Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

This dissertation argues that the Williams Harvey's novel conceptualization of the circulation developed from a set of concerns and sensitivities that Harvey shared with merchants and courtiers, and that it emerged at the courts of King James and King Charles, alongside a new conceptualizations of commercial circulation. As a brother to merchants and a physician to kings during the commercial crises of the 1620s, Harvey was exposed to ways of thinking about circulation that he used to make sense of the disparate observations he made about the motion of the heart and blood. Harvey's famous quantitative argument, the thought experiment at the center of his conceptualization of the blood, was an exercise in accounting. Through a process of "reckoning," and "by laying of account," Harvey balanced blood like a merchant balances books, conceptualizing arterial and venous blood as fungible. Harvey showed that there was a recirculation of blood through the heart. Over time, these aspects of Harvey's circulation became easier to overlook; the Great Fire of 1666 destroyed the most tangible artifacts of Harvey's mercantile sociability, such as his fine Persian rugs or the collection of marvels contained in the library and museum that Harvey established at the College of Physicians of London. By situating Harvey among courtiers and royal patrons who were concerned with the circulation of cloths, dyestuffs, coin, and bullion, this dissertation aims to add to the burgeoning literature on the scientific revolution that posits a multitude of different scientific practitioners with diverse philosophical commitments and varied connections to other facets of early modern life, while stressing key conceptual changes in Harvey's thought.

This practice-led research examines ideas surrounding the interpretation of place; the representation and experience of place are explored in my practice and throughout the thesis. The practice and thesis develop an interdependent relationship where one informs the other and each provides a critical platform whereby existing beliefs are brought into question and new ideas emerge. During the research period the practice is tested against different circumstances in a variety of situations and novel responses are generated. The thesis critically analyses approaches to interpreting place through a number of formats and a variety of sources. Both practice and theory are examined through peer-reviewed conference papers, artist-in-residence programmes and publications allowing new ideas to be explored and scrutinized by the academy. A working method that recognizes the importance and usefulness of serendipity and sagacity is established, bringing together my practice and the theoretical scope of the research. My primary focus is to understand and develop critical responses to the experience and representation of place within the realm of contemporary art practice. The work of W.G. Sebald and the secondary literature surrounding his work plays a significant role in providing ways of dealing with the entanglement of knowledge. Period Drama is both the name of an artwork and the name I have given to a conference paper. Both explore the convoluted and complex methods involved in realizing a site-specific work that challenges fiercely-held beliefs about place. My intention throughout the research has been to examine a variety of approaches that explore the representation and experience of place within contemporary art practice. Prominent within this examination has been the highlighting of the need to belong to a particular place and the sense of displacement generated when this need to belong is challenged or the nature of this connection is questioned.

During high-impact weather events like Hurricane Harvey, broadcast meteorologists take on the role of sensegiver, as they develop frameworks to help their viewers make sense of the storm. These frameworks are communicated through rhetorical choices evident in the language the meteorologists use to describe the storm’s threat and impact. This study investigates the rhetorical choices of KHOU broadcast meteorologists during Hurricane Harvey in order to make sense of the disaster, using an inductive thematic analysis. The results indicate that the KHOU broadcasters framed Harvey figuratively as an all-encompassing monster and a heat-seeking machine. The meteorologists used emotionally intense language to emphasize their concern about the forecast, to compare the event to previous flooding disasters, to describe Harvey’s catastrophic impact, and to express disbelief regarding the situation unfolding around them. These results show how sensegiving can be articulated rhetorically via specific language features like describing Harvey as a monster, or comparing Harvey’s impact to Hurricane Katrina. These specific language features identified here should be tested for their effectiveness in order to allow meteorologists across the weather enterprise to speak about threats and impacts in a more consistent manner.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of History, 2006. / Includes bibliographical references.

Gneiss domes are structural features associated with orogens worldwide. This study provides a structural analysis of the domes of the Harvey Cardiff Domain, associated with the Grenville Orogeny. Structural data and oriented samples were collected during field work in the summer of 2012. These were used in combination with published and unpublished foliation and lineation data to analyze structural patterns and determine a mechanism of formation for the domes. The end member scenarios for dome formation were taken from the gneiss dome classification scheme devised by Yin (2004). Most of these mechanisms were eliminated based on a lack of necessary large scale geologic features in the region of the study area. An analysis of the foliation pattern of the Cheddar and Cardiff domes was most consistent with formation by diapirism. However, the foliation patterns of the domes differ from the expected diapiric pattern, and seems to represent a non-horizontal slice through a diapir, cutting through a diapir neck in the north and a diapir hat in the south. This pattern can also be explained by rotation of diapiric foliation due to strain induced by the main orogenic event. This hypothesis was tested using COMSOL, a finite elastic strain model, and found to be realistic. With the methods used in this study it is not possible to tell whether this rotation occurred after or during dome emplacement.

Thesis--Freiburg i. B. / Mimeographed copy of typescript. Vita. Includes bibliographical references (p. 532-550).

This thesis examines the variety of English spoken in East Dorm at Harvey Mudd College. It describes aspects of the syntax and phonology of Eastspeak, focusing in particular on how Eastspeak has been influenced by the language of the internet. This includes tendencies toward brevity and language play, as well as the use of specific constructions used on the internet, and playful pronunciations that are influenced by creative misspellings used online. Specific Eastspeak phenomena discussed include conversion, deletion, and unusual determiner and quantifier use.

A recurrent premise of post-war criticism is that World War II marked the end of the American working class novel. This thesis challenges this assumption and argues that the working class novel redeveloped throughout the 1940s and 1950s in response to major social, political, economic and cultural changes in the United States. A prime justification for the obituary on the working class novel was that after 1945 the United States no longer had class divisions. However, as the first two chapters of this study point out, such a view was promulgated by influential literary critics and social scientists who, as former Marxists, were keen to distance themselves from class politics. Insisting that the working class novel was hamstrung by a dogmatic Marxist politics and a fealty to social realism, these critics argued that the genre's relevance depended on the outdated politics and conditions of the 1930s. As such they were able to use literary criticism as a means of justifying their own ambiguous politics and deflecting any close scrutiny of their accommodation with the post-war liberal consensus. In a close examination of four writers in the subsequent chapters it is shown that, in fact, working class writers were extremely successful in adapting to post-war conditions. Harvey Swados, in his novel On the Line (1957) and in his journalism, provides crucial insights into the effects of the transition from a Fordist to a post-industrial society on the identity of the industrial worker. In The Dollmaker (1954) Harriette Arnow dramatises an important migration from the rural South to Detroit during World War II which exposes the ways in which American capitalism was able to diffuse a national working class identity. Chester Himes' novel If He Hollers Let Him Go (1945), and his experiences as an African American writer in the 1940s, highlight the intersections between race (and racism) and class in the United States. Hubert Selby, in Last Exit to Brooklyn (1957), undermines the hegemonic ideology of post-war consumerism by drawing attention to the poverty and violence in an urban working class community. All these writers share a common concern with continuing, and re-developing, the dynamic and heterogeneous tradition of American working class cultural production.

Thesis (M.A.) - Carleton University, 2002. / Includes bibliographical references (p. 135-142). Also available in electronic format on the Internet.