An illustrated key to the adults and known nymphs of Texas Plecoptera is provided. Species accounts, including geographic distribution within Texas, and biological notes are given. Of the twenty-seven species of Plecoptera known from Texas, six are new state records. TWo species new to science, Isoperla jewetti and Isoperla coushatta are described. Taeniopteryx starki Stewart and Szczytko, Zealeuctra arnoldi Ricker and Ross, and Zealeuctra hitei Ricker and Ross are endemic to the Edwards Plateau area of Texas. Two species, Mesocapnia frisoni (Baumam and Gaufin) and Isoperla jewetti New Species are western in origin. The remaining nineteen species (excluding Anacroneuria) are typically eastern species.

聂利. / "2010年9月". / "2010 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 108-112). / Abstract in Chinese and English. / Nie Li. / 前言 --- p.8 / Chapter （一） --- 问题的提出:晚清礼仪之争 --- p.8 / Chapter （二） --- 研究回顾和研究意义 --- p.12 / Chapter （三） --- 研究方法和研究资料 --- p.19 / Chapter 第一章 --- 西方传教士对祖先崇拜的态度 --- p.20 / Chapter （一） --- 反对的立场 --- p.21 / Chapter （二） --- 包容的立场 --- p.24 / Chapter （三） --- 调和的立场 --- p.27 / Chapter （四） --- 小结 --- p.30 / Chapter 第二章 --- 中国基督徒和慕道者对祖先崇拜的态度 --- p.32 / Chapter （一） --- 反对的立场 --- p.33 / Chapter （二） --- 支持的立场 --- p.37 / Chapter （三） --- 小结 --- p.40 / Chapter 第三章 --- 论争中的圣经解释 --- p.49 / Chapter （一） --- 拜独一神 --- p.49 / Chapter （二） --- 孝敬父母 --- p.56 / Chapter （三） --- 偶像 --- p.62 / Chapter （四） --- 其它 --- p.73 / Chapter （五） --- 小结 --- p.78 / Chapter 第四章 --- 晚清礼仪之争与圣经 --- p.87 / Chapter （一） --- 传教士和中国基督徒观点的异同 --- p.87 / Chapter （二） --- 影响传教士立场的因素 --- p.89 / Chapter （三） --- 影响中国基督徒立场的因素 --- p.97 / Chapter （四） --- 圣经的作用 --- p.100 / Chapter （五） --- 小结 --- p.101 / 结论 --- p.104 / 附录:传教士中英文名对照表 --- p.107 / 参考书目 --- p.108

This dissertation is an attempt to define the constellation of circumstances and ideas, which has determined my strategy in the paintings and performances submitted for examination. Unlike many artists I do not accept the fact of postmodernity. On the contrary, art and life remain suspended between the future and the past, the essential modernist condition. I argue for this in the introduction and the first two chapters, through a description of the performance work of Joseph Beuys and on my reaction to it in a performance in which I attempted to examine the practical paradoxes of art making in late modernity. I take my position largely from the Frankfurt school and succeeding debates about their work up to Zizek. For, while we remain in modernity we cannot regard it simply as an unfinished project. It is no longer possible to adopt an avant-garde position in one�s practice. The central section of the thesis contains a series of studies of the careers of major artists who have faced up to the paradoxes of modernity from Picasso to Richter and Parr. Through their successes, failures and sometimes duplicity, a practical profile emerges � a guide to the limits of contemporary practice. The last chapter concerns my paintings as a response to this profile.

Thèse de doct.--Lettres--Lausanne--Faculté de lettres, 1997. / Notes bibliogr.

Mémoire d'étude DCB : Ecole nationale supérieure des sciences de l'information et des bibliothèques : 2002.

Projet professionnel personnel de bibliothécaire : gestion de projet : bibliothéconomie : Villeurbanne, ENSSIB : 2008. / Texte intégral. Résumé en français et en anglais. Bibliogr. f. 53-57. Lexique de la GED.

Project Thesis (D. Min.)--Denver Seminary, 1993. / Includes bibliographical references (leaves 180-188).

In 1493 Johann Trechsel published in Lyons a Latin edition of Terence's six comedies, generally known today as the "Lyons Terence." The volume is illustrated with 160 woodcuts. The first woodcut, on the title page, shows the author in his library; the second, a full-page frontispiece titled Theatrum, pictures a building with a stage and audience; the remaining woodcuts, half-page illustrations distributed throughout the text, depict figures on stages, a different stage for each of the six comedies. Chapter 1 introduces the woodcuts both as book illustrations and theatre documents. As book illustrations, the woodcuts are striking partly because of their size, their quantity, and their artistic merit and partly because they comprise the earliest series and narrative illustrations to accompany a printed Latin text. Commissioned for this particular edition to Terence's comedies, the woodcuts suggest a pedagogical concern with illustrations that provide a running commentary on the text. As theatre documents, the woodcuts are significant because they represent the first instance in which an editor has illustrated a dramatic text by depicting characters on stages. Chapter 2 analyzes the composition and distribution of the woodcuts by comparing each illustration with the text it introduces. Marking each traditional scene division, the woodcuts depict the characters who participate in the dialogue to follow. By manipulating the characters' placement on the stage, their use of curtains, and the number of times they are depicted in a single picture, the artist establishes conventions to identify (1) the major character group comprising a scene, (2) characters who speak apart before joining in conversation with those already on-stage, (3) characters who remain apart throughout a scene and speak only asides, and (4) characters whose voices are heard but who never appear on the stage. The artist does not portray nonverbal stage business. Chapter 3 investigates the possible influence of narrative art on the conventions identified in Chapter 2. First, I argue that the woodcuts were directly influenced by the miniatures in the Terence manuscripts; this influence accounts for errors and idiosyncracies in representing characters and the priority of character depiction over stage action. Second, I show that the woodcuts adopted conventions for representing narrative action, especially transitional links, from narrative art in general. Chapter 4 distinguishes between staging and the stage. Although the woodcuts do not represent characters so as to suggest the staging of Terence's plays, they do depict those characters upon stages. The Andria stage, moreover, appears to be indebted to the contemporary booth stage. The compartment labels I take to be a literary rather than a staging feature. Chapter 5 summarizes the findings of the dissertation. It concludes that the woodcuts, innovative illustrations which supplement a classical text, function primarily as a pedagogical aid to help the reader follow the Latin dialogue of the comedies.

An Examination of Print and Web Graphics’ Effect on Readers’ Recall Specific research regarding how information graphics, which are defined as charts, maps or diagrams, in print and online affect readers’ recall and understanding of information is scarce at best and at times, even contradictory. Previous print research suggests that information graphics does improve readers’ recall. Online graphics research notes that the freedom of the Web allows readers to learn more efficiently than traditional media. While, other research notes that the Web’s freedom causes users to spend more effort on orienting themselves with the Web site, and therefore, users don’t learn efficiently. This study examined whether the presentation of information graphics affects readers’ recall and found no statistical significance between readers’ recall scores who had read a print graphic and those who read an online graphic. / Department of Journalism

This dissertation is an attempt to define the constellation of circumstances and ideas, which has determined my strategy in the paintings and performances submitted for examination. Unlike many artists I do not accept the fact of postmodernity. On the contrary, art and life remain suspended between the future and the past, the essential modernist condition. I argue for this in the introduction and the first two chapters, through a description of the performance work of Joseph Beuys and on my reaction to it in a performance in which I attempted to examine the practical paradoxes of art making in late modernity. I take my position largely from the Frankfurt school and succeeding debates about their work up to Zizek. For, while we remain in modernity we cannot regard it simply as an unfinished project. It is no longer possible to adopt an avant-garde position in one�s practice. The central section of the thesis contains a series of studies of the careers of major artists who have faced up to the paradoxes of modernity from Picasso to Richter and Parr. Through their successes, failures and sometimes duplicity, a practical profile emerges � a guide to the limits of contemporary practice. The last chapter concerns my paintings as a response to this profile.