241 |
Examination of Water Drilling Success Rate Using Satellite Imagery in the Central Plateau Region, HaitiBischoff, Kristen L. 15 July 2008 (has links)
No description available.
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242 |
In Need of Nature's NourishmentGardner-Andrews, Anna January 2004 (has links)
No description available.
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243 |
Visual Imagery Perspective and Conceptual Processing of Core AffectHsing, Courtney Kelly 19 May 2015 (has links)
No description available.
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244 |
Picture This: A dissertation examining the quantitative mental imagery of childrenThomas, Jonathan January 2010 (has links)
No description available.
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245 |
State-of-the-art remote sensing geospatial technologies in support of transportation monitoring and managementPaska, Eva Petra 26 June 2009 (has links)
No description available.
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246 |
Predicting Future Emotions from Different Points of View: The Influence of Imagery Perspective on Affective Forecasting AccuracyHines, Karen Anne 25 October 2010 (has links)
No description available.
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247 |
Effects of guided imagery exercises verus writing and editing exercises on writing anxiety and self-perception of writing ability of health professionals /Shilling, Lilless McPherson January 1983 (has links)
No description available.
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248 |
The writing process : effects of life-span development on imaging /Shock, Diane Hahn January 1984 (has links)
No description available.
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249 |
Work images and clozentropy : a communication study of engineers at three levels of professional development /Balog, Barbara Jean January 1986 (has links)
No description available.
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250 |
Emily Dickinson's Spectrum: An Analysis of the Significance of Colour Imagery in the Poems and Letters.Ruddick, Nicholas 04 1900 (has links)
<p> The implication of the title of this thesis, Emily Dickinson's Spectrum, is that this poet had a highly individual attitude towards colour, an attitude which the analysis of colour-imagery in the poet's writings will illuminate. The first chapter of the thesis demonstrates how the poet's scientific background enabled her to set up a spectrum that differed from the "received" Newtonian spectrum in many ways. The second chapter shows how Dickinson's originality, a quality often noticed by critics, is to a large extent the product of her ability to manipulate the colours of her spectrum in a manner analogous to the practice of the pictorial artist. The third chapter explains, however, that though her use of colour was indeed original, her practice reflects the international anti-Newtonian "colour-revolution" of the era in which she lived, a revolution in which she had a significant role to play notwithstanding her apparent seclusion in Amherst. In the final chapter, Emily Dickinson's spectrum is set out, and each of its chief colours is shown to be a concise means of referring to a different complex or node of emotions that are at once personal and universal in their import.</p> / Thesis / Doctor of Philosophy (PhD)
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