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Melanie Jones and Dan Durall aren't looking to the treetops for clues about the "wood wide web." They're looking to the soil at fungi that are crucial to renewing our forests.

“Sites of Inscription” argues that creative works allow us to trace black epistemologies of space and time in the United States. Reading works of literature and art from the 19th century to the present, I trace how black people have creatively mis-used, reimagined, and transformed the spatial technologies of the plantation and its geographic afterlife. My project specifically asks how the “literary” in black literary geographies reveals and preserves black spatial praxes in ways that exceed the capacities of dominant modes of Western spatial representation such as conventional maps, blueprints or land surveys. Each chapter considers literary form in particular to be intimately related to the production and representation of space by black people—both as ways of expressing the experience of living under spatial technologies of racialized management, enclosure and exploitation, and as ways of expressing resistance to these technologies and the underwriting epistemologies they reproduce. Employing a palimpsestic practice of reading, I gather texts written across periods but which cohere around a single spatial formation that stages the tensions of (post)plantation geographies—fences, city blocks, apartments, and rooftops. Reading works by W.E.B. Du Bois, Frederick Douglass, and Zora Neale Hurston, I consider the relationship between writing and enclosure in the South during and immediately after slavery. Moving North and into the 20th century, I consider representations of the city block in work by Romare Bearden, Tonya Foster, and Langston Hughes. The art of apartment living in Chicago is explored through readings of Kerry James Marshall and Gwendolyn Brooks. I conclude on the rooftop, where Claude Brown, Piri Thomas, and Faith Ringgold document its creative re-production. All four chapters explore the impact of these radical acts of counter-planning, and efforts to represent them, on literary form and genre—concluding that formal experimentations are precisely what allow literature and visual art to archive these fugitive and fleeting engagements with space.

Since no writing is entirely objective, it is the contention of this thesis that Dr. Juanita Brooks and Dr. LeRoy R. Hafen, the most authoritative writers of the Southern Nevada and Southern Utah region, were greatly influenced in their writings by the folklore of the region and of the people. The two aspects of folklore which are most prominent in their writings are, first, those which treat the supernatural aspect of divine intervention, and, second, those which surround the struggle for survival.Folklore stories of divine intervention include the lore of divine aid given in time of great need, divine counsel presented as a guide, and divine healings obtained through the medium of the church. Both good and evil influences are manifest.Folklore stories of survival include the lore centered about the home, the land, the food, the medicinal supplies, etc. Both the folklore stories of divine intervention and the folklore stories of survival are influenced by the region from which they arise, and from the kind of people who live in the region.The Southern Nevada and Southern Utah region is comprised of desert land which depends upon a notionable river for irrigation water. The people who live there belong to a church which embraces very emotional precepts. Given, then, a land which has been difficult to conquer, and a people who have relied upon divine intervention in every emergency, and one has the basis for the background of Dr. Brooks and Dr. Hafen. They are so much a part of their own survival lore and their own need for divine intervention in time of crisis, that the folk stories which have grown up around these motifs either find their way into their writings, or, are closely associated with those which are included.

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This thesis deals with direct and indirect determination of soil hydraulic characteristics (retention curve and hydraulic conductivity) in the locality of Bohaté Málkovice. For laboratory determination of soil moisture retention curve is used sand tank and pressure relief device. For the indirect determination of soil hydraulic characteristics is used computer software Rosetta, which includes 5 models of pedotransfer functions. For estimatiton of retention curves are applied previously derived pedotransfer function (continuous parametric PTF and point PTF).

The purpose of this study is to discover, through a survey of beginning Latin-American children, their status and their outstanding problems during the school year of 1939-1940 with the hope of bettering their conditions in future years.

This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.