This thesis applies a Cybernetic interpretation to a selection of poetry by the Scottish Informationist poet Robert Crawford, drawn mostly from two collections: A Scottish Assembly (1990) and Sharawaggi: Poems in Scots (1990). Crawford is contextualized by observing the poetic influences of Robert Burns, John Davidson, and Hugh MacDiarmid, as well as the philosophical influence of George Elder Davie’s The Democratic Intellect. This paper argues that, in response to the Two Cultures hypothesis put forth by C. P. Snow and the widely-held belief that Scotland is irrevocably fractured, the shifting boundaries of the many disparate Scottish cultures are mediated by technologies of communication within A Scottish Assembly, updating both Scotland’s identity and its cultural canon not by merging these cultures into a single Universal Scot, but by holding them in tension—and Sharawaggi is observed as a means of grounding the languages and peoples of Scotland within the landscape.

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

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

Thesis (D. Min.)--Dallas Theological Seminary, 2004. / Includes abstract. Includes bibliographical references (leaves 149-152).

Thesis (D. Min.)--Dallas Theological Seminary, 2004. / Includes abstract. Includes bibliographical references (leaves 149-152).

M.A. (Politics) / What is democracy? In the second half of the twentieth century the term, which may relate either to a form of government or a form of society, has become much used and, in the writer's opinion, misused. Indeed, Macpherson believes there is "a good deal of muddle about democracy" (Macpherson 1972:1). At the start of the century's last decade this process appears to have accelerated as the term has become ever more topical, encouraged hugely as the process is by the predominance of mass media communication. The writer considers that democracy is not only a topical term but an important concept, for students of politics as well as for the pub Li.c at large. It is a term which surely requires better understanding of its meaning if the concepts and principles to which it relates are to be valued and appreciated appropriately. At the beginning of his enquiries, which result in this dissertation, the writer assumes "democracy" to mean a form of government Which ensures an equal say in its direct control for all citizens of sound mind. Franchise qualifications should provide for a reasonable minimum age but must disregard any other differences, such as sex, race or religion. This dissertation is undertaken in an endeavour to clear away some of the confusion, or "muddle", which exists regarding democracy. The writer anticipates that elucidation will enhance not. only the possibility of wider understanding but also prospects for meeting the need for concerted, tenacious and widespread efforts to obtain meaningful improvement in levels of democratization. The writings of two prominent political theorists, Robert Allen Dahl and Crawford Brough Macpherson, will be examined to ascertain and compare their views on democracy, with the subsidiary objectives of clarifying the meaning of democracy and ascertaining whether real democracy exists in any sizeable political system. It is the writer's hypothesis that although the basic conceptions of democracy found in the writings of Dahl and Macpherson indicate major differences, certain similarities have been perceived: and that these similarities will prove valuable in stabilizing the meaning of democracy, and in establishing to what extent (if any) true, that is direct, democracy exists.

Intricate Maneuvers is a series of musical works that were composed using movement as a model for compositional processes and forms. This essay presents in-depth analyses of three works from the series; Fidget, Sway: The Mildest Form of Falling, and Swerve for Chamber Ensemble. The analysis of each work highlights correlations between the musical characteristics of that work and the temporal, spatial, contextual, and psychological implications of the motion after which it was modeled. The third chapter also demonstrates the ways in which the creation of Sway was influenced by materials and processes taken from Ruth Crawford's String Quartet 1931. In order to investigate the question of how life experiences can function as models for compositional processes, the essay examines precedents for the compositional modeling of extra-musical ideas and images in the works of Bed?ich Smetana, Elliott Carter and Roger Reynolds. It also discusses approaches to modeling movement in music created for dance. Throughout the Intricate Maneuvers series, movement is modeled not merely to create an association between a musical work and a particular movement pattern, but rather to infuse the compositions with the dynamism that defines a particular kinetic experience.

Modern flute pedagogy tends to focus on repertoire which utilizes or builds upon tonal and Romantic stylistic conventions, largely ignoring works that disregard or reject these conventions until later in student's education. This lack of stylistic diversity in commonly studied works from the first half of the twentieth century can be problematic when students are approaching avant-garde or modernist repertoire for the first time, as they are unfamiliar with the style and technical needs of the pieces. This dissertation provides a style guide and progressive curriculum for the avant-garde repertoire of the early- and mid-twentieth century to help students bridge the gap from commonly-studied early-twentieth century repertoire to Post-War Modernist works. The curriculum and style guide are accompanied by an overview of avant-garde musical styles prominent in Europe and American between the 1890s and 1970s, a discussion of the pedagogical challenges of avant-garde repertoire, and two performance guides for avant-garde pieces included in the curriculum, Diaphonic Suite No. 1 by Ruth Crawford and Variations for Solo Flute by Ursula Mamlok.

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Source: Dissertation Abstracts International, Volume: 70-06, Section: B, page: 3460. Adviser: Carl S. Hacker. Includes bibliographical references.