Apparu au lendemain de la Seconde Guerre mondiale avec la publication en 1957 d’On the Road de Jack Kerouac et la sortie, 12 ans plus tard, d’Easy Rider de Dennis Hopper, le road novel et le road movie constituent à nos yeux les deux versants de ce que nous avons choisi de nommer le récit de la route. Devant l’absence de réelle étude conjointe entre les deux formes et la persistance d’amalgames, nous souhaitons mettre en évidence ce qui permettrait de distinguer le road novel et le road movie d’autres récits d’errance. Un tel travail nécessite la mise au jour d’un outil d’analyse intermédial permettant d’embrasser de concert des oeuvres relevant d’expressions médiatiques différentes. Nous proposons donc de recourir au concept de chronotope développé par Bakhtine en littérature, et dont il a été démontré il y a peu qu’il est aussi susceptible de s’appliquer à un objet cinématographique. Nous posons que road novel et road movie reposent sur la combinaison d’un ensemble de chronotopes fondamentaux : celui de la route, dans le contexte de la motorisation et des non-lieux de la postmodernité, et celui du seuil, compris comme l’expression du tournant d’une vie. La présence d’une dimension parodique nous amène en outre à mobiliser un autre concept bakhtinien : celui de carnavalesque, qui s’articulerait justement autour des chronotopes de la route et du seuil définis précédemment. Afin de procéder à cette analyse chronotopique, nous nous appuyons sur un corpus d’oeuvres empruntées au répertoire américain, québécois et allemand, en raison notamment des multiples passerelles susceptibles d’être érigées entre ces différentes cultures. / Appearing in the wake of World War II, with the publication in 1957 of On the Road by Jack Kerouac,followed 12 years later with the screening of Denis Hopper’s Easy Rider, the road novel and road movie constitute, we argue, two sides of what we call the road narrative. Faced with a lack of comprehensive studies embracing both sides concurrently, and with recurrent amalgams, we reflect on the components differentiating the road novel and road movie from other types of wandering stories. Such a project calls for the construction of an intermedial apparatus, enabling us to jointly encompass artworks belonging to different media formats. Consequently, we build on the concept of the chronotope, as developed by Bakhtin as a tool for literarycriticism, and recently extended by scholars to cinematographic objects. We show how road novels and roadmovies emerge from the combination of two fundamental chronotopes: that of the road, exemplified by a postmodern universe dominated by motor vehicles and non-places, and that of the threshold, understood as the expression of a critical turn in one’s life. The noted presence of a parodic dimension in road narrativescalls for the introduction of an additional bakhtinian concept: the carnivalesque, which, as we show, can be articulated in relation to the previously defined road and threshold chronotopes. For this chronotopical analysis, we selected artworks from the American, Quebecois and German repertoires, a choice justified by the numerous potential connections to be established between those three different cultures.

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Held in 1977, the Utah State International Women's Year (IWY) Conference became a battleground. Mobilized by The Church of Jesus Christ of Latter-day Saints (LDS) and conservative groups, 14,000 women revolted against the state coordinating committee. Chaired by Jan Tyler, Utah's IWY committee tried to plan the conference to include both liberals and conservatives; however, they found themselves overwhelmed by the audience. The participants rejected all nationally formulated resolutions, voted against or reworded workshop sponsored resolutions, and elected to the National IWY Conference an overwhelmingly LDS, conservative slate of delegates. Mobilization of conservatives at Utah's meeting was complex. The LDS Church enlisted the help of state representative Georgia Peterson to encourage LDS members to attend and to promote a slate of conservative LDS women. Concurrently, Dennis Kerr and the Conservative Caucus mobilized conservatives through political channels to encourage attendance. Conservatives were suspicious of the National IWY Committee and Utah's IWY committee, their motives, and practices. They feared resolutions would be passed that they did not endorse. Conservatives believed this meeting was part of a national conspiracy to pass the Equal Rights Amendment. In addition, they wanted delegates who would represent them and their values at the National IWY Conference in Houston. While some conservatives voted blindly against resolutions, the rhetoric within workshops shows that many women who attended the conference had defendable reasons for rejecting resolutions. These conservatives opposed resolutions that favored increased taxes, federal control, reverse discrimination, the Equal Rights Amendment, abortion, and homosexuality. Conservatives rewrote or altered resolutions to advocate local control, community involvement, reform of government agencies, protection of traditional gender roles, and volunteerism. Understanding conservatives' motivations and rhetoric in this conference explains why they acted the way they did and their objections to many liberal tenets. Conservatives saw Utah's meeting as a battleground, and they came prepared to fight.

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Educational changes in Ontario, initiated by the Hall-Dennis Report, resulted in a public perception of declining educational standards in the 1970's. Ministry of Education Guidelines, which were implemented in an attempt to remedy this, created a major disruption in our grade nine and ten science programmes. The grade ten Life Science course had become fragmented and the classes polarized between bright and slow students. Traditional teaching methods were no longer functioning well and, as a result, students were poorly motivated. In this project, the Life Science curriculum is restructured to improve continuity of subject matter and student motivation. The major innovation is an individualized unit on invertebrate diversity. This modular unit is designed for self-paced mastery learning. The six modules of this unit are based on the Personalized System of Instruction (P.S.I.). Optional activities are incorporated into each module to challenge and motivate industrious students. The means of evaluation of the new curriculum unit are outlined and various criteria for the success of the project are specified. / None / Master's of Science in Teaching (MST)

Title from PDF of title page. / Document formatted into pages; contains 84 pages. / Thesis (M.S.)--University of South Florida, 2003. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: Hurricane hazards result from the combined processes of wind, waves, storm surge, and overwash (Lennon et al., 1996). Predicting the severity of these hazards requires immense effort to quantify the processes and then predict how different coastal regions respond to them. A somewhat simpler, but no less daunting task is to begin to predict the hazards due to potential erosion of barrier islands. A four-part scale has been developed by Sallenger (2000) to provide a framework for understanding how barrier islands might respond during extreme storm events. These four regimes describe how beach and dune elevations interact with surge and wave runup. This study will produce estimates of potential hazards through combining lidar surveys of dune elevation with modeled elevations of storm water levels. Direct measurements of maximum wave heights during hurricanes are rare. / ABSTRACT: We evaluated three simple equations proposed by Kjerfve (1986), Young (1988), and Hsu (1998) to forecast the maximum wave height (Hmax) generated by three 1999 hurricanes. Model results were compared to wave data recorded by the National Oceanic and Atmospheric Administration (NOAA) wave rider buoys. The radius of maximum winds, wind speed, forward velocity, distance from buoy to the storm's eye-wall (r), and buoy's position relative to the quadrant of the storm (Q) were found to have significant and direct roles in evaluating recorded hurricane induced wave heights (H) and thus, were individually examined for each comparison. The implications of the r and Q on H were assessed when determining the overall effectiveness of the modelers' equations. Linear regression analyses tested the accuracy of each modeled prediction of the Hmax, comparing it to the observed wave heights. Three statistical criteria were used to quantify model performance. / ABSTRACT: Hsu's model was the most reliable and useful forecasting technique. Despite the predictive skill of Hsu's model, direct observations of the maximum wave conditions, when available and appropriate, are preferred as inputs for SWAN, a 3rd generation shoaling wave model. Outputs from SWAN are used to calculate the empirical relationships for wave runup. For our test case, pre and post-storm topographies were surveyed as part of a joint USGS-NASA program using lidar technology. These data sets were used to calculate changes in the elevation and location of the dune crest (Dhigh) and dune base (Dlow) for the North Carolina Outer Banks. We hindcast potential coastal hazards (erosional hot spots) using the pre-storm morphology and modeled wave runup and compare those estimates to the measured results from the post-storm survey. / ABSTRACT: Links among the existing topography and spatial variations in wave runup were found to be 95% correlated for the north-south and east-west facing barrier islands. Application of Sallenger's (2000) four-part Storm Impact Scale to the pre-storm Dhigh elevation survey and wave runup extremes (Rhigh and Rlow) were found to accurately predict zones of overwash and showed potential to forecast the inundation regime. / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

The gay male emerged as a visible public consumer during 1990s, when the LGBTQ movement in the United Kingdom and the United States was marked by conflicting commercial and political motives, heightened by the AIDS crisis. The cultural tension surrounding the gay male subject was reflected through various literary expressions. In the United Kingdom Mark Ravenhill’s Shopping and Fucking (1996), as part of the in-yer-face theatre, exploded in the face of the bourgeoisie. In the US America Dennis Cooper’s highly publicised George Miles Cycle (1989-2000), was followed by The Sluts (2004) as part of the transgressive literature, provoking both straight and gay communities. Through an analysis of themes such as capitalism, commerce, hyperreality, internalised fear, desire, and violence in the works, an alternative image of the gay male is distinguished. This is an image of the gay male subject that is complex, multi-faceted, contradictory and polyvalent. The characters relate differently to the hegemonic hyperreal role model, but are exposed to the same social structure that dictates their living conditions and positioning them as objects possible to practice violence on. The works provide a widened and complicated image the public image of the gay male. Their countercultural narratives trace how the gay male subject have been affected by the heteronormative society. When the provided stereotype is too narrow to express the burden and the joy of the contemporary gay male subject, alternatives, like the depictions by Ravenhill and Cooper, may allow the subject to fully possess the gay experiences of pain, sorrow and anger that he has been forced to bear. This research explores how the violence within the texts holds a liberating potential.

La presente tesis está dividida en un bloque teórico y un bloque práctico. En la parte teórica se realiza un estudio referencial, análisis y discusión de una serie de creaciones artísticas pertenecientes a la época de los años 60 y 70 mayoritariamente en EE UU y minoritariamente en Europa, que hacen uso de la imagen en movimiento monocanal y el cuerpo en acción en la naturaleza con carácter site-specific. En la parte práctica se realiza una obra videográfica que trabaja a partir de los mismos elementos de las obras de estudio desde un punto de vista actual y dentro de la línea de creación personal de la autora, aportando temáticas, motivaciones, procesos creativos y recursos formales que complementan y dan continuidad a la investigación teórica, al tiempo que enriquecen la línea de trabajo personal. Por lo que hemos podido comprobar, no tenemos constancia de que se haya realizado una investigación que analice y compare las distintas aproximaciones a las obras de nuestro estudio desde un punto de vista unitario, sino que han permanecido consideradas como piezas aisladas en muchos casos, dentro de las trayectorias de los propios artistas y sin atender al denominador común que todas ellas comparten. En el bloque teórico se acota el marco conceptual que delimita la temática a la que nos enfrentamos, a la vez que se muestra un recorrido por los puntos más importantes de la investigación, claves a la hora de analizar, discutir y concluir acerca de las creaciones. Estos puntos son los siguientes: La naturaleza como lugar; el cuerpo en acción: performance y danza site-specific; y la imagen en movimiento: cine y vídeo monocanal, entre testimonio y creación. Una vez aplicado el marco teórico, se acomete un estudio referencial que aborda el contexto artístico de la época, una serie de obras periféricas en relación con la investigación, y finalmente las obras destacadas de la tesis. Se realiza un visionado y un análisis completo de las obras destacadas a través de una metodología de análisis creada específicamente en esta investigación para este tipo de piezas. Y se concluye con una discusión que profundiza en el estudio transversal de las obras, el marco teórico, el contexto y las periferias, poniendo a disposición de la comunidad investigadora una visión inédita sobre estas creaciones, y una serie de conclusiones novedosas acerca de la temática. / Ontiñano Abadías, MC. (2014). Cuerpo en acción, imagen en movimiento y naturaleza en el arte de EE UU y Europa durante los años 60-70, con caracter site-specific. Estudio referencial, análisis y proyecto personal [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/36868 / TESIS

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This thesis examines works written about imprisonment by four South African political prison writers who were incarcerated for political reasons. My Introduction focuses on current research and literature available on the subject of political prison-writing and it justifies the study to be undertaken. Chapter One examines the National Party's policy pertaining to the holding of political prisoners and discusses the work of Michel Foucault on the subject of imprisonment as well as the connection he makes between knowledge and power. This chapter also considers the factors that motivate a prisoner to write. Bearing in mind Foucault's findings, Chapters Two to Five undertake detailed studies of La Guma's The Stone Country, Dennis Brutus's Letters to Martha, Hugh Lewin's Bandiet and Breyten Breytenbach's The True Confessions of an Albino Terrorist, respectively. Particular emphasis is placed on the reaction of these writers against a repressive government. In addition, Chapters Two to Five reflect on the way in which imprisonment affected them from a psychological point of view, and on the manner in which they were, paradoxically, empowered by their prison experience. Chapters Four and Five also consider capital punishment and Lewin and Breytenbach's response to living in a hanging jail. I contemplate briefly the works of Frantz Fanon in the conclusion in order to elaborate on the reasons for the failure of the system of apartheid and the policy of political imprisonment and to reinforce my argument. / English Studies / D. Litt. et Phil. (English)