Thesis (M. Phil.)--University of Sydney, 2007. / Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Philosophy to the School of Social Work and Policy Studies, Faculty of Education and Social Work. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

Abstract Finding something disgusting involves a particular sensuous experience and an evaluation that the thing is of little or no value. Sensuous properties such as digustingness are constituted by these two aspects, the sensuous and the evaluative. In “The Authority of Affect” (2001a), Mark Johnston argues for a detectivist account where our affective states detect mind-independent properties of sensuous value, like disgustingness. He argues that the other two standard positions, projectivism and dispositionalism, do not account for the authority of affect or are incoherent. In this paper, I argue that he is wrong to rule out dispositionalism for being incoherent and that it does account for the authority of affect. In addition, I argue that it is best able to capture the nature of sensuous properties and that it should be the default account of the relation between sensuous properties and affect.

Key words: dance - body - corporeality - dance aesthetics - aesthetic experience - phenomenology - Maxine Sheets-Johnstone - contemporary dance Abstact: Dance's various forms and appearances are connected through one universal aspect - the presence of corporeality as represented by the moving human body. The role and the experience of body is essential for the description of dance even in its aesthetical and philosophical interpretation. First of all, this diploma theses aims to map the field of aesthetics and philosophy of dance from wider historical perspective and consequently to find support in dance basic division and its connected experiences in practice of inner ecstatic immersion. Furthermore, the focus is also given to the type of experience that is subordinated to visual effect of dance. This foundation is further elaborated in second part of this thesis, which discusses dance experience in its aesthetic dimension through context of phenomenological philosophy in thinking of Maxine Sheets-Johnstone. This concept of dance reveals other important qualities in dance as an art. In addition, it shows one of novel approaches to corporeality in the aesthetic experience of dance, which could built on the dichotomous differentiation of the dance experience and open new perspectives on the aesthetic...

I den här uppsatsen beskrivs på vilket sätt kemins tre perspektiv(makroskopiskt, submikroskopiskt, symboliskt) förekommer i lärareskemiundervisning.Datainsamlingen gjordes genom semistrukturerade intervjuer med 13 läraresom spelades in och transkriberades. Några av lärarna undervisar i kemi igrundskolans senare år och några i gymnasieskolan. Därefter gjordes entematisk analys av intervjuerna.I analysresultatet framgick följande teman: • Lämplig substans • Elevens (förståelse) inre bild • Omedveten medvetenhet • Två perspektiv i taget I temat lämplig substans framgick att lärare i sin undervisning oftaanvänder substanser som elever känner till sedan tidigare.I temat elevens (förståelse) inre bild framgick att lärare i första handförsöker hjälpa eleven att föreställa sig hur kemin fungerar.I temat omedveten medvetenhet framgick att de tre perspektiven förekomi lärares kemiundervisning även om endast en tillämpade detta medvetet ochsystematiskt. I de andras undervisning fanns begreppen med även om lärarnainte tänkte på det.I temat två perspektiv i taget framgick att lärarna oftast arbetade med tvåperspektiv och sällan med alla tre samtidigt.De tre perspektiven (begreppen) förekommer i samtliga lärares undervisningmen de flesta lärare använder andra termer för detta. Begreppen används oftatillsammans och ostrukturerat vilket kan bidra till missuppfattningar hoseleverna. Endast en lärare undervisar systematiskt utifrån terminologinmakroskopiskt, submikroskopiskt och symboliskt. / In this essay it is described in what way three perspectives (macroscopic,submicroscopic, symbolic) of chemistry occur in teachers’ chemistryeducation.Data was collected using semi structured interviews with 13 teachers. Theinterviews were recorded and transcribed. Some of the teachers work withchemistry education in the upper stage of the primary school and some workin upper secondary education (high school). Then thematic analysis wasapplied on the transcribed interviews.The following themes were found in the resulting analysis: • Appropriate substance • The student’s mental picture • Unaware awareness • Two perspectives at a time In the theme appropriate substance it was found that teachers often usesubstances in their education that are already known to the student.In the theme the student’s mental picture it was found that teachersgenerally try to help the student imagine how chemistry works.In the theme unaware awareness it was found that the three perspectivesoccurred in the teachers’ education, but the words were only applied by one ofthe teachers systematically. In the other teachers’ teaching the concepts werepart of the education even if the teachers weren’t aware of the terminology.In the theme two perspectives at a time it was found that the teachersusually applied two perspectives but seldom all three at the same time.The three perspectives (the concepts) exist in all teacher’s education but mostof the teachers use other expressions. The concepts are used together andunstructured which may contribute students’ misconceptions. Only oneteacher educates systematically using the terminology macroscopic,submicrosopic and symbolic.

The traditional objectives of leadership conventions have been two-fold; First, the choice of a new party leader; second, the reaffirmation and renewal of party activists as well as unification of them behind the newly chosen leader. This thesis analyzes the Social Credit party leadership selection process with particular focus on the 1991 leadership convention. The study draws upon data and written material with respect to the 1986 leadership convention, but primarily information gathered from an extensive survey of behavior and attitudes of the nearly 1900 delegates to the 1991 leadership convention as well as newspapers and personal observation and interviews with attendees. It explores how the Social Credit party tried but failed to achieve both of the traditional objectives with their 1991 leadership convention. They chose a new party leader. However, entering the 1991 convention, the party was divided by numerous rifts which had developed during the 1986 leadership convention and since that event. Rather than heal the rifts, the 1991 leadership convention exacerbated them. Thus, as the 1991 leadership convention closed the party was more divided than when the year's leadership politics had begun.

The traditional objectives of leadership conventions have been two-fold; First, the choice of a new party leader; second, the reaffirmation and renewal of party activists as well as unification of them behind the newly chosen leader. This thesis analyzes the Social Credit party leadership selection process with particular focus on the 1991 leadership convention. The study draws upon data and written material with respect to the 1986 leadership convention, but primarily information gathered from an extensive survey of behavior and attitudes of the nearly 1900 delegates to the 1991 leadership convention as well as newspapers and personal observation and interviews with attendees. It explores how the Social Credit party tried but failed to achieve both of the traditional objectives with their 1991 leadership convention. They chose a new party leader. However, entering the 1991 convention, the party was divided by numerous rifts which had developed during the 1986 leadership convention and since that event. Rather than heal the rifts, the 1991 leadership convention exacerbated them. Thus, as the 1991 leadership convention closed the party was more divided than when the year's leadership politics had begun. / Arts, Faculty of / Political Science, Department of / Graduate

Since the publication of Laura Mulvey's influential article 'Visual Pleasure and Narrative Cinema,' in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women writers of the nineteenth and twentieth centuries'including Elizabeth Stuart Phelps, Edith Johnstone, and Virginia Woolf'recognized the power of the woman artist to undermine the trope of the male gazing subject and a passive female object. Examining Phelps's The Story of Avis (1877), Johnstone's A Sunless Heart (1894), and Woolf's To the Lighthouse (1927) illustrates how the woman artist's active vision disrupts Mulvey's 'active/male and passive/female' binary of vision. Phelps's painter-heroine Avis destabilizes the power of the male gaze not only by exerting her own vision, but also by acting as an active object to manipulate the way she is seen. Johnstone uses artist Gasparine to demonstrate the dangers of vision shaped by either aesthetic or political conventions, suggesting that even feminist idealism can promote the objectification of its heroines. Finally, Woolf redefines the terms of objectification through painter Lily Briscoe, whose vision imbues material objects with subjectivity, thereby going beyond the boundaries between male and female to blur the distinction between subject and object. Through their novels, Phelps, Johnstone, and Woolf suggest that depictions of human experience need to be radically re-thought in order to adequately represent the complexity of subjectivity.

Motivated by the need to standardize preclinical imaging for image-guided radiation therapy (IGRT), we examine the parameters that influence microcomputed tomography (microCT) scans in the realm of image quality and absorbed dose to tissue, including therapy beam measurements of small fields. Preclinical radiation research aims to understand radiation-induced effects in living tissues to improve quality of life. Small targets and low kilovoltage x-rays create challenges that do not arise in clinical radiation therapy. Evidence based on our multi-institutional study reveals a considerable aberration in microCT image quality from one institution to the next. We propose the adoption of recommended tolerance levels to provide a baseline for producing satisfactory and reproducible microCT image quality scans for accurate dose delivery in preclinical IGRT. Absorbed dose imparted by these microCT images may produce deterministic effects that can negatively influence a radiobiological study. Through Monte Carlo (MC) methods we establish absorbed microCT imaging dose to a variety of tissues and murine sizes for a comprehensive combination of imaging parameters. Radiation beam quality in the small confines of a preclinical irradiator is also established to quantify the effects of beam scatter on half-value layer measurements. MicroCT scans of varying imaging protocols are also compared for murine subjects. Absorbed imaging dose to tissues are established and presented alongside their respective microCT images, providing a visual bridge to systematically link image quality and imaging dose. We then characterize a novel small plastic scintillating dosimeter to experimentally measure microCT imaging and therapy beams in real-time. The presented scintillating dosimeter is specifically characterized for the low energies and small fields found in preclinical research. Beam output is measured for small fields previously only achievable using film. Finally, quality assurance tests are recommended for a preclinical IGRT unit. Within this dissertation, a narrative is presented for guiding preclinical radiotherapy towards producing high quality microCT images with an understanding of the absorbed imaging dose deposited to tissues, including providing a tool to measure small radiation fields. / Graduate

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.

O estudo mescla fronteiras das investigações sobre a criação do ator levando em conta a improvisação. Tomando-se o trabalho de Arthur Lessac como ponto de partida para criar, realiza-se uma contaminação entre este e as seguintes pesquisas sobre improvisação e composição cênica: Contato Improvisação, Viewpoints, além de técnicas de narrativa e espontaneidade do diretor e professor britânico Keith Johnstone. A experiência prática foi realizada em estágio docente na disciplina de Atuação III da graduação em Teatro na UFRGS. Os pensamentos de Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau e Keith Johnstone se entrecruzam com pesquisas contemporâneas de diferentes áreas para discutir o processo de criação do ator-estudante. / The study mixes borders in the investigation of the creation process of the actor, taking into account the improvisation. Having the Lessac Work as an access way into creating, a contamination was held among his work and the following researches on improvisation and scene composition: Contact Improvisation, Viewpoints, as well as narrative techniques and spontaneity studied by the director and professor Keith Johnstone. The practical experience was held during teacher training in Performance III, Undergraduate Program in Theatre at UFRGS. The ideas developed by Arthur Lessac, Steve Paxton, Anne Bogart, Tina Landau and Keith Johnstone intersect contemporary researches in different areas in order to discuss the creation process of the actor-student.