Thesis (M.F.A.)--University of California, San Diego, Dept. of Visual Arts, 1986. / Catalog of an exhibition held Jan. 28-Feb. 1, 1985 at the Mandeville Annex Gallery, University of San Diego, California. Also issued in print.

Thesis (M.F.A.)--University of California, San Diego, Dept. of Visual Arts, 1986. / Catalog of an exhibition held Jan. 28-Feb. 1, 1985 at the Mandeville Annex Gallery, University of San Diego, California. eContent provider-neutral record in process. Description based on print version record.

Jennifer Johnston, a contemporary Irish novelist, has written nine novels thus far encompassing a wide thematic range. While her protagonists include both male and female, in the three novels, The Old Jest, The Christmas Tree, and The Invisible Worm we witness the emergence of a new kind of heroine: the female Bildungsroman protagonist. I begin my study with a discussion of the traditional Bildungsroman as a male project, which traces the growth and self-development of an adolescent as he approaches maturity. A reformulation is then established allowing for a female version of the genre while differentiating between stories of the failure of development, such as Jane Eyre, and Johnston's stories where development is realized. I propose to demonstrate how Johnston's works exemplify the Bildungsroman form and also explore questions relevant to female development such as the protagonist's relationship to work, to love, to family, to tradition, and to writing.

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Thesis (M.A.)--York University, 2002. Graduate Programme in Fine Arts. / Typescript. Includes the author's compositions The millennium oratorio, Continuus line, and String quartet no. 1. Includes bibliographical references (leaf 90). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ71568.

We are living in a fast track world, where technology increasingly dictates our way of life. With technology progressing faster than ever and infiltrating our jobs and homes, we are forced to adapt to this way of life in order to keep up with out ever-changing world. Cities are experiencing changes as well. Buildings are becoming obsolete while creating great strain on the cities. In the long term, we need to allow our cities to adapt and change with us. Otherwise, their inability to adapt and be flexible to our changing needs will cause them to become ruins. We are in need for flexible spaces that not only serve us, but also technology yet to come. Cities are in demand for buildings that withstand a metamorphosis. It is our duty to recognize usable buildings and their architectural contribution in order to increase their life span. Architecture affects us. It affects our moods and lifts our spirit, ultimately contributing to our well-being. Consequently, spatial quality is a very important factor. Light and shadows, scale, vertical and horizontal movement, sound control, temperature and color influence the quality of a space. Space is transformed by means of layers, material finishes, and movement sequences to name a few. After all, is not the act of transforming something, also discovering that which was always there? / Master of Architecture

Zugl.: Potsdam, Hochsch. für Film und Fernsehen Konrad Wolf, Masterarbeit, 2008

This thesis emphasizes the visibility of the translator as an agent who promotes cultural exchange. This project includes a translation of Jennifer Egan's short story "Spanish Winter" from her collection Emerald City and Other Stories (1996). It also presents the theoretical frame, the critical analysis, and the pitfalls of the translation. "Spanish Winter" is narrated in the first person by the protagonist, a troubled US American, divorced woman who travels by herself to Spain in the winter. The importance of this text lies in the quest for identity of a female character whose journey symbolizes a search for herself. This postmodern tale, which depicts cultural exchanges between Spaniards and a US American woman and presents a contemporary theme told by a female narrator traveling abroad, is extremely relevant in today's globalized world. It is a valuable text whose translation promotes a fruitful literary exchange between the United States and the Spanish-speaking countries. / by Gabriela Almeida. / Abstract in English. / Text in Spanish and English. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

The following thesis is a brief view of the production process of Theatre UNO’s Spring 2014 production of the Tennessee William’s New Orleans Literary Festival One-Act play competition 2013 winner, Father. This thesis will include analysis, production book, documentation from the production, and an evaluation of the process of putting this production on stage. The play was performed in New Orleans, Louisiana at the University of New Orleans, Performing Arts Center Robert E Nims Lab Theatre on February 11th- 16th, 2014.

The thesis will show how Jennifer Dawson's fiction of the 1960s and '70s explores the effects of the overlapping dialects of the normalizing discourse, interlocking manifestations of constraint that consolidate themselves through internalization on a continuum that underpins, generates, perpetuates and constitutes perceptions of `the social. ' A Laingian reading of the scapegoating of perceived dissenters, to invalidate or ideally to pre-empt implied dissent and to confirm in their membership the members of `the group, ' will be applied to illuminate the response provoked by Dawson's protagonists, semantically discredited by a continuum of coercive structures that range from the psychiatric to the dynamic of individual relationships. A Foucauldian analysis of the transition of the maintenance of the status quo from identifiable applications of force to democratized formulations of normalizing power to an internalization of the panoptic principle will further contextualize the dilemmas and tensions of Dawson's protagonists, on whose experience Procrustean identities are systematically if subtly imposed. A Foucauldian perspective will be used to cast light on the feelings of deadlock addressed in the novels, where the tendency of power to incite identification makes a locus of authentic resistance elusive and hard to sustain. This perspective will also inform how Dawson's fiction dramatizes the futility of resistance that fails to engage at the level of form and which thus reinforces power's underlying paradigm, even on the sites of its ostensible subversion. The thesis will demonstrate how her novels increasingly reflect the Laingian concept of contextual intelligibility, revealing how the targets and transmission wires of the normalizing drive are fully enmeshed in power's dynamic structure. Foucault's emphasis on the interstitial will be applied to show how, in her fiction of the `70s, the mutual impact of individual lives is portrayed as not only constraining but also as potentially inspiring. Her protagonists move towards a conscious awareness of the need to forge and activate an interstitial perspective, symbolized initially by music, from which to transcend collusion with the normalizing drive. Only when `freedom' is understood to be not a destination but an attitude of mind do her protagonists emerge from the impasse of complicity and develop a receptiveness to genuine exchange and a view of themselves as more than merely acted upon but as potential definers and inhabitants of their experience.