The sex trafficking industry is not only a social justice issue, but also an architectural issue. In the same urban fabric where people live, work, and socialize, victims of commercial sex trafficking live in the shadows, work in obscure environments, and isolate themselves from others. National and local resources in mental care, job training, and legal support fail to provide a holistic place of refuge for these displaced individuals. Current shelters that specifically serve sexually exploited victims also face limitations in their presence in urban neighborhoods, long-term availability, and types of living arrangements. With a specific socioeconomic climate and disparity in San Francisco, Bayview presents itself as an opportune place to provide refuge for both survivors of sexual exploitation and the low-income community. Even as a distressed neighborhood, its ethnic diversity and existing infrastructure would create a foundation for survivors to heal and reintegrate into a resilient community. At an urban scale, ecological infrastructures provide environmental revitalization from rising sea levels and economic restoration of industries significant to the neighborhood's historical identity. The architectural intervention focuses specifically on female survivors of sexual exploitation, ranging from youth to mothers with children, and how they would heal together and reintegrate into the community. Hand stitching is an integral part of this project's design process. It is a drawing medium that reflects the physical engagement through a meditative activity. It is also a visual language used to formulate spatial sequences, patterns, and movement. The mixed-use urban infill weaves in sanctuaries to heal as an individual, as a camaraderie, and along with the greater community. Residents dwell in the permanently supported community housing, where they mend bodies, hearts, and relationships in the home. Other survivors are welcomed into the drop-in facility, which provides initial resources like hygienic care and counseling. Retail spaces along the main corridor are programmed to create a synergetic seam between residents and their opportunities to participate in the neighborhood. Interior and exterior thresholds throughout the building interlace the duality of veiled and transparent spaces. This cohesive spatial journey would bind wounds, foster resiliency into the urban ecosystem, and ultimately be reconciled to a dignified home, workplace, to social environment. / Master of Architecture / Sex trafficking is a form of modern slavery. This inhumane industry is exacerbated in cities as more people move into the urban environment. In the same cities people live, work, and socialize, victims of commercial sex trafficking live in the shadows, work in obscure environments, and isolate themselves from others. Many sexually exploited victims receive limited care to recover from their physical, mental, and emotional wounds. Unfortunately, they are often grouped together with other displaced groups. This thesis calls out a specific group in need of healing, female survivors of sex trafficking, and considers a specific place where she can restore her sense of home, workplace, and community. The female survivor is given the name Jane Doe, and her unique narrative drives the types of spaces she needs to feel safe, loved, and cared for. The design proposal is sited in Bayview, an industrial urban neighborhood in southeastern San Francisco. The neighborhood at large is first reimagined to set a foundation for welcoming Jane Doe. Then, the proposed building integrates three types of spaces: a community housing, a drop-in center, and retail spaces with workshops. It is nestled amongst warehouses, houses, and other local shops. This thesis ultimately expresses the possibility architecture has in doing more than providing an inhabitable space. The architecture for Jane Doe is a sanctuary that plays a definitive role in healing her body, heart, and mind, as her sense of belonging is restored.

Yes / Mice represent the most commonly used species for preclinical in vivo research. While incisional and excisional acute murine wound models are both frequently employed, there is little agreement on which model is optimum. Moreover, current lack of standardization of wounding procedure, analysis time point(s), method of assessment, and the use of individual wounds vs. individual animals as replicates makes it difficult to compare across studies. Here we have profiled secondary intention healing of incisional and excisional wounds within the same animal, assessing multiple parameters to determine the optimal methodology for future studies. We report that histology provides the least variable assessment of healing. Furthermore, histology alone (not planimetry) is able to detect accelerated healing in a castrated mouse model. Perhaps most importantly, we find virtually no correlation between wounds within the same animal, suggesting that use of wound (not animal) biological replicates is perfectly acceptable. Overall, these findings should guide and refine future studies, increasing the likelihood of detecting novel phenotypes while reducing the numbers of animals required for experimentation.

In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: "we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/â ¦every concrete object/ has abstract value, is timeless/ in the dream parallel" (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as "successful" or "unsuccessful," nor to weigh the works against each other in terms of "advancement." Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche. / Master of Arts

Thesis advisor: Callista Roy / Despite the concept of healing being central to nursing, there has been a lack of conceptual clarity. This study sought to understand how expert nurses in practice conceptualize healing and how this conceptualization affects their practice. The sample consisted of 50 practicing nurses from multiple practice settings in an academic health system in Western Massachusetts. The study used a mixed method design using an electronic adaptation of the Delphi method. Findings from the study suggested a high level of consensus about the concept of healing in nursing. Qualitative data from the open-ended questions of Round 1 were coded into items about healing on subsequent quantitative surveys in Rounds 2 and 3. Participants ranked their level of agreement or disagreement with these statements. Ultimately, 49 statements met the a priori criteria for consensus as to what healing means from a nursing perspective. The overarching themes of statements were comprised of Nursing Actions to Promote Healing, Theoretical Understanding of Healing, Nurse Attributes to Promote Healing, Other Factors that Promote Healing, Types of Healing and Assessment of Healing. This study adds to the literature an exclusively nursing perspective on healing. The nursing-specific concept of healing synthesized from the data could be described as progression towards wholeness, with subjective and objective outcomes, promoted by the actions of nurses. The clarification of the concept of healing can inform research to create measurements for healing. It also can improve practice by articulating an existent conceptual framework, allowing nurses and administrators to better promote healing both directly and indirectly. Lastly, the results of this study offer students a simple yet accurate way of prioritizing nursing interventions. / Thesis (PhD) — Boston College, 2015. / Submitted to: Boston College. Connell School of Nursing. / Discipline: Nursing.

Through a storytelling/yarning methodology (Bessarab & Ng'andu, 2010) and experience centered narrative research (Patterson, 2008), three Indigenous followers of Jesus and original inhabitants of the lands currently known as Canada, shared their stories of healing. The storytelling/ yarning method (Bessarab & Ng'andu, 2010) is rooted in Indigenous ways of knowing and fit seamlessly with the participants diverse Indigenous backgrounds and shared oral traditions. Through the experience centered research model, each participant engaged in meaning making of their personal narratives, reconstructed and presented their stories as their human lived experience, and finally, revealed their metamorphosis (Patterson, 2008) and contributions to Indigenous knowledges. The experience centered research framework utilized for knowledge gathering worked concertedly with the storytelling/yarning methodology as the healing stories presented here evolved not as stories of defeat, but of strength (Bessarab & Ng'andu, 2010). Some key teachings and themes arising from their stories include trauma, forgiveness, resilience, family, healing, and hope. This study aims to reveal Indigenous stories of healing and cease the perpetuation of harm to Indigenous peoples who have declared Jesus as their source of healing. Furthermore, this study aims to situate the knowledges gathered through these healing stories within the academic body of Indigenous knowledges. / Graduate

Thesis (D. Min.)--Catholic Theological Union at Chicago, 2003. / Vita. Includes bibliographical references (leaves 165-174).

Five graduate students from the Marital and Family Art Therapy Program at Loyola Marymount University (LMU) conducted a research study to explore the characteristics and attributes of collective art practices and how they contribute to healing. A survey including quantitative measures and qualitative responses were administered on the Qualtrics platform, allowing for a wide geographic reach and rapid data collection. The subsequent qualitative analysis involved the creation of visual artworks by the researchers, utilizing the arts as data to identify additional common themes contributing to healing attributes. The data revealed three major themes, or characteristics, of how art contributes to healing: (1) shared collective experience, (2) validation and space for emotional expression, and (3) art as a conduit of healing. These three themes were recurrent throughout the responses and emerged from participants' responses to three specific questions, driven by a curiosity about the attributes and experiences involving art and community. The results gathered not only provided parallel alignment with significant deviation from those gathered during the literature review, but also shed light on the profound impact of creative expression in fostering well-being, cultivating interpersonal connections, and promoting emotional healing within collective settings. This insight offers valuable guidance for future researchers and art therapists, emphasizing the importance of incorporating collective healing elements into their practice and theoretical frameworks.

Cooking is mind, body, spirit work. What’s possible when we ‘drop in’ to our bodies when cooking? We begin noticing what we are energetically bringing to the food we make. This creative project practices a pedagogy that works with food to create healing space. Healing, as it is defined here, is not void of discomfort nor is it happiness all the time. Who haunts your domestic space? Who is at your back when you cook? This project finds information and sacred knowledge in the food we cook and eat; it reflects back to us deeply buried truths regarding our traumas, joys, and subjectivity. This pedagogy holds the potential for participants to bring “new meanings” to food, and thereby, be activated as cultural producers cooking up the next chapter in our peoples’ creation stories (Anzaldúa 103). This project is documented as an auto-ethnographic tale from the perspective of the practitioner, using erotic storytelling to keep fire in the pages and a methodology of refusal to “determine the length of the [academy’s] gaze” (Tuck and Ree 640).

published_or_final_version / abstract / Buddhist Studies / Doctoral / Doctor of Philosophy

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