space, the embodiment of the characters’ inner workings in specific locations, and their relationship with the locations in which they are depicted. Since all three films include a physical journey on which the respective protagonists embark the examination of borders and border crossings is included. The dissertation shows that journeys bring with them the opportunity for the body to be active, as each female protagonist is on a journey to self-discovery. The changing settings in which the protagonists find themselves are an embodiment of their inner workings. Topographical borders mark the entering of new locations. However, concomitant symbolic and epistemological borders are also crossed. The female protagonists need to make choices concerning their lives and as a consequence alter the representations to reflect bodies that subvert the male gaze. These female bodies are active. However, they are active in different ways. Alice, from Alice in Wonderland, delves into her psyche to emerge a changed and independent Victorian woman. Bree, from Transamerica, heals the relationships with her family and is able to have her gender reconstructive surgery to become a physical woman. These two female protagonists have positive representations of the active female body. The protagonist from Monster, Aileen, is represented in a constant state of abjection and her active body is portrayed in a negative light. Whether represented in a positive or egative light, these chosen films all portray an active female body that does subvert the male gaze, and hence represent a new dynamic different from the one Mulvey described. / MA (Language Practice), North-West University, Vaal Triangle Campus, 2014

The woman suffrage movement in America lasted nearly an entire century. The movement formally began in 1848 at the Seneca Falls Convention and concluded in 1920 when the Susan B. Anthony amendment was ratified. Throughout this time period the movement changed dramatically. At the turn of the century the excitement and radical nature of the movement that prevailed at mid-century had been exhausted. Suffragists worked with no sense of immediacy, under the assumption that universal suffrage would come eventually, whether it in their lifetimes or their daughters’ or granddaughters’. This all changed, however, in 1913 with the Woman Suffrage Procession. The parade catalyzed the movement, sparking the beginning of the end. An examination of the parade itself, the planning process, and its aftermath reveals the importance of the procession and the changes it provoked. It first served as a platform for a new suffrage leader and a new suffrage group. Alice Paul, a young suffragist who had been involved in the movement in England, planned the procession as her first major responsibility on the US suffrage scene. Throughout the parade planning and aftermath she established herself as a strong leader. She also led the way for a younger and more radical suffragist organization, the Congressional Union, that would soon split from the dominant suffrage organization to pursue more aggressive tactics. Secondly, the suffrage parade demonstrated and catalyzed a transition of strategy, tactics, and sentiment. At the parade a younger cohort of suffragists began utilizing more militant tactics and adopting a sense of immediacy and determination. Finally, the parade altered the movement by raising awareness across the country that had not previously existed. The excitement of the procession caught the attention of government officials, the general public, and - most importantly - the media. The combination of a new leader and association, the transformation of internal attitudes, and new-found awareness put the suffragists on the path towards victory. The parade breathed new life into the movement, catalyzing the final push to success.

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.

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on July 1, 2008). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Missy Dehn Kubitschek, Jennifer Thorington Springer, Tom Marvin. Includes vitae. Includes bibliographical references (leaves 109-114).

Thesis (Ph. D. in Religion)--Vanderbilt University, Dec. 2005. / Title from title screen. Includes bibliographical references.

Thesis (Ph. D.)--West Virginia University, 1998. / Title from document title page. Document formatted into pages; contains v, 183 p. Vita. Includes abstract. Includes bibliographical references (p. 174-182).

Thesis (M.A.)--Cincinnati Bible College & Seminary, 1995. / Includes abstract and vita. Includes bibliographical references (leaves 129-131).

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [351]-383).

I denna uppsats gör vi en komparativ analys av Lewis Carrolls (1865) originalversion Alice i Underlandet med en bilderboksversion av Susie Linn (2015). Syftet är att undersöka vad som skett efter att en adaption har genomförts från kapitelbok till bilderbok. Vi tittar på vilka skillnader och likheter det finns mellan böckerna, och det inkluderar även karaktärerna, vilka är Alice, den vita kaninen, kålmasken/fjärilslarven och Cheshirekatten, samt tre episoder, tebjudningen, krocketturneringen och rättegången. Analysens resultat visar att böckerna följer samma kronologi, men i bilderboken som en komprimerad version. Det finns vissa delar som är borttagna efter adaptionen till bilderboken men de mest kända episoderna är kvar. Resultatet visar även att karaktärerna har fått en mildare framtoning i bilderboken jämfört med kapitelboken. Vi kan också konstatera att litteraturen är relevant till att använda i undervisningen i förskoleklass upp till årskurs 3.