Thesis (M.F.A.)--Baylor University, 2006. / Includes bibliographical references (p. 121-123).

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As Elizabeth Burns’s paradoxical phrase ‘the thin universe’ suggests, the home is a place of both limitations and possibilities. Domestic life has been regarded by some as a spirit-sapping hindrance to creativity, recalling Cyril Connolly’s famous declaration that: ‘There is no more sombre enemy of good art than the pram in the hall.’ This thesis examines the ways in which Burns, Herd and Jamie demonstrate how domestic life, for all its restrictions, can prove to be the ally of art. The home is a repository for childhood memories – shown in my analysis of Burns’s ‘Rummers and Ladels’ and Jamie’s ‘Forget It’ – and it is during this formative period that our ambivalent relationship with the home begins. The desire for comfort and safety can be felt alongside the tug towards the outdoor world of adventure and independence, a push-pull longing found in Herd’s ‘Big Girls’. Herd carries this longing into adulthood in ‘A Letter From Anna’, as does Burns in ‘Woman Reading a Letter, 1662’, and Jamie in ‘Royal Family Doulton’. Section one is my examination of this complicated sensation. The darkness that can make the home a hell features in Burns’s ‘Poem of the Alcoholic’s Wife’, Herd’s ‘Soap Queen’ and Jamie’s ‘Wee Wifey’. Contrastingly, the blissful events that take place there are evoked in Burns’s ‘The Curtain’, Herd’s ‘Rosery’ and Jamie’s ‘Thaw’. In section two I seek to prove that such extreme events, from the abuse suffered at the hands of an unfeeling mother to the delights of new parenthood, prove that the home cannot be dismissed as sequestered or mundane. And yet, dismissed it has been. Why bother depicting one’s ‘wretched vegetable home existence’, as Wyndham Lewis wrote, when one could ‘give expression to the more energetic part of that City man’s life’? Burns bemoans this attitude in ‘Work and Art/We are building a civilization’, and the idea that ‘home crafts’ like embroidery cannot be miraculous in themselves is dispelled by Herd’s ‘The Siege’ and Jamie’s ‘St Bride’s’. The celebration of the domestic interior found in paintings by, for example, David Hockney and Gwen John is similarly seen in the poetry of Burns (‘Annunciation’), Herd (‘Memoirs’) and Jamie (‘Song of Sunday’). Section three aims to show how the Bugaboo in the hall can be the ally of art, and – ‘thin’ though it may sometimes feel – the home is a universe in which infinite poetic possibilities exist.

Bakgrund Från och med september 2014, är alla barn i åldern fyra till sju berättigade till gratis skolmat i Storbritannien, för att öka hälsosamt ätande och minska fetma. Syfte Att undersöka hur skolmåltider (speciellt skolluncher) avbildats i olika tidningar i Storbritannien, från och med 2000 till 2014, då gratis skolmåltider introducerades. Metod Fyra tidningar i Storbritannien, under tiden 2000 till 2014, valdes ut för undersökning. Totalt 616 artiklar hittades, varav 426 texter analyserades. En kombination av kvalitativ och kvantitativ innehållsanalys gjordes i flera steg på artiklar och insändare. Texterna lästes och grupperade i huvudbudskap/innehåll. För att visa när och i vilken mängd dessa huvudbudskap/innehåll avbildades i de studerade medierna, blev dessa grupperade som ämnen och placerade i tidslinjer. Slutligen kategoriserades ämnena i grupper för att visa huvudfokus under tidsperioden. Resultat Under åren 2000 till 2014 diskuterades flera ämnen som rörde skolmåltider i media. Bland dessa fanns både positiva och negativa inställningar till Jamie Olivers skolmatkampanj, ohälsosamma lunchboxar, förbud av lunchboxar, förbud mot att vistas utanför skolområdet under raster, samt planen för och införandet av gratis skolmat för fyra till sjuåringar. Gratis skolmåltider och texter relaterade till ekonomi var de mest diskuterade ämnena under åren. I studien var det möjligt att se att Jamie Oliver var en stor del av processen som lett till att barnen i åren fyra till sju fått gratis skolmat. Slutsats En större process kunde ses framskrida fram till gratis måltider till alla skolbarn i ålder fyra till sju. Regler har tillagts och åtgärder gjorts för att få bättre skolmåltider och samtidigt uppmuntra barn att välja hälsosammare mat. Det är möjligt att allmänheten blivit mer medvetna om hälsa och skolmåltider samt relationen mellan dessa / Background Starting from September 2014, all children aged four to seven received their school lunches for free in the UK, to increase healthy eating and decrease obesity. Aim To investigate how school meals (especially school lunches) were depicted in different newspapers in the UK, from 2000 to 2014 when free school meals were introduced. Method Four newspapers in the UK between the years 2000 and 2014 were chosen for the study. In total, 616 texts were found from which 426 were analysed. A combination of quantitative and qualitative analysis of articles and letters to press was made in several steps. The texts were read and grouped into several main messages/contents. These were grouped into subjects and put together in timelines to show when and how much they were depicted in media during the studied years. Finally the subjects were grouped into topics, to show the main focus during the time period. Result During the years 2000 to 2014 several topics related to school meals were discussed. Among these were both positivity and negativity towards Jamie Oliver’s school food campaign, unhealthy packed lunches, the ban of packed lunches, ban of going outside schools on school breaks and the free school meals plan and free school meals for all children aged four to seven. The free school meals and texts related to economy were the most discussed during these years. In the study it was possible to see that Jamie Oliver have been a big part of the results of free school meals for the children between four and seven. Conclusion A long process could be seen progressing until free meals were given to all schoolchildren aged four to seven. There were regulations and actions towards better school meals and encouragements for children to choose the healthier foods. It is possible that people became more and more aware about health and school meals, and the relation between these over the years.

The purpose of this study was to research and demonstrate various techniques that a double bassist may utilize when performing an unaccompanied solo in a jazz setting. This study primarily focused on pizzicato (plucked) styles and sought to maximize the polyphonic potential of the double bass, which has traditionally been considered a homophonic instrument. This study provides a written, organized approach that illustrates recorded examples and augments private instruction for the double bass. This study offers a vocabulary of techniques comprising chords and intervals that allow the double bassist to accompany oneself. It uses an intervallic approach to determining practical ways of voicing chords and accompanying melodic statements. Specific songs from the standard repertoire were chosen to demonstrate self-accompaniment techniques in the contexts of melodic and harmonic movement. Recorded examples are provided that show how specific bassists successfully used certain techniques in the context of songs. Bassists that were examined include Ray Brown, Niels-Henning Orsted Pedersen, Dave Holland, Charlie Hayden, Ron Carter, Edgar Meyer, Lynn Seaton, and David Friesen.

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British celebrity chef Jamie Oliver has been an active voice among those striving for food reform, directly influencing attitudes and behaviors among the culture of food around the world. Oliver's most recent campaign, Jamie's Food Revolution, can be considered one of his most successful attempts at influencing modern day food practices. The mission of the campaign is 'to create a strong sustainable movement to educate every child about food, inspire families to cook again and empower people everywhere to fight obesity' (Home Jamie's Food Revolution, n.d.). In addition to the campaign website, Jamie's Food Revolution campaign has a Facebook page, an Instagram page, a Twitter page, and a YouTube page, which are all used to contact with people around the world. The purpose of this thesis is to explore how the Instagram page, @foodrev, is used to post content that aligns with the mission and offers dialogic opportunities for publics to engage with the campaign through a grounded theory methodological approach and application of dialogic theory. More specifically, this thesis will: 1) highlight how the content of the @foodrev Instagram account represents the mission statement of Jamie's Food Revolution; 2) address whether the content posted to the Instagram account generates opportunities for dialogic engagement; 3)reveal whether the content posted to the Instagram account actually generates dialogic responses from other Instagram users; and4) reveal features of dialogic theory that transfer to social media, specifically Instagram, and what aspect of the platform provides dialogic affordances not already explained by dialogic theory. / Master of Arts

This thesis explores a contemporary literary movement that has been called ‘the new nature writing’, framing it in its wider historical and cultural context of the last forty years. Drawing on recent developments in cultural geography, it explores the way such terms as ‘landscape’ and ‘place’ have been engaged with and reinterpreted in a diverse project of literary re-mapping in the British and Irish archipelago. It argues that the rise of environmentalism since the late 1960s has changed and destabilised the way the British and Irish relate to the world around them. It is, however, concerned with challenging the term ‘nature writing’ and argues that the literature of landscape and place of the last forty years is not solely concerned with ‘nature’, a term that has come under some degree of scrutiny recently. It sets out an argument for reframing this movement as an ‘archipelagic literature’ in order to incorporate the question of community. In understanding the present uncertainties that pervade the questions around landscape and place today it also considers the effects of such political changes as the partial devolution of Scotland, Wales and Northern Ireland on the British and Irish relationship to the land. The literature that it takes as its subject often explores the way personal and communal senses of identity have found a renewed focus in a critical localism in opposition to more footloose forms of globalisation. Through a careful negotiation of Marxist and phenomenological readings of landscape, it offers an overview of what is a considerable body of literature now and what is developing into one of the most consistent and defined literary movements of the twenty-first century.

At just under thirty years the serious academic study of American comic books is relatively young. Over the course of three decades most historians familiar with the medium have recognized that American comics, since becoming a mass-cultural product in 1939, have matured beyond their humble beginnings as a monthly publication for children. However, historians are not yet in agreement as to when the medium became mature. This thesis proposes that the medium’s maturity was cemented between 1985 and 2000, a much later point in time than existing texts postulate. The project involves the analysis of how an American mass medium, in this case the comic book, matured in the last two decades of the twentieth century. The goal is to show the interconnected relationships and factors that facilitated the maturation of the American sequential art, specifically a focus on a group of British writers working at DC Comics and Vertigo, an alternative imprint under the financial control of DC. The project consulted the major works of British comic scriptwriters, Alan Moore, Jamie Delano, Grant Morrison, Peter Milligan, Neil Gaiman, Warren Ellis, and Garth Ennis. These works include Watchmen, V for Vendetta, Shade: the Changing Man, Batman: Arkham Asylum, Animal Man, Sandman, Transmetropolitan, Preacher and several other important works. Following a chronological organization, the work tracks major changes taking place in the American comic book industry in the commercial, corporate, and creative sectors to show the processes through which the medium matured in this time period. This is accomplished by combining textual analysis of the comics with industry specific records and a focus on major cultural shifts in US society and culture

Den här uppsatsen undersöker punken och några aspekter av dess visuella identitet. Genom att söka några av dess konsthistoriska rötter finner man att situationism och dadaism ofta nämns som konströrelser med ett uttryck som punken bygger vidare på. Det kan förklaras genom bland annat att Malcom McClaren och Jamie Reid, som låg bakom lanseringen av Sex Pistols, hade en situationistisk bakgrund. Reids arbete med till exempel skivomslag åt Pistols har också lagt grunden för föreställningen om vad punkestetik är. Med analyser av God Save The Queen 1977 och Nowhere Buses 1972 har jag sökt att ge en förklaring till hur de bilderna kan tänkas fungera utifrån en mottagarkontext av frustrerade, arbetslösa ungdomar i slutet av 70-talet. Säkerhetsnålen som en symbol inom punken kan förstås som en kritik av konsumtionssamhället. Den tvetydiga användningen av svastikan på kläder och flygblad är mer svårtolkad, den kan ses utifrån sitt rent provocerande värde eller som att den tillhör en gammal värld och därför är utan betydelse. Från detta har jag följt punkens förgreningar mot en politiskt medveten subkultur där aktivism, anarkistisk teori och D.I.Y.-filosofi är rådande. D.I.Y. (Do It Yourself) är en viktig aspekt av punkens utveckling. Punken påverkar även andra konstnärliga uttryck som syns hos till exempel den samhällskritiske konstnären Banksy. Det går också att se ett kulturhistoriskt intresse för den ursprungliga punken, som nu blivit en del av kulturarvet. Utifrån bland annat den ideologiska förförståelsen som framträder i min undersökning har jag analyserar två verk av den svenska konstnären, och punkmusikern, Ella Tillema. På verket Mitt Hjärta Är En Bomb 2009 har jag lagt en feministisk blick och Den Postapokalyptiska Skapelseberättelsen (Partyt är Över) 2011 har analyserats utifrån en mottagarkontext med förståelse för anarkistisk aktivism, djurrättsfrågor och dess symboler. Punken som subkultur kan förstås som en motkultur och punkestetik som en motestetik. En slutsats som min undersökning leder till är att punkestetik kan ses både som förhållningssätt och som stil, D.I.Y.-aspekten är betydelsefull i båda avseenden. Som förhållningssätt handlar det bland annat om att inte vara en passiv konsument, utan vara delaktig och det blir i sin praktik till en slags samhällskritik. Identitet och tillhörighet är en viktig del av för att förstå punkestetik som stil. Stilen skapas dels utifrån bilder som haft stort genomslag inom subkulturen, till exempel Reids. Dels utifrån en teknisk amatörism, i vissa fall skenbar, som markerar D.I.Y.-praktiken där alla har möjlighet att vara delaktiga. Det är dock min mening att stil och förhållningssätt inte kan särskiljas om man vill förstå vad punkestetik är.