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"The Theme of Isolation in Selected Short Fiction of Kate Chopin, Katherine Anne Porter, and Eudora Welty" examines certain prototypical natures of isolation as recurrent and underlying themes in selected short fiction of Chopin, Porter, and Welty. Despite the differing backgrounds of the three Southern women writers, and despite the variety of issues they treat, the theme of isolation permeates most of their short fiction. I categorize and analyze their short stories by the nature and the treatment of the varieties of isolation. The analysis and comparison of their short stories from this particular perspective enables readers to link the three writers and to acknowledge their artistic talent and grasp of human psychology and situations.

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 2015-04-16 / 0593 / tarastar@gmail.com

Compton cameras localize γ-ray sources in 3D space by observing evidence of Compton scattering with detectors sensitive to ionizing radiation. This thesis proposes a software system for operating a novel Compton camera device comprised of Timepix3 detectors and Katherine readouts. To communicate with readouts using UDP-based protocol, a dedicated hardware library was developed. The presented software can successfully control the acquisition of multiple Timepix3 detectors and simultaneously process their measurements in a real-time setting. To recognize instances of Compton scattering among observed interactions, a chain of algorithms is applied with explicit consideration for a possibly high volume of measured information. Unlike alternate approaches, the presented work uses a recently published charge drift time model to improve its spatial resolution. In order to achieve localization of γ-ray sources, the software performs conical back projection into a discretized cuboid volume. Results of randomized evaluation with simulated data indicate that the presented implementation is correct and constitutes a viable method of γ-ray source localization in 3D space. Experimental verification with a prototype model is in progress.

Orientador: Cleide Antonia Rapucci / Banca: John Milton / Banca: Antonio Roberto Esteves / Resumo: O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina "intuição estilística". Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros. / Abstract: The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn't spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates "stylistic intuition". In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others. / Mestre

In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.

This supporting document for the thesis exhibition entitled “Veils: Truth in Translation” will discuss Block’s exploration of painting during her time at East Tennessee State University. The supporting document also provides the historical background and influences which have contributed to Block's overall process and techniques. These influences include the Abstract Expressionists, Carl Jung, Ferdinand de Saussure, John Dewey, Theodor Adorno, Joan Mitchell and Gerhard Richter. In the supporting document Block probes the idea that non-objective painting is more than a language confined by linguistic elements of sign, signifier, and signified, but is a process of thinking, which is communicated on a higher level of perception than verbal speech or visual symbolism. Block will discuss how she translates experiences from the metaphysical realm of feeling and thought to the physical reality of paint and surface which communicates the experience to the viewer.

Bibliography: leaves 466-497.

In the year 1983/84, the Commonwealth Government decided to redevelop a RAAF airstrip at Tindal into a northern air base in NT. It would replace RAAF Base Darwin that was situated close to the coast and susceptible to both cyclonic weather and any 'enemy' sneak raid attacks. Tindal is located about fifteen kilometres south from Katherine on the Stuart Highway. A social survey conducted in the second half of 1983 formed the basis for SIA predictions that appeared in the EIS. These encompassed social impacts that would occur during the construction phase and later throughout the operational phase. Included among the predicted impacts on local residents was aircraft noise from military aircraft flying overhead and this was confirmed by a social survey conducted in 1994. Other predictions included the integration of a RAAF population with its own set of values into a conservative Katherine community. The social survey of 1994 asks the same type of questions as asked in 1983, and the two sets of answers are compared over time. A subsequent longitudinal analysis follows the structural development of the Katherine population/community. A group of 1994 respondents was found to have resided in Katherine in 1983 and cohort by cohort their state of affairs discovered. As Katherine developed into a regional centre the views of respondents toward the RAAF became more accepting and residual social impacts from the redevelopment phase were difficult to find.