by Ho Sai Mun. / Original questionnaire in Chinese. / Thesis (M.A.Ed.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves 97-107). / Acknowledgements / Abstract / List of Tables / List of Figures / Chapter Page / Chapter I --- Background of Study --- p.1 / Chapter II --- Statement of Problem --- p.9 / Chapter III --- Review of Literature --- p.12 / Chapter A. --- From Global to Multidimensional Self Concept --- p.12 / Chapter B. --- From Nomothetic to Idiographic Self Concept --- p.16 / Chapter C. --- From Self Knowledge to Self Consciousness --- p.21 / Chapter IV --- Research Methodology --- p.26 / Chapter A. --- Definition of Variables --- p.26 / Chapter B. --- Conceptual Framework --- p.28 / Chapter C. --- Hypotheses --- p.29 / Chapter D. --- Instrumentation --- p.31 / Chapter E. --- Sampling --- p.33 / Chapter F. --- Procedure --- p.33 / Chapter G. --- Statistical Analyses --- p.34 / Chapter V --- Results --- p.38 / Chapter A. --- Multidimensionality of Self Aspects --- p.38 / Chapter B. --- Distinctiveness of Self Aspects --- p.42 / Chapter C. --- Specificity of Self Aspects --- p.44 / Chapter D. --- Moderator Effects of Self Salience and Self Consciousness --- p.47 / Chapter E. --- Multiple Determination of School Performance --- p.57 / Chapter F. --- Comparison of Academic Achievement Measures --- p.65 / Chapter VI --- Discussion and Conclusion --- p.71 / Chapter A. --- Complexity of Self Concept --- p.72 / Chapter B. --- Evaluation of School Performance --- p.75 / Chapter C. --- Prediction of School Performance by Self Concept --- p.80 / Chapter D. --- Moderator Effects of Self Salience and Self Consciousness --- p.85 / Chapter E. --- Limitations and Suggestions --- p.90 / Chapter F. --- Conclusion --- p.94 / References --- p.97 / Appendices / Chapter A. --- Original Questionnaire in Chinese --- p.108 / Chapter B. --- English Translation of the Questionnaire --- p.117

The visual feedback loop has long-been ignored as a form and an aesthetic within new media. Media theories have largely assumed a medium is defined by the material technology, relegating visual feedback to a circumstance of media rather than a unique and well-defined concept. This thesis sets forth a criteria for characterizing the visual feedback loop as a desired form, that is, a distinct set of formal and phenomenological qualities that are independent of a medium. Grounding the criteria are the cinema theories of Gilles Deleuze and Sean Cubitt; these theories propose that the cinematic image relates visual forms to generate information in decoding rather represents information directly. The thesis elaborates the theoretical concepts in examples of visual feedback loops from video (Nam June Paikâ s TV Buddha, Bruce Naumanâ s Live Taped Video Corridor), new media art (Daniel Rozinâ s physical mirrors), and digital technologies (GPS navigation systems). To reconcile the visual feedback loop within media theories, the thesis calls for a radical change in how theorists define a medium. Moving away from notions of inscription and materiality, media now rely on a collapsed distinction between sender and receiver. Hence, visual feedback loops exist as remediations of a conceptual framework rather than a technological one, and so require a logic within media theory that allow for the rise of other desired forms like the visual feedback loop.

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The research explores the concept of human consciousness and its being experienced in a particular social context, focusing on consciousness’s ‘highest potential’ as described in both ancient Buddhist Philosophy and more recent spiritual teachings. The main attention is on the individual’s emotional and mental experience of ‘conventional’ and ‘ultimate’ reality as taught by these traditions and the possible transformation of consciousness they might initiate. Two years of fieldwork was carried out at the Barbara Brennan School of Healing, which is a spiritual educational institution, offering a four-year training to become a healer. The School emphasis is on the human individual and his or her inherent existential power to transform and transcend limitations or delusions, focusing on the process of self- transformation. Being human in the eyes of the School is seen as an endless potential for growth, creativity, the capacity to love, and about learning to become fully responsible for one’s own life and happiness. The thesis explores the effect that this particular understanding of human potential has in the quotidian existence of the trainee and her or his social relations. Methodologically the study is based in phenomenological anthropology. This approach here implies that life cannot be understood through the conceptual or systematic study of its outward forms. Therefore it places conscious experience at the centre of its investigation, rather than disengaged objectivity. By employing the first-person perspective and undertaking part of the training myself, I hope to do justice to the inherently subjective dimension of consciousness and to gain as deep an understanding as possible of the processes of its transformation. The thesis thus includes subjective personal experience as primary data, and understands being objective in the sense of being open and without bias to both internal and external experience, giving the ‘perennial wisdom’ of spiritual traditions the same status as approved scientific laws.

In this dissertation I conduct a historical and theoretical reexamination of Walter Ong in order to explore the extent to which technology transforms consciousness. I discover within his work an understanding of literacy, technology, and humanity that can help us negotiate change without succumbing to the teleological urge to dichotomize. Technology transforms consciousness, but consciousness also transforms technology. This relational aspect of evolutionary change, which is essential to Ong’s work, is often missed or misread. The misreadings obscure important concepts in Ong’s work that can help us negotiate questions that occupy our own present and near-future. How do we teach writing in the presence of technology? What is literacy becoming and how can we understand the increasing multiplicity? Are our students being transformed by the latest technologies? Ong’s work offers answers in a somewhat unexpected way. Rather than continuing or redefining the orality, literacy, secondary orality continuum, I demonstrate that Ong’s work is grounded in more relevant concepts that should no longer be overlooked. A deeper understanding of “the word,” “interior,” and “presence” leads to the revelation that understanding “noetic economy” and “sensorium” not only clarifies Ong’s work, but also offers tools for transforming pedagogy, understanding literacies, and advancing historical understandings. Ong’s work is an enactment of scholarship within the sensorium. That enactment was somewhat unconscious; he did not always articulate the interaction of aural, oral, visual, kinesthetic, olfactory, and tactile, but merely referred to the human sensorium to explain the interactions of the physical and intellectual aspects of human existence. This recovery of Ong’s work demonstrates our need for conscious enactment of the sensorium. One such enactment includes rereading Alexander Bain, who failed to respond to the shifts in the human sensorium occurring alongside developments in writing technologies. Changes in the noetic economy shifted invention away from oral and memory-based composition towards visual and kinesthetically-enacted shaping and revising of ideas. Bain’s assumption that ideas come fully formed from the mind, shared with his students, became reified in current traditional pedagogy. Enacting the sensorium offers us an opportunity to avoid passing on problematic pedagogy to our own students. / Walter Ong's reception in English studies -- Speaking of changes, or, "How the divide is not so great" -- Before orality and literacy : earlier explorations in Walter Ong's thought -- The (not so) great divide : recalling the sensorium -- Applications. / Department of English

Thesis (M.A.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 152-154). Also available online.

Thesis (PH.D.)--Michigan State University. Social Work, 2008. / Title from PDF t.p. (viewed on Aug. 11, 2009) Includes bibliographical references (p. 169-173). Also issued in print.

Thesis (Ph. D.)--University of Chicago, Committee on Social Thought, Jun. 2003. / Includes bibliographical references (p. 187-196). Also available on the Internet.

This thesis examines the forms and functions of self-consciousness in contemporary Gothic fiction. Though self-consciousness is an often-mentioned characteristic of Gothic writing, it has yet to be explored in sufficient depth. In particular, critics have failed to recognise the manner in which the myriad forms of textual and generic self-reflexivity at work contribute to the fiction’s fearful agenda: how self-consciousness in the Gothic is itself Gothicised. This thesis argues that, rather than being an ancillary quirk of generic coherence or an indication of creative exhaustion, self-consciousness has become an integral part of the genre’s terroristic project, a new source and representational mode of terror. In the wake of postmodern and post-structural theory, the genre’s longstanding interest in reading, writing and textuality has been renewed, re-contextualised and redeployed as a key feature of the Gothic ‘effect’. My original contribution to knowledge is a charting of the intersections between the Gothic and this critical perspective on the text. In particular I explore how the Barthesian reorientation of the text is redeployed in Gothic fiction as a source of terror. Rather than pursuing an author-centric division of chapters I have organised the thesis around types of self-conscious commentary that occur throughout the contemporary Gothic. These are: a focus on the process of writing and textual composition; the internalisation and Gothicised representation of critical theory; an acute awareness and meta-commentary on the critical and commercial contexts of Gothic; and intertextuality. Key texts include Stephen King’s Misery (1987), Mark Danielewski’s House of Leaves (2000), Chuck Palahniuk’s Haunted (2005), A.N. Wilson’s A Jealous Ghost (2005), R. M. Berry’s Frank (2005) and Peter Ackroyd’s The Casebook of Victor Frankenstein (2008). This selection of texts is representative of a varied but coherent inward turn in the Gothic fiction of recent decades. It is, however, by no means exhaustive and supplementary evidence will be provided from additional texts. Equally, it is important to contextualise this contemporary turn in relation to an established vein of self-consciousness in the Gothic, present since its inception. As such, my approach is firstly to trace a lineage of reflexivity and to draw upon that tradition in demonstrating how contemporary Gothic writers have honed this technique to a uniquely terrifying purpose.

A comprehensive programme evaluation can provide rational, credible data to support the decision to implement a new programme, to improve an existing one or to discontinue an ineffective one. The main aim of a formative evaluation is to offer suggestions for programme improvement. A qualitative study was conducted to explore how the introduction of a team effectiveness programme provided a process that individuals in the organisation were exposed to that linked the constructs of self-awareness and interpersonal sensitivity as a way to empower individuals with tools for effective team communication and collaboration. The main findings indicate that individuals who are more self-aware make an effort to understand and adapt their behaviour to accommodate others. By contrast, there are individuals who use this as a defence mechanism or as an excuse for not adapting their behaviour. The polar opposite results in a breakdown of trust, team cohesion and communication that counteracts the effectiveness of the programme. In the absence of effective leadership to drive and continually reinforce desired behaviour, the individual tends to revert back to old behavioural practices. / Industrial and Organisational Psychology / M.A. (Industrial and Organisational Psychology)