This thesis attempts to examine how fictionality in life writing and light writing forges a liberating space to read the self-making in Gerald Vizenor¡¦s Interior Landscape: Autobiographical Myths and Metaphors. The feasibility of setting a dialogue between life writing and light writing derives from Timothy Adam¡¦s discussion in Light Writing and Life Writing: Photography in Autobiography. Adams demonstrates how autobiography and photography, inherently thought as referential, actually possess the indeterminate characteristic of language; hence their juxtaposition displays an intriguing effect of dissolving the artificial distinction of the two media and their interplay presents the writer¡¦s fictive impulse of making himself. Chapter One provides a survey on how life writing and light writing can be productive media to present a self-making process. The residence in language of the two media deprives the presumed referential masks they wear and the constructed ideology disguised as truth behind, primarily the illusion of the unity of the self and the identification through lineage found in photographic representation. Chapter Two explores how the verbal narrative and visual images complete each other in Vizenor¡¦s Interior Landscapes. Photography in an autobiography forms an interesting dialectics between image and text: photography serves not only as a mnemonic device but as the material base for imagination and creation to thrive in words, and the autobiographical text rewrites what has been put in the photocopy of a historical document. Chapter Three discusses the trickster discourse that Vizenor incorporates in his life writing and light writing and analyzes how the writer associates his autobiographical self with trickster figures from the tribal myth and hence creates a trickster mixedblood identity. The dialogue between Vizenor¡¦s life writing and light writing reveals the possibility that both autobiography and photography could be not only the site of memory but also that of imagination and creation in self-life-making.

Thesis (Ed.D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Frederick D. Mayer, Charles W. Walton, . Includes bibliographical references.

Thesis (D.A.)--Illinois State University, 1978. / Title from title page screen, viewed Jan. 24, 2005. Dissertation Committee: L. Moody Simms (chair), Edward L. Schapsmeier, Ira Cohen, Charles E. Gray, Paul J. Baker. Includes bibliographical references (leaves 137-148) and abstract. Also available in print.

Thesis (Ph.D.)--Boston University / The purpose of this dissertation is to expound and evaluate the natural theology of Gerald Heard in relation to the philosophy of Henri Bergson, and to determine the reason for the relative neglect of Heard's thought in theological and philosophical circles. Gerald Heard is a contemporary thinker who has written widely on the relations among science, philosophy and religion. He has not, however, gained the recognition which the range and number of his books might lead one to expect. The procedure consists in (1) a characterization of the basic philosophy of Henri Bergson as a point of reference for consideration of Heard, (2) a systematic analysis of Heard's thought, noting similarities and differences with regard to Bergson, (3) an evaluation of Heard's thought, and conclusions. [TRUNCATED]

This study analyzed President Gerald Ford's efforts in selling his energy package in February, 1975. Six major speeches and news conferences were examined in terms of Richard Weaver's rhetorical theory. Five criteria of this theory were studied: appeals to man's good values, choice of argumentation, use of "god" and "devil" words, adaptation to the historical setting of the speech, and ethical character of the speaker. This analysis concluded that Ford was a good Weaverian rhetorician because he appealed to good values in language well adapted to each audience, adapted well to historical settings, and elevated his ethos considerably. However, Ford sold himself but not his program because he relied too heavily on his own ethos and circumstantial argumentation and slighted refutation arguments

This song cycle consists of ten settings, and has been divided into two parts by the composer. Each part is preceded by a short quotation in Latin which has been inserted by the composer. The two parts of the cycle are evidently meant to typify the division of a human life into the periods of youth and old age. The Latin quotations which divide the cycle into its two parts are taken from the Latin Vulgate version of the Bible, Psalm 89, verse six.

This thesis is an intensive, multi-layered analysis of an unpublished, English language, handwritten, mid-20th century manuscript. Originally undated, untitled and unsigned, it has now been positively identified as “Text A”, a Wiccan proto-Book of Shadows compiled by Gerald Brosseau Gardner (1884-1964) in the last half of the 1940’s. Different methodologies were applied to the document: transcription using Leiden conventions, handwriting analysis to identify the author, archival research to uncover photographs of the manuscript in use, historical and bibliographical research to situate the manuscript and its author, and finally, an in-depth and exhaustive source analysis to uncover literary and documentary influences on the text. Subsequently, the manuscript was identified as handwritten by Gerald Gardner, from 1940 to 1949, and contains almost no original material other than a handful of pages for a speech or oral presentation. The rest of the document is comprised of extracts from published sources available to Gardner. These include books on Free Masonry, Templars, British Folklore, Kabbalah, Magic – ancient and ceremonial, and books by Aleister Crowley. The document also includes ritual passages and ceremonies, most of which also appear in Gardner’s published novel, High Magic’s Aid. Two theme-lines, “Magic – ancient and ceremonial” and “the writings of Aleiser Crowley”, comprising almost 40% of the total page count, were chosen for thorough analysis. Based on the information revealed by the various methodologies applied to this document, one can assert that Gardner’s claims to have been initiated into an ancient indigenous tradition, Wicca, and to be making available its long secret rituals are not supported by this document.

Made available in DSpace on 2014-12-17T14:00:12Z (GMT). No. of bitstreams: 1 RummeniggeMA_DISSERT.pdf: 3612032 bytes, checksum: c42f71cd4b369e67040d25834cf732bd (MD5) Previous issue date: 2011-04-29 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This work is the result of a personal uneasy about the form and development taken by contemporaneous theater concerning its relationship with other media to create new hybrid organisms and organizing itself through new possibilities, connections, as well as with different levels of arrangements in the construction of the scene. The purpose of this research is to study the connections between the scene and the media within the context of the formation of hybrid organism wich is the key element. That stands for an aesthetic characteristic of the post-dramatic condition of contemporary theatre in Brazil. Thus, this work will investigate the concept of visual landscapes within the context of Gerald Thomas Sievers work in Brazil in the period of the first decade of twenty-first century having the play Rainha Mentira (2007) (Queen Liar, 2007) as the main empirical object of analysis, discussion and application of the framework developed in the text / Esta disserta??o de mestrado ? fruto de uma inquieta??o pessoal sobre os rumos e a forma do teatro na contemporaneidade e a sua rela??o com as m?dias na forma??o de organismos h?bridos em termos gerais, e mais especificamente sobre como se organizam e se apresentam as poss?veis liga??es, e os diferentes n?veis de contato existentes entre elas na constru??o da cena. O objetivo da pesquisa ? estudar as liga??es entre cena e m?dia (proje??o de imagens) na forma??o de organismos h?bridos como sendo uma das caracter?sticas est?ticas da condi??o p?s-dram?tica do teatro contempor?neo no Brasil. Como estudo de caso, prop?e-se investigar o conceito de paisagens visuais no contexto da obra do encenador brasileiro Gerald Thomas Sievers, mais especificamente suas encena??es realizadas no Brasil no per?odo que compreende a primeira d?cada do s?culo XXI, sendo Rainha Mentira (2007) o objeto emp?rico de an?lise, aplica??o e discuss?o dos conceitos desenvolvidos no corpo do texto

This thesis is an intensive, multi-layered analysis of an unpublished, English language, handwritten, mid-20th century manuscript. Originally undated, untitled and unsigned, it has now been positively identified as “Text A”, a Wiccan proto-Book of Shadows compiled by Gerald Brosseau Gardner (1884-1964) in the last half of the 1940’s. Different methodologies were applied to the document: transcription using Leiden conventions, handwriting analysis to identify the author, archival research to uncover photographs of the manuscript in use, historical and bibliographical research to situate the manuscript and its author, and finally, an in-depth and exhaustive source analysis to uncover literary and documentary influences on the text. Subsequently, the manuscript was identified as handwritten by Gerald Gardner, from 1940 to 1949, and contains almost no original material other than a handful of pages for a speech or oral presentation. The rest of the document is comprised of extracts from published sources available to Gardner. These include books on Free Masonry, Templars, British Folklore, Kabbalah, Magic – ancient and ceremonial, and books by Aleister Crowley. The document also includes ritual passages and ceremonies, most of which also appear in Gardner’s published novel, High Magic’s Aid. Two theme-lines, “Magic – ancient and ceremonial” and “the writings of Aleiser Crowley”, comprising almost 40% of the total page count, were chosen for thorough analysis. Based on the information revealed by the various methodologies applied to this document, one can assert that Gardner’s claims to have been initiated into an ancient indigenous tradition, Wicca, and to be making available its long secret rituals are not supported by this document.

Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren. / This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.