Thesis (D. Mus. Arts)--University of Washington, 2005. / Vita. Includes bibliographical references (p. 112-115).

Thesis (M.A.)--State University of New York at Binghamton, Department of Geography, 2009. / Includes bibliographical references.

Thesis (D. Min.)--Trinity International University, 2008. / Abstract. Description based on print version record. Includes bibliographical references (leaves 127-129).

Οι δορυφορικές εικόνες ASTER αποτελούν το πιο πρόσφατο προϊόν της διαστημικής τεχνολογίας, Έχει πολύ μεγάλη φασματική διακριτική ικανότητα σε σημείο που να χαρακτηρίζεται από αρκετούς επιστήμονες σαν ένα υπερφασματικό καταγραφικό σύστημα στο υπέρυθρο. Έτσι δίνονται νέες δυνατότητες για την ερμηνεία είτε ποιοτικά είτε ποσοτικά καλύψεων γης και φυσικών καταστάσεων της γήινης επιφάνειας, αφού οι προηγούμενοι δορυφόροι είχαν ελάχιστο αριθμό καναλιών στο υπέρυθρο και τα οποία είχαν πολύ μεγάλο εύρος. Ο σκοπός είναι η σύνθεση ενός δορυφορικού χάρτη της Ιθάκης από δορυφορικές εικόνες ASTER. Πρώτα θα εφαρμοσθούν διορθώσεις (αποζωνοποίηση, μετατροπή σε τιμές ενέργειας.) και στην συνέχεια θα γίνει παραμετρική γεωμετρική διόρθωση. / --

Includes links to web sites for additional information. / Cover title.

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

Missing page 10. / <p> Interbedded turbidite sandstones and shales of the Sonyea Group are exposed in the Finger Lakes Stone Quarry near Ithaca, New York. In 28% of the samples studied the orientation of the grains was not significantly different from a uniform distribution. These distributions included some that were bimodal and some obtained from a bed showing cross-stratification. In 60% of the samples the grain orientations could be considered parallel to the flute marks. As the top of the massive interval was approached the grain orientation became increasingly aligned with the flute marks. A difference of 14° was found between the vector means of the flute and tool marks. </p> <p> Radiographs made of rock slabs cut from the samples used in grain orientation determinations frequently failed to show internal structures even though these were visible in the samples. A radiograph of one sample (02-08) showed cross-bedding, not visible in the sample or slab. The absence of internal structures in a radiograph do not exclude their being present. </p> / Thesis / Bachelor of Science (BSc)

The focus of this study is to investigate what images of Sweden are transmitted in the novel The road to Ithaca (1994), by the Uruguayan author Carlos Liscano. The study focuses on the first half part of the novel for this taking place in Stockholm, Sweden, in the early nineties. The aim is to investigate by what literary strategies and literary subgenres the images of Sweden are transmitted.    The theoretical framework applied derives from studies of the literary genre of the picaresque novel and its bufonesco mood, such as the literary strategies irony and laconism. For the analysis Mieke Bal´s concept of focalization and semantic axes are used.      The study shows that in Sweden there are parallel worlds to the official world of the welfare state; in the shadow side of society there are the metecos, unwanted residents: the undocumented and the mentally ill. Through a picaresque and ironic style, the author shows that Sweden is a neat, clean, but culturally hermetic society; almost perfect on the surface, but with a lot of hidden “trash” beneath.    The welfare state of Sweden seams benevolent in its integrative intention, but is, at the same time, blind, or even worse, disinterested in the new reality of the country; that of the welfare state in dissolution and Sweden as a Tower of Babel.

This dissertation demonstrates how props act as conduits of knowledge and (thus?) power in Sophocles’ “non-Theban” plays. I show how certain props challenge the definitions and values that they accrue as they move between actors onstage. Key props in these four plays behave unlike other props in extant tragedy, opening up the possibility for a sustained inquiry into the ways that property speaks to and for power. Focusing on the urn in Electra, the bow in Philoctetes, Hector’s sword and Ajax’s own shield in Ajax, and the robe in Trachiniae, this project argues for the centrality of these props in these plays’ verbal exchanges. The introduction sets up a framework and methodology that draws on Michel Foucault’s notion of power-knowledge (pouvoir-savoir) and the sociology of Pierre Bourdieu alongside contemporary thinkers like Jack Halberstam, Jane Bennett, and Sara Ahmed. The first chapter, “The Urn is the Wor(l)d in Sophocles’ Electra,” builds on prior scholarship on this much-studied stage object by showing how it accrues “symbolic power” and comes to construct reality and the social world. The possibility of that consensus breaks down, however, in the face of the familiar/l strife at Argos, and it is through this breakdown that the urn gives audience members a way to examine the play’s puzzling lack of resolution. The second chapter, “Stringing a Bow: Learning, use, and power in Sophocles’ Philoctetes,” builds on the previous chapters’ by showing how the bow defines the limits of Neoptolemus’ education on Lemnos and the terms of its own exchange. The bow’s frequent back and forth between characters and its role in Odysseus’s subterfuge belie the fact that it still belongs to Heracles, who alone can authorize its use. This reading draws out the strange relationship between the deceptions of the False Merchant and the divine interventions of Heracles, demonstrating an uncomfortable consonance between the two scenes. The third chapter, entitled “Ajax’s economy of hostility: the necropolitics of kleos,” explores how Ajax paradoxically gives up his shield even as it merges with his identity as a defense for the Achaeans against the Trojans. Ajax himself attempts to manipulate this threat through the handling and “exchange” of the sword of Hector with its native soil, misleading his compatriots — and possibly himself — about his intentions in his so-called “deception speech.” When Hector’s sword pierces Ajax’s body, Trojan and personal hostilities merge until Odysseus manages to rectify the play’s errant exchanges and restore Ajax’s status as a shield for his companions. The fourth and final chapter, “Ceci n’est pas un prop: The robe as gift and garment in Sophocles’ Trachiniae,” shows that the robe’s failure to appear onstage as a prop — the audience might see it as part of Heracles’ costume at the end of the play — enacts the conflict between oikos and wilderness that the characters inhabit, exposing them to the threats of order and disorder as they attempt to integrate Heracles’ pure excess into the oikonomia of Trachis. This process ultimately reveals the futility of attempts to analyze the play in terms of its dichotomies: female-male, oikos-polis, concealed-revealed, etc. The circulation of the robe in its box charts a path for understanding the play in terms that defy dichotomization by locating the play’s exchanges along intersecting modes of valuation. In the conclusion, I widen the perspective of this methodology again, turning to the instrumentalization of bodies in Sophocles’ Theban plays. I raise questions about how meaning, use, value, and power come to be confused via onstage exchanges, and I gesture towards possible future avenues of inquiry that might account for the trouble with bodies that Ajax raises.