This study investigates innovative sound sequences in Japanese. A relatively large number of phonological changes have occurred in the short period of time since WWII, mainly due to an influx of loanwords from English. However, innovative sound sequences have not been accepted in Japanese uniformly. This fact raises two questions. Why are some innovative sound sequences fully accepted in Japanese while others are still foreignisms? Why are certain sound sequences acceptable in one situation, but not so in others?Previous studies on innovative sound sequences in modern standard Japanese have tried to solve these problems by establishing innovative lexical strata, such as "Assimilated Foreign" and "Unassimilated Foreign." However, this study found that the distribution of innovative sound sequences is much more complex than previously believed. Furthermore, in many cases, the acceptance of innovative sound sequences is word-by-word or speaker-by-speaker. This suggests that the cause of the distribution of innovative sound sequences in Japanese is better described as an intricate interaction among various extra-grammatical factors, such as processes of borrowing, speakers' socioeconomic status, influence of English education, acoustic and articulatory phonetics, the writing system, and historical linguistic factors.

This thesis explores the different patterns of history presented in the fiction of the three major contemporary Chinese avant-garde writers Su Tong, Yu Hua, and Ge Fei as well as their respective views of history. Based on detailed case studies of the three writers, the thesis examines the complicated and intertwined relationships of contemporary Chinese avant-garde fiction with previous Chinese traditions—Confucian, the May Fourth, and Communist—and with foreign influences. It also assesses the overall literary achievement of Chinese avant-garde fiction, its position in the history of modern Chinese literature, and its impact on the Chinese writers of later generations. Unlike most previous research on this subject, which overemphasizes the "alien" nature of Chinese avant-garde fiction or its discontinuity with Chinese tradition, this thesis aims at a more balanced investigation. Not only is the "newness" of Chinese avant-garde fiction deeply explored, its "Chineseness" or its profound continuity with Chinese literary and cultural conventions is also carefully examined. By comparison, the thesis attaches more importance to the "Chineseness" of Chinese avant-garde fiction. My analysis demonstrates that, while Su Tong aims at the total subversion of the Communist interpretation of the Chinese revolution and history, while Yu Hua attemptsto transcend the Maoist materialistic view of history through reincorporating subjectivity into historical interpretation, Ge Fei totally rejects the conceptualization of history and the underlying rationalistic assumption of human experience as a perceptible and understandable unity.

This is a research study that explores the kind of pedagogical possibilities that collective remembrance mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance (an artistic and pedagogical project) that attempts to link significant historical learning with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational processes that facilitate the understanding of the ‘work of collective memory’. The hypothesis is that through the work of drama framed as a performative practice of remembrance, students can productively explore the work of memory; its functioning, implications and structures. In addition, by manipulating the elements of the art form, it is proposed that students also learn how drama works, its mechanisms and devices. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework. This dissertation provides an account of and analyzes key episodes of the research journey of a group of 16 students in a Grade 10 drama class, their drama teacher and myself -a drama artist, researcher and educator- as we collectively explored issues of historical memory through practices of process drama. The setting for this exploration was a project to initiate a drama classroom-based "community of memory" with one class in the Normal-Distrital Maria Montessori School, in Bogotá, Colombia, South America. Participant-researchers worked through questions regarding the public remembrance of the story of the Colombian Afro-descendant Manuel Saturio Valencia, one of last prisoners to be executed by the State before capital punishment was eliminated from Colombia in 1910. As an Afro-descendant, the story of Saturio's life and subsequent execution remains little known in Colombia. Thus at stake in this project was the recovery of forgotten stories, the construction of a more inclusive public memory, and the formation of a critical historical consciousness.

This is a research study that explores the kind of pedagogical possibilities that collective remembrance mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance (an artistic and pedagogical project) that attempts to link significant historical learning with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational processes that facilitate the understanding of the ‘work of collective memory’. The hypothesis is that through the work of drama framed as a performative practice of remembrance, students can productively explore the work of memory; its functioning, implications and structures. In addition, by manipulating the elements of the art form, it is proposed that students also learn how drama works, its mechanisms and devices. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework. This dissertation provides an account of and analyzes key episodes of the research journey of a group of 16 students in a Grade 10 drama class, their drama teacher and myself -a drama artist, researcher and educator- as we collectively explored issues of historical memory through practices of process drama. The setting for this exploration was a project to initiate a drama classroom-based "community of memory" with one class in the Normal-Distrital Maria Montessori School, in Bogotá, Colombia, South America. Participant-researchers worked through questions regarding the public remembrance of the story of the Colombian Afro-descendant Manuel Saturio Valencia, one of last prisoners to be executed by the State before capital punishment was eliminated from Colombia in 1910. As an Afro-descendant, the story of Saturio's life and subsequent execution remains little known in Colombia. Thus at stake in this project was the recovery of forgotten stories, the construction of a more inclusive public memory, and the formation of a critical historical consciousness.

This study explores the way in which the Iranian Post-Revolutionary political and religious authorities subordinate the teaching of History to their political agenda by analyzing the political, ideological, and cultural discourses embedded in the secondary school history course book, The Contemporary History of Iran (Tārīkh-i Muʿāṣir-i Iran), which is a mandatory textbook in the Iranian education system. / Thesis (Master, Education) -- Queen's University, 2012-10-02 18:44:57.313

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This thesis evaluates Lydia Goehr’s claim that the musical work-concept did not regulate musical practice before the watershed date of 1800. In the first chapter, I evaluate Goehr’s arguments for this claim from historical musicology. I appeal both to recent secondary research sources in musicology, and to philosophical analysis. The second and third chapters focus on philosophical aspects of Goehr’s watershed claim. In the second chapter, I focus on understanding Goehr’s claim that a regulative shift occurred during the watershed date—that is, a change in the norms of musical practice. I argue that this shift is properly understood as a shift in unconscious, rather than conscious, concepts about musical practice. In the third chapter, I consider the ontological implications of Goehr’s view; Goehr adopts a view according to which musical works do not exist. I show that the argument for this view is unsound.

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Today there are hundreds of historic house museums open in communities across the country. Many of these museums recognize a noted historical character or event while others are noted for their architectural styling and detail. How should these museums care for their collections and interpretations to keep their standards high and to attract visitors? The case studies look at how several museums in east central Indiana operate and manage under different types of ownership, including state, county, and city governments, foundations, and historic groups. From interviews and visitations these museums were analysed as to how they coped with finances, day to day operations, traffic, collections and maintenance policies. The histories and future goals of each site were also researched and documented. Conclusions were drawn after these case studies were finished as to what were the best methods of management in order to achieve a high quality historic house museum. / Department of Architecture