This study suggests that Blake’s works can be understood as ‘conversion works,’ which seek to facilitate a broadly defined perceptual, spiritual, and intellectual conversion in the reader/viewer. This conversion is manifested in various ways in the texts, images, narrative structures, and style of Blake’s works. Part I discusses the genesis of the narrative of Blake’s own conversion and introduces critical discussions of the conversion narrative as a genre, showing how the predominant interpretative paradigm of the conversion narrative (as an autobiographical reportage describing a one-off experience) is challenged by the shapes that conversion narratives have taken throughout history, suggesting a broader definition of conversion literature. In Part II, I analyze Blake’s depictions of Christ in his illustrations to Night Thoughts in relation to eighteenth-century Moravian art, and the way in which they are later used in The Four Zoas. I discuss how Milton can be understood as a multilayered conversion narrative, how the manifestation of conversion in Jakob Boehme’s works might have influenced it, and how a related conversion is manifested in Jerusalem (1804-20). Finally, I show how Blake represents conversion in his illustrations to Pilgrim’s Progress and the Book of Job, emphasizing the importance of vision and the inclusion of protagonist and viewer in the divine body. Together, these analyses show conversion as a gradually developing presence in Blake’s works, exploring the conversion moment as a way into the shared salvific space of the body of Christ for fictive characters, author, and reader or viewer together.

In the present work we study a linearization framework for assessing the security of hash functions and analyze the proposal of hash function BLAKE. The thesis demonstrates a limitation of a method presented in the linearization framework for which the method could not be applied to the full extent. Further in the thesis, it is explained how to find a message difference for second preimage attack with the help of linear codes. To that end, a matrix representing the linearized compression function of BLAKE is constructed. My thesis as a PDF file and source codes of computations that I created in Mathematica software are on an enclosed CD.

This thesis serves to document and define my creative process and efforts to perform the role of Oscar in My Friend, Oscar which was written by me and Brian Kaz. It contains my research, how I put my research into use in the role, my production journal, and my project evaluation. My Friend, Oscar was produced by Reyo-San Pictures whose members are Brian Kaz, Charlie Farve Hayes and me. The film was shot from early November of 2008 until April of 2009. After post-production, the film is projected to be ready for screening in September of 2009.

The diploma thesis "Imagination in William Blake´s work and illustrations (work on paper underlay)" is divided into two parts - theoretical and practical. The theoretical part aims to study the life and work of the world known artist William Blake, make deeper analysis of his work and imagination. Professional thesis from theorists who dealt with with the work of William Blake will be presented. This theoretical part is important for creation of the second part. The primary goal of the practical part is to make the concept of the author's book, which is inspired by the work of William Blake and is entitled "Tribute to William Blake".

Made available in DSpace on 2016-04-27T19:30:51Z (GMT). No. of bitstreams: 1 Andrezza Christina Ferreira Rodrigues.pdf: 16964881 bytes, checksum: ff278138157e15f045182af60ec4fe85 (MD5) Previous issue date: 2013-06-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study analyzes the major works of William Blake, showing his tendency to create a mythology of its own, based on Judeo-Christian mythology that ran through his visual and poetic work. In this sense, his work can be understood as mythological, inserted in the representations of English romanticism. It can see how these peculiarities inherent to its formation as a poet and illustrator as well as influential graphic arts indirectly and occultism of his age directly / Este trabalho faz uma análise das principais obras de William Blake, evidenciando sua tendência à constituir uma mitologia própria, baseada na mitologia judaico-cristã, que percorreu todo seu trabalho visual e poético. Nesse sentido, seu trabalho pode ser compreendido como mitológico, inserido nas representações do romantismo inglês. Pode-se perceber essas particularidades como inerentes a sua formação como poeta e ilustrador e também como influenciador indireto das artes gráficas e direto do ocultismo de sua época

A presente tese analisa a peça We Are Three Sisters - escrita em 2011 pelo poeta e dramaturgo britânico Philip Blake Morrison - com o objetivo de discutir as ligações entre as instâncias do ficcional, do real, do imagético e do biográfico. Morrison utiliza como pano de fundo para a elaboração de We Are Three Sisters o texto As Três Irmãs (1902) do dramaturgo russo Anton Chekhov. Morrison preenche sua peça com dados sobre a vida das irmãs Brontë, como retratados pela historiadora e biógrafa Juliet Barker em The Brontës: Wild Genius on the Moors (2010). Barker, que foi curadora da biblioteca da Brontë Society durante anos, confiou a Morrison os dados de sua pesquisa e o auxiliou a transportá-los para a peça que ele estava escrevendo. Considero importante examinar como se dá esse processo de esgarçamento das fronteiras entre o real e o ficcional através do conteúdo simbólico e imagético, porque ele reflete um tipo de prática cada vez mais utilizada por autores contemporâneos. O diálogo entre a Rússia de Chekhov da virada do século XIX/XX e o cenário (interiorano) do norte (industrial) da Inglaterra no período vitoriano, quando equacionados por Morrison no contexto dos dias de hoje, convidam-nos a traçar considerações que muito têm a nos dizer sobre os parâmetros da dramaturgia contemporânea. Além de serem três grandes autoras do cânone vitoriano, as irmãs Brontë surgem também como ícones culturais britânicos, tantas vezes já representadas como personagens em biografias ficcionais, romances, filmes, balés e peças de teatro. Para escrever sua apropriação da vida das Brontë, Morrison ampara-se na biografia de Juliet Barker, ao mesmo tempo em que utiliza a peça de Chekhov como um texto-sombra, uma matriz que serve como base para sua criação, um andaime em torno do qual constrói seu enredo. O movimento de entrelaçamento de realidade e ficção realizado por Morrison e a produção do conteúdo simbólico através da análise de imagens arquetípicas são o principal foco de interesse desta tese. Escolhi como metodologia de trabalho a aproximação entre os três textos, o de Morrison, o de Barker e o de Chekhov, através de ferramentas dos Estudos do Imaginário, representados pela análise de conteúdos imagéticos nos termos propostos por Gaston Bachelard, Gilbert Durand, Carl Gustav Jung e Castor Bartolomé Ruiz, uma vez que a tese aponta para possibilidades dialógicas entre imagem e palavra dentro dos paradigmas da cena teatral contemporânea. / This PhD dissertation analyzes the play We Are Three Sisters, written in 2011 by the poet and British playwright Philip Blake Morrison, in order to discuss the links between the instances of the fictional, the real, imagery and biography. Morrison uses as a backdrop for the elaboration of We Are Three Sisters the text Three Sisters (1900), by the Russian playwright Anton Chekhov. Morrison fills his play with data on the life of the Brontë sisters, as depicted by the historian and biographer Juliet Barker in The Brontës: Wild Genius on the Moors (2010). Barker, who was for years curator of the library of the Brontë Society, entrusted Morrison data from her research and helped Morrison to transport them to the play he was writing. I consider it important to examine how this process of fraying of the borders between the real and the fictional, through symbolic imagery and content, takes place, because it reflects a kind of practice increasingly used by contemporary authors. The dialogue between the turn of Chekhov’s Russia of the nineteenth/twentieth century and the (countryside) scenario (industrial) north of England in the Victorian period, when equated by Morrison in the context of today, invites us to make some considerations that have much to tell us about the parameters of contemporary dramaturgy. Besides, being three great authors of the Victorian canon, the Brontë sisters also come as British cultural icons, so often represented as characters in fictional biographies, novels, movies, ballets and plays. To write his appropriation of the Brontë’s life, Morrison is supported by Juliet Barker’s biography, while using Chekhov’s play as a shadow text, a matrix which serves as the basis for its creation, a scaffold around which he builds its plot. The intertwining movement of reality and fiction conceived by Morrison and the production of symbolic content through the analysis of archetypical images are the main focus of this PhD dissertation. I chose as a working methodology the approach of the three texts, Morrison’s, Barker’s and Chekhov’s, through the tools of the Studies of the Imaginary, represented by the analysis of imagery content as proposed by Gaston Bachelard, Gilbert Durand, Carl Gustav Jung and Castor Bartolomé Ruiz, since the work points to dialogic possibilities between image and word within the paradigms of the contemporary theater scene.

The study begins with an account of Blake, as voiced by Allen Ginsberg, taking part in a key Sixties anti-war protest, and goes on to examine some theoretical aspects of Blake's relationship with the Sixties. In Chapter One, I explore the relationship between ‘popular Blake', ‘academic Blake', and ‘countercultural Blake'. The chapter seeks to provide a revisionist account of the relationship between Blake's Sixties popularity and his earlier reception, suggesting that all three elements of Blake's Sixties reception – popular, academic and countercultural – have long been intertwined, and continue to interact in the Sixties themselves. In Chapters Two and Three, I focus in detail on Allen Ginsberg as a central figure not only in Blake's countercultural popularization, but also in the creation of Sixties counterculture itself. The first of these chapters, ‘Visionary Blake, Physical Blake, Psychedelic Blake', looks in detail at Ginsberg's 1948 ‘Blake vision' and the way Ginsberg later uses it to construct a Blakean narrative for the Sixties. I examine the significant differences between the versions of this event presented in Ginsberg's early poems and in his later prose and interview accounts, and Ginsberg's consequent attempts to develop a general theory of poetry in which the specific effects of Blake's poetry on the consciousness are compared to those of psychedelic drugs. Finally, I suggest that there are analogies between this ‘psychedelic' approach to Blake and the interest that Aldous Huxley had in using psychedelics to access Blake's own visionary state of consciousness. Chapter Three, ‘Ginsberg's Blakean Albion', analyses a selection of Ginsberg's poems, all linked to Blake's myth of Albion. I use these poems to examine the tensions present within the three-way relationship between Blake, Ginsberg and British counterculture. Particular attention is given to Ginsberg's poem ‘Wales Visitation' (1967), a work which I suggest is founded on the joint Romantic inheritance of Blake and Wordsworth, and which demonstrates the ways in which various strands of British Romanticism interact both within Ginsberg's poetry and within the broader Sixties counterculture. The final chapter of the study examines various aspects of the relationship between Blake and Bob Dylan, demonstrating the extent of Blake's influence on Dylan, but also tackling the surprisingly complicated and problematic question of the route(s) by which Blake arrives in Dylan's work.

“Safety is an opportunity for people to open their minds” -Jin Baek, 2008 For my thesis I will design an education facility. That education facility will strive to meet with today's security needs and will provide a safe-feeling place for growth. In identifying the problem, I found two main causes for the described conditions in today's schools. They are improper adaptation and uniform building type. Improper adaptation has to do with surface applications, rather than integrating with the social fabric of the school's communal requirements. Unfortunate incidents have caused the solutions to heightened security around schools to be fortressing and disrupting to the human activities. Metal detectors, restricted areas and alarmed doors are some of the possibly necessary but often overlooked attributes of the school design, which in concentration create a trapping, prison-like feeling where they should suggest a place of voluntary education and inspiration for the future. I will utilize CPTED (Crime Prevention Through Environmental Design) strategies, research codes, new building technologies, materials, systems, arrangements, precedent studies, and testing through simulation or experiment, in a form of installation. I can determine possible solutions and interventions using these resources. Uniform building type sets a counterproductive precedent. Today we must look at places were young people want to be, and splice the desired attributes of those places in to modern schools. In fact, uniform building type is one of the reasons for improper adaptation. Through interviewing school administrators, building officials, students, faculty, psychologists, builders and other construction professionals, I can identify the mandatory requirements. Implementing security and safety attributes as part of the concept, and knowing trends in technology can help secure educational facilities while still maintaining the qualities that are conducive to a learning environment. As stated by Holly Richmond in Contract magazine, February 2006 edition, "Students are the most crucial design element in today's schools," says Kerry Leonard, principal and senior planner at O'Donnell, Wicklund, Pigozzi and Peterson Architects in Chicago and chair of the advisory group for the AIA Committee on Architecture for Education. "Understanding how people learn and creating environments that respond to this knowledge is the best building block to start from."

A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.

Bibliography: leaves 421-464.