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This project examines the blending of verbal and visual discourse in three of Christopher Marlowes early works: Dido Queen of Carthage and Tamburlaine the Great, Parts I and II. Through the process of appeals, both Dido and Zenocrate become more than feminine counterparts in a heroic tale and ultimately engage in rhetorical conquest themselves. Marlowe's treatment of Dido and Zenocrate portrays them as dynamic figures whose ambitions emerge upon the stage. In each drama, the feminine agency legitimizes the action of the play. Dido utilizes visual appeals to contest the fate of the gods and persuade Aeneas to become the male counterpart in her empire. Zenocrate serves as the focus of Tamburlaine's appeals because she will become the legitimating presence for his ambition. I show that these Marlovian women hold a significant place in his canon and that the force of their presence is undeniable. / by Courtney N. Gregory. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Jon Christopher Nelson’s Fantasies and Flourishes: An Interactive Concerto for Disklavier and Orchestra (1995) is the first interactive work to present the Disklavier as the solo instrument in a concerto with orchestra. The purpose of this study is to provide an analysis of Fantasies and Flourishes and advice on how to successfully present it in performance. Fantasies and Flourishes reveals the composer’s interest in the music of Elliot Carter, in particular his A Symphony of Three Orchestras. The entire work is based on the two all-interval tetrachords also used by Carter; in Fantasies and Flourishes, these tetrachords are combined to form seven octachords that are used in various manipulations. The Disklavier is an acoustic piano that can be played by a performer, can play by itself, or can be controlled by a computer program. In interactive works for Disklavier, a pianist plays on the Disklavier while the Disklavier plays by itself, much like if a pianist were to play on a player piano while the piano was also playing by itself. However, in interactive Disklavier music the pianist’s performance affects what the Disklavier plays; particular notes in the piano part trigger the Disklavier’s music. Chapter I provides an introduction to the dissertation and background on the composition. Chapter II gives a formal analysis of the work, with focus on the composer’s use of musical constraints to delineate form. Chapter III supplies information that will help a pianist to prepare for a performance of the concerto and includes discussion of extended techniques used in performance. Chapter IV gives a detailed discussion of Max, the computer program used to control the Disklavier. Analysis and description of the computer program give the performer insight into how the Disklavier’s music works, especially for algorithmically-composed sections that vary between performances. A chart is provided that details information regarding each trigger that the performer must play in order for the Disklavier to function properly.

This thesis presents the historiographical concerns guiding the work of Christopher Dawson, Roman Catholic historian, sociologist, and philosopher of history, in terms of a science of human being, which is adequate to conceptualize human activity in time. The author attempts to show that Dawson rejects the modern, empirical paradigm, both for its secularity and its reconceptualization of the relation between time and human activity in history. A conceptual continuity Dawson sees between the work of modern empirical thinkers G.W.F. Hegel, Karl Marx, and Friedrich Nietzsche, and its consequences for understanding history as a teleological process, or the progress of Reason, consciousness, Spirit, self-overcoming, etc., is treated in the first section. Dawson's account of the natural conditions of human knowing, and its relation to his theory of culture, is treated in the second section. And in the final section, Dawson's understanding of the relation between religion and culture is presented.

Bad Poetry and Other Short Stories is a collection of social, political, and religious commentary. The last three stories are also commentary from a non-fiction perspective.

If gutta-percha cartridges are contaminated with bacteria prior to obturation then contamination of the root canal system may result. Successful treatment not only depends on bacterial elimination but also depends on prevention of recontamination. This study was motivated by the observation that endodontists frequently use single use gutta-percha cartridges on multiple patients. The goal of this study was to determine if cross contamination occurred when a single gutta-percha cartridge in the Calamus™ Flow System was used on multiple patients. An effective recovery method was established during a pilot study using Enterococcus faecalis as a sample bacterium. Microbial recovery was obtained using standard media. The Calamus™ heated gutta-percha delivery system was evaluated to determine the percentage of cartridges with recoverable microorganism under four conditions. Results showed that for cartridges tested immediately after removal from manufacturer’s packaging, the observed negative outcome was 0/10 (0%). For cartridges used on a single patient with an alcohol wipe after use, the negative outcome was 0/20 (0%). For cartridges used on a single patient with no alcohol wipe after use, the negative outcome was 1/20 (5%). For cartridges used on three patients with an alcohol wipe after each use, the number of observed negative outcomes was 0/20 (0%). Using 95% score confidence intervals, the results indicate that the percentage of cartridges with recoverable microorganism under the four conditions is below 27.8% for cartridges sampled from manufacturer’s packaging, 16.1% for cartridges used on a single patient with a alcohol wipe after use, 23.6% for cartridges used on a single patient with no alcohol wipe after use, and 16.1% for cartridges used on three patients with an alcohol wipe after each use. Evidence from this study indicates using Calamus™ flow cartridges on multiple patients vs. single patient does not lead to an increased contamination risk.

Thesis advisor: John Michalczyk / Despite a long affiliation with film dating back to the French New Wave, existentialism has remained a fascination reserved for art film producers and intellectual viewers for decades. In the early twenty-first century, director Christopher Nolan’s Batman trilogy marked the first time existentialism bubbled over from niche art films into the most blatant form of popular culture: the summer blockbuster. This analysis explores Batman Begins and The Dark Knight as up-to-date pictures of modern existentialism, embodied by Bruce Wayne’s journey through fear, chaos and rebirth, mirroring the existentialist advancement through uncertainty to freedom and self-creation. / Thesis (BA) — Boston College, 2012. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program. / Discipline: College Honors Program.

Thesis advisor: Christopher Constas / Thesis advisor: Brian Braman / The literary character of Batman, first introduced by Action Comics in 1939, has been reincarnated several times in popular culture through graphic novels, radio, video games, television shows, and movies (Boxer). Christopher Nolan’s Batman movies, however, portray only a fraction of the episodes and villains presented in the comic books, while reflecting on universal cultural, psychological, mythological, and social themes, archetypes, and conflicts. In an interview with the Film Society of Lincoln Center, Nolan explains that he was trying to portray Batman as an extraordinary character in the fabric of an ordinary city with familiar traits that would be recognizable to the audience. The theatrical Batman, with high-tech devices and powerful combat tactics, creates a stunning contrast against the dismal background of Gotham. Nolan designed Gotham in this way to remind the public that “[i]n America we take for granted a stability to our class and social structure that has never been sustained elsewhere in the world. In other words, this sort of thing has happened in countries all over the world, why not here? And why not now” (Foundas)? While he acknowledges that his movies are open to numerous political, religious, philosophical, and economical interpretations, on a deeper level, Nolan seems to have wanted to create these movies as a response to this eternal struggle of society against the forces of chaos and injustice, part of the inherent conflict of the human condition. Nolan also addresses the numerous factors that contribute to the incitement of such chaos, including government censorship, lying, and covert violence, which, paradoxically, are often used as justifications for preserving the social order. Several of the aspects of Batman Begins, The Dark Knight, and The Dark Knight Rises are applicable to modern society; others are influenced by monumental historical events. One of the crucial themes of Nolan’s trilogy is the search to understand what it truly means to fulfill the role of the Batman, that is, the role of a guardian of order and justice against the forces of chaos and injustice. / Thesis (BA) — Boston College, 2013. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Philosophy Honors Program. / Discipline: Philosophy.

<p>Syftet med denna uppsats är att genom en textanalys, granska makt- och genusaspekten i Christopher Gillbergs senare forskning gällande Asperger syndrom och högfungerande autism. Den teoretiska utgångspunkten är genusteorin och makt, med frågeställningarna; Hur visar sig makten i ett genusperspektiv? Hur visar sig makten i valet av de diagnostiseringskriterier som forskaren väljer att använda? Analysen visar att av de barn som blir diagnostiserade med Asperger syndrom är pojkarna fler till antalet än flickorna. Resultaten som belyser genusaspekten visar att flickor inte har samma symtom som pojkar, vilket kan leda till att flickorna inte blir diagnostiserade. En diagnos skapar bättre förutsättningar till att få hjälp från samhället. Möjligheten till att använda olika diagnostiseringskriterier leder till att forskarna har makt att i vissa fall välja om och vilken diagnos som ska ges. Cederlund med flera (2008) presenterar Gillberg och Gillbergs diagnostiseringskriterier som de som ligger närmast Hans Aspergers egen beskrivning av syndromet från år 1944. Många frågor har uppkommit under analysprocessens gång. En av dessa, som vi anser som den viktigaste, är den att flickors symtom anges som olika pojkars symtom.</p>

<p>Den här uppsatsen handlar om dampdiagnostisering av barn i skolan. Denna debatt har under flera år varit intensiv och tidvis ganska infekterad. Flera forskare beskriver DAMP som ett stort folkhälsoproblem där så många som 5 % av vårt lands barn och ungdomar har symtom som kan leda till en diagnos. Detta innebär i så fall att det finns ungefär ett barn i varje klass som lider av detta, ett problem som i många fall dessutom fortsätter upp i vuxen ålder. Samtidigt finns det personer som kraftigt motsätter sig diagnoser och menar att framförallt DAMP är rena påhittet. En diagnos på ett barn, menar dessa, är detsamma som att stämpla denne för resten av livet</p><p>Uppsatsen har genomgående två spår, det medicinska/biologiska och det sociokulturella/ sociologiska och syftet är att se hur förespråkare för de olika perspektiven argumenterar för sina ståndpunkter. Utifrån detta vill vi också undersöka om, och i så fall hur, synen på lärande och arbetssättet skiljer sig åt beroende på vilket perspektiv läraren har på DAMP och dess orsaker. Som ett komplement till detta har vi också valt att se hur debatten speglas i media. Anledningen till detta är att tidningarnas debattsidor är en av de största opinionsbildarna idag och många uppfattningar och åsikter formas genom det som tas in genom media.</p><p>En första slutsats är att det finns en stor och väldigt viktig skillnad i synen på lärande utifrån de båda synsätten. Det medicinska perspektivet utgår från att barnet har någon form av brist. Det sociokulturella perspektivet utgår istället från att varje individ är unik och att alla kan lära. Det medicinska perspektivet menar att situationen för ett barn med DAMP kan underlättas, men denne kan aldrig bli fri från sitt ”handikapp”. Det sociokulturella perspektivet menar att det är barnens sociala och kulturella omgivning som formar dem till vad de är. Arbetssättet för oss som lärare i arbetet med barn med DAMP blir utifrån detta väldigt annorlunda beroende på vilket synsätt som gäller. Utgår man från det medicinska perspektivet innebär detta att ansvaret för dessa barn till stor del skjuts över på specialpedagoger och stödpersonal. Eleverna särskiljs från gruppen och placeras i specialklasser och får individuell undervisning. Om det sociokulturella perspektivet anammas blir arbetssättet ett helt annat. Detta innebär då att alla elever skall få plats i samma klassrum och erbjudas undervisning utifrån sina förutsättningar. Den ordinarie läraren har allt ansvar och varje enskild lärare skall kunna hantera denna situation.</p><p>När det gäller mediedebatten innehåller inte den någon egentlig sakinformation. Debatten mellan i första hand Christofer Gillberg och Eva Kärfve hamnar mer på personangreppsnivå. Risken är då att läsarna bildar sin uppfattning utan att egentligen vara särskilt insatt i ämnet. Utifrån den typen av debatt vi har sett anser vi att den kan göra mer skada än nytta. Det riskerar att bli väldigt polariserat, antingen håller man på Gillberg eller också håller man på Kärfve, svart eller vitt.</p>