Thesis (M.A. (Linguistics))--Mahidol University, 1983.

Legendary violist and pedagogue Karen Tuttle developed a new approach to playing the viola known as Coordination. Coordination consists of a deep emotional connection to music, as well as highly specific motions of the body. This document details the execution of the physical motions of Coordination, through written descriptions and multimedia examples. A detailed discussion of the application of the motions is presented, using notated examples from Ernest Bloch’s Suite Hébraïque.

Despite a thirty year protracted refugee situation in Thailand, little data exists regarding the traditional weaving of the Karen refugee women from Burma. Through semi-structured interviews, participant observation and photography, this study explores the meaning of weaving for Karen refugee women as they transition from their villages in Burma to Thai refugee camps and eventually into resettlement in Canada. The analysis stresses the importance of context in the formation of meaning and purpose from weaving. The findings suggest interdependency between weaver, the weaving and context. As the weavers leave Burma, the purpose for weaving is transitioned from the making of clothing for community belonging, self-sufficiency, and cultural identification, into a means of generating income and filling time in Thailand. Third country resettlement continues the story of weaving further still, suggesting diminished purpose and meaning, leaving the future of Karen weaving uncertain in Canada.

Japanese composer and pianist Karen Tanaka (b.1961) gained international recognition for her compositions during the 1980s and has become a significant composer of the twenty-first century. Her works have been performed by distinguished international ensembles and encompass various genres including orchestral, chamber, solo instrumental, choral and electroacoustic music as well as sound design. Tanaka’s fourteen solo piano works comprise a variety of styles and levels of difficulty. Among her solo piano works, Water Dance (2008) and Techno Etudes (2000) exemplify her unique approach to minimalism. This document includes analyses of rhythmic and melodic content, harmonic layering, and other musical devices to demonstrate how Tanaka creates a distinctive compositional language within a minimalist style in these two works. Only few scholarly studies exist regarding her works in English or Japanese; the purpose of this study is to introduce and provide resources about Tanaka and her works.

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (p. 312-337).

Thesis (Ph. D. in Anthropology)--University of California, Berkeley, Dec. 1994. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 297-311).

Thesis (Ph. D. in Anthropology)--University of California, Berkeley, Dec. 1994. / Includes bibliographical references (leaves 297-311).

This thesis contains the results of my research between 1994 and 1998 into the uses of fictional autobiography in personal development. The topic arose out of my observation, both of my own experience and the experience of students attending my creative writing courses, that writing fictional autobiography as part of a writing apprenticeship not only enabled the development of writing skills and the finding of a writing 'voice', but often had a therapeutic effect on the writer's relationship with himor herself, and with his or her significant others. I set out to explore this observation through an examination of my creative writing course 'Autobiography and Fiction' (subsequently called 'Autobiography and the Imagination'), which I taught at the University of Sussex Centre for Continuing Education from 1991 to 1996. I issued questionnaires to all 78 students who had taken this course, to generate data on the benefits of engaging in the writing of fictional autobiography. I also conducted interviews on the same topic with 5 of these students. I analysed the resulting data using the theory of the Germani American psychoanalyst Karen Horney, and to a lesser extent that of object relations theorists D.W. Winnicott, Christopher Bollas and Marion Milner. Where appropriate, I also used theory of literary and social narrative. The thesis presents the three main findings of the research, namely, that the writing of fictional autobiography (1) can facilitate a closer contact with the inner life, resulting in a stronger sense of identity and the finding of a 'writing voice'; (2) can help to reveal and work through problems of identity which cause writer's block; and (3) can provide a means of're-writing' self-narratives which have been 'written' in the psyche by family and society. The thesis concludes with some suggestions as to how fictional autobiography might be used in a self-analytic or psychoanalytic context.

My dissertation is a memoir based on my childhood experiences growing up with a mentally ill mother. She exhibited violence both passive and aggressive, and the memoir explores my relationship with her and my relationship with the world through her. "Damned Good Daughter" developed with my interest in creative nonfiction as a genre. I came to it after studying poetry, discovering that creative nonfiction offers a form that accommodates both the lyric impulse in poetry and the shaping impulse of story in fiction. In addition, the genre makes a place for the first person I in relation to the order and meaning of a life story. Using reverse chronology, my story begins with the present and regresses toward childhood, revealing the way life experiences with a mentally ill parent build on one another.

Thesis (M.A.)--Columbia International University, 1996. / Abstrakt. Includes bibliographical references (leaves 139-147).