Extract from Thesis (Ph. D.)--Johns Hopkins University, 1938. / Vita. "Reprinted from ELH, a journal of English literary history, vol. 5. no. 2. June, 1938."

Thesis (M.F.A.)--York University, 2009. Graduate Programme in Theatre : Acting. / Typescript. Includes bibliographical references (leaves 62-64). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51587

Thesis (Ph. D.)--University of Wisconsin--Madison, 1970. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 114-120).

Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2006. / Includes bibliographical references.

In modern computer games, `bots' - Intelligent realistic agents play a prominent role in success of a game in the market. Typically, bots are modeled using finite-state machine and then programmed via simple conditional statements which are hard-coded in bots logic. Since these bots have become quite predictable to an experienced games' player, a player might lose interest in the game. We propose the use of a game theoretic based learning rule called Fictitious Play for improving behavior of these computer game bots which will make them less predictable and hence, more enjoyable to a game player.

What modern game theorists describe as fictitious play is not the learning process George W. Brown defined in his 1951 paper. Brown's original version differs in a subtle detail, namely the order of belief updating. In this note we revive Brown's original fictitious play process and demonstrate that this seemingly innocent detail allows for an extremely simple and intuitive proof of convergence in an interesting and large class of games: nondegenerate ordinal potential games.

This dissertation examines Elias Canetti‟s novel, Auto-da Fé, in an attempt to show how it depicts the manifestations of violence and the effects of traumaon the individual and on modernist society. This analysis of Auto-da Fé concentrates on the representation of trauma on a fictional level at a time when Europe was experiencing political, social and economic upheaval after the First World War. Auto-da Fé provides an intense emphasis on the psychological effects of trauma on the characters; thereby reflecting the turmoil of this period. An analysis of Canetti‟s novel, in the light of trauma, reveals an enigmatic testimony not only to the nature of violent events, but of the way trauma resists simple comprehension. I argue that this gives rise to complexities within the narration by tracing the insistently recurring words and symbols which point to an interpretation beyond the thematic content of the text, namely one which repetitively bears witness to hidden wounds within individual consciousness. The titles of the three parts of Auto-da-Fé reflect a condition of somatic and sychosomatic dislocation: “A Head without a World”, “Headless World”, and “The World in the Head”. My argument is that the fictional trauma in Canetti‟s novel contains several characters who suffer from a breach of the self and the inability to comprehend society. The inability to fit into society results in the protagonist creating an isolated refuge in order to protect himself from the outer world. However, his alienation exacerbates his physical and emotional dislocations and ultimately leads to his destruction.

“Tomorrow is Saint Valentine’s Day” is a manic line of dialogue spoken by Ophelia in Shakespeare’s Hamlet. I have chosen that line as the title of my thesis and exhibition. Much of my graduate work has emanated from scenes in Shakespeare’s plays. I make dimensional paintings, prints, and sculptures that leverage a wide variety of media, material, and processes. I have chosen the intense drama of Ophelia’s final appearance on stage to inspire this body of work. The drama and imagery of Shakespeare’s plays has been a profound source of ideas for me. They motivate me to connect with all available resources in an energetic way to create visually captivating pieces of art. My objective is not to illustrate any given scene but to leverage the text for a personal artistic experience. The result is an abstraction that captures the energy of a dramatic moment. The art I produce is an expressive record of my relationship with the literature. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

沈依嘉. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 124-127). / "2007 nian 9 yue". / Abstract and table of contents also in English. / Shen Yijia. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 124-127). / Chapter 第一章 --- 上海´Ø漫畫：一些背景 --- p.1 / Chapter 第二章 --- 小丑：早期三毛和《三毛從軍記》 --- p.17 / Chapter 第三章 --- 貧兒：關於《三毛流浪記》 --- p.36 / Chapter 第四章 --- 模範：“新中國´ح的三毛 --- p.48 / Chapter 第五章 --- 結語 --- p.60 / 图版 --- p.74 / 參考文獻 / Chapter Chapter I --- Shanghai-Comics: some backgrounds --- p.1 / Chapter Chapter II --- """Clown"": Early San Mao works and “San Mao joins the army""" --- p.17 / Chapter Chapter III --- """Poor"": about “San Mao's vagrant life""" --- p.36 / Chapter Chapter IV --- """Exemplar"": San Mao in ""New China""" --- p.48 / Chapter Chapter V --- Conclusion --- p.60 / Illustrations --- p.74 / Bibliography --- p.124