Thesis advisor: Stuart Hecht / The work done on this project has combined the knowledge I have accumulated from nearly all of the classes and learning opportunities I have experienced over the course of college. The first semester's work consisted of a long literary analysis of Three Days in comparison to three other plays contemporary with it. This resulted in “Looking Behind Us As We Leap Ahead.” In the paper, I compared the use of time in Three Days of Rain, Sideman by Warren Leight, Angels in America, Part One: Millennium Approaches by Tony Kushner, and Sight Unseen, by Donald Margulies. All of these plays were written by American playwrights in the last decade of the twentieth century. The initial connection between the four plays was the fluidity of time, an element of dramatic structure that creates abstractions and skewed perception within the play. However, after studying the plays in conjunction with each other, I was struck by just how much the concept of time can affect a play not only in its form, but also in its content. Issues related to history, preservation, and planning for the future ran through all four of the plays, as it became obvious that time was of the utmost importance in the theater of the 1990s. The same proved to be true in the production of theater in 2004. The rest of the thesis was devoted to the production of Three Days of Rain, directed by me and produced by the Contemporary Theater in the Bonn Studio in March 2004. I kept journal entries throughout the process of creating this thesis, which aided in the final written part of the thesis, “One Year of Rain: Memoirs of a Director.” This section, while more personal in nature than the first academic writing, also deals with issues of time, as it documents the trials and successes of this production, as well as the personal growth of the author and director over the course of the project. The additional information supplied is evidence of dramaturgical research related to the production. Outside sources filled in the information about the world of the play that the text was missing. The combination of the support of this research and the production of the play allowed the ultimate goal of the director to be realized: To bring the play to life, and to bring real life to the play. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Theater. / Discipline: College Honors Program.

Blended: A Memoir is the author's recollection of her endeavors to overcome the difficulties that often accompany becoming a stepmother and build a "seamless" family. / by Abbe Greenberg. / Thesis (M.F.A.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

abstract: Over the course of more than half a century, Rabbi Dr. Irving Greenberg has developed a distinctive theology of intra- and inter-group relations. Deeply influenced by his experiences in the Christian-Jewish dialogue movement, Greenberg's covenantal theology and image of God idea coalesce into what I refer to as Hybrid Judaism, a conceptualization that anticipated key aspects David Hollinger's notion of Postethnicity. As such, Greenberg's system of thought is mistakenly categorized (by himself, as well as others) as an expression of pluralism. The twentieth century arc of social theories of group life in America, from Melting Pot to Postethnicity by way of Cultural Pluralism, serves to highlight the fact that Greenberg is better located at the latter end of this arc (Postethnicity), rather than in the middle (Pluralism). Central to Greenberg's proto-postethnic theology is the recognition of the transformative power of encounter in an open society. Greenberg's ideas are themselves the product of such encounters. Understood fully, Hybrid Judaism has great relevance for American Jewish identity in the twenty-first century. / Dissertation/Thesis / Doctoral Dissertation Religious Studies 2014

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of Philosophy / The aim of this thesis is to consider a concept of trauma which may offer support for the contemporary interest in and practice of painting. Jacques Lacan’s (1959-1960) structural and abstract articulations of trauma as das Ding is the central framework for the trajectory and form of the research and writing in this thesis. Lacan’s seminar on das Ding develops the notion that philosophical and social functions of art are aimed at structuring the traumatic and tragic sphere of experience. Das Ding is a hypothetical construct that resonates with Kant’s epistemological, moral and aesthetic philosophy. Primarily, I see the historical framework of das Ding as foregrounding a certain ‘ethics’ in my approach to painting and its interpretation. Kant’s own emphasis on the communicability art may offer is key to this thesis. His focus is not on interpretation as an act eliciting direct meaning from representations in art, but frames the potential for humane interaction: for how a consideration of the perception of beauty and the form of the cognitions that arise in private and public spheres may lay the groundwork for thinking about communicability in general. Through the lens of das Ding, I suggest that an emphasis on aspects of non objective, non-communicable elements of making and experiencing painting is a viable way of contemplating both its pleasures and, often, its more painful effects. I contend that the displacement of meaning enabled by conceptualising the structural implications of trauma, in theory and in the practice of painting, may sustain a quiet yet significant social position in the wider sphere of intellectual activity and pursuits. / GR2018

Dans le premier chapitre de cette thèse on rappelle l'énoncé ainsi que des équivalents de la conjecture de Leopoldt puis l'on donne un algorithme permettant de vérifier cette conjecture pour un corps de nombre et premier donnés. Pour la suite on suppose cette conjecture vraie pour le premier p fixé Et on étudie la torsion du groupe de Galois de l'extension abélienne maximale p-ramifiée. On présente une méthode qui détermine effectivement les facteurs invariants de ce groupe fini. Dans le troisième chapitre on donne des résultats numériques que l'on interpréte via des heuristiques à la Cohen-Lenstra. Dans le quatrième chapitre, à l'aide de l'algorithme qui permet le calcul de ce module, on donne des exemples de corps et de premiers vérifiant la conjecture de Greenberg. / In the first chapter of this thesis we explain Leopoldt's conjecture and some equivalent formulations. Then we give an algorithm that checks this conjecture for a given prime p and a number field. Next we assume that this conjecture is true, and we study the torsion part of the Galois group of the maximal abelian p-ramified p-extension of a given number field. We present a method to compute the invariant factors of this finite group. In the third chapter we give an interpretation of our numrical result by heuristics “à la” Cohen-Lenstra. In the fourth and last chapter, using our algorithm which computes this torsion submodule, we give new examples of numbers fields which satisfy Greenberg's conjecture.

The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.

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