Thesis (M.A.)--Wheaton College, 2006. / Abstract. Includes bibliographical references (leaves 138-150).

Thesis (M.A.)--Wheaton College, 2006. / Abstract. Includes bibliographical references (leaves 138-150).

Canada’s emissions are nearly 30 per cent above its Kyoto target. Kathryn Harrison is looking to understand why some countries are leading the way and why others are falling short.

Thesis (M.A.)--University of Tasmania, 2003. / Title from PDF t.p. (viewed on July 25, 2005). Electronic version of thesis lacks ill. found in printed version. Includes filmography (p. 116-119) and bibliographical references (p. 120-127).

From Introduction: The 'forensic aesthetic' presents the viewer with traces and debris - the residue that haunts sites of transgression, violence and death. In his book Scene of the Crime, art critic and curator Ralph Rugoff (1997:62) defines the forensic aesthetic as follows: "Inextricably linked to an unseen history, this type of art embodies a fractured relationship to time. Like a piece of evidence, its present appearance is haunted by an indeterminate past, which we confront in the alienated form of fossilized and fragmented remnants." Through its play on seemingly insignificant detail&, clues and traces, the forensic aesthetic suggests that meaning is dispersed, fragmentary and uncertain. According to Rugoff (1997:17), the forensic aesthetic "aims to engage the viewer in a process of mental reconstruction". It compels the viewer to adopt a 'forensic gaze' : to sift through broken narratives and fragments of information, reading the artwork as one might read a sample of evidence. Rugoff (1997:62) argues that: "[S]uch art insists that 'content is something that can't be seen' ... it requires that the viewer arrive at an interpretation by examining traces and marks and reading them as clues. In addition, it is marked by a strong sense of aftermath. ... Taken as a whole, this art puts us in a position akin to that of [the] forensic anthropologist or scientist, forcing us to speculatively piece together histories that remain largely invisible to the eye." One might argue that some of the earliest known examples of the forensic aesthetic in art presented themselves in the Renaissance period in the form of the pseudo-forensic anatomical drawings of Leonardo da Vinci. In his Studies of the Hand (fig. 1), for example, Da Vinci methodically represents the underlying structures of the human hand in a series of drawings that are scattered intermittently across the page. The remainder of the page is covered with hand-written notations. In this work, the artist approaches the human body with a scientific, almost forensic, gaze. Here the body is presented in fragments, rather than as a whole. According to Rugoff (1997:86&88), the forensic aesthetic addresses the body "not as a coherent whole but as a site of prior actions ... as a dispersed territory of clues and traces". When read in terms of the mode of the forensic aesthetic, Da Vinci's Studies of the Hand may be said to look at the human body as forensic object. In this way, this work may be said to speak of the manner in which the forensic gaze operates in the context of the artwork. Throughout the following essay, I discuss the various ways in which the forensic aesthetic manifests itself in art. I have necessarily been selective in the artworks that I have chosen for discussion, as this topic is very broad indeed. In Chapter One, I explore the tradition of the forensic aesthetic in art by way of a select number of artworks. This chapter focuses on investigating the way in which these works, whether consciously or unconsciously, speak of associations between violence and representation through the mode of the forensic aesthetic. The contents of Chapter Two concentrate on the work of South African artist Kathryn Smith. Smith's work may be said to possess a forensic quality, in that it references forensic practices and techniques. Her work has not been the topic of a lengthy monograph, but it has been considered in various exhibition catalogues, reviews and articles. For example, an essay by Colin Richards entitled 'Dead Certainties' (2004) investigates the forensic quality of Smith's imagery in terms of its play on notions of the trace. Similarly, an article by Maureen de Jager, entitled 'Evidence and Artifice' (2004), examines the manner in which Smith's work transgresses the boundaries between 'forensics and fantasy'. In her book, Through the Looking Glass (2004), Brenda Schmahmann addresses Smith's Still Life series (figs. 9, 10, 11) in relation to the issue of self-representation, exploring the relationship between the 'self' and the body as 'other'. Lastly, a review by James Sey, which was published in Art/South Africa (2004), considers Smith's work in terms of its aesthetic appeal, which serves as a framing device for the uncomfortable subject matter that informs the bulk of her imagery. My reading of Kathryn Smith's work departs from and expands on the available literature in that it focuses on the manner in which her images comment self-critically on the act of representation. I have chosen to focus on Smith's work in particular, as it uses the mode of the forensic aesthetic to speak of the field of artistic practice - a motif that runs throughout my own body of work as well. Moreover, Smith's work, like my own work, may be said to engage with the forensic aesthetic in a South African context. In Chapter Two, I compare a number of Smith's works to the artworks discussed in Chapter One, and examine the manner in which they speak of the links between art and crime. Chapter Three concentrates on outlining the ways in which my own work reads off the conventions of forensic investigation. In this chapter I discuss the manner in which my work, by way of a forensic approach, draws parallels between the medium of photography and the mechanisms of trauma. I focus on works that have been included in my Master's exhibition, Vigil (2005). The following essay is a study in representations of violence in art. In the course of this essay, I contextualize the forensic aesthetic as a mode of representation, as well as address the manner in which the forensic aesthetic seems to allow for, even facilitate, self-conscious reflection on the practices of representation itself.

Physical disability/physical handicap is an affection that is manifested by either temporary or permanent problems in motor diathesis of children. Physically disabled children may suffer from physical disability either from their birth or may acquire physical disability in the course of their lives. These problems may act in a negative manner on children perception and feeling and the same holds good for their near relatives. Problems come into existence in parent-physically handicapped child interrelation. The nursing model of Ms. Kathryn Barnard focuses on mutual interaction between parents and their children. In her model Ms. Kathryn Barnard points out the importance of the aforementioned parent-physically handicapped child interrelationship. On the basis of evaluation of the parent-child interactions based on three main factors: a child, mother, environment, a general child development is determined. The parent-child interaction affects a child development, child{\crq}s health, growth and development of a child. The aim of nursing care is to assist in finding a proper way of parent- physically disabled child interaction so that the nursing care may act on general development of a child in a positive manner. In this diploma work the following goal has been set: to find out and identify the most important problems existing in the parent-physically disabled child relation, and to evaluate possibilities of nursing care in solving problems arising at the parent-physically disabled child interaction. For the purpose of meeting these goals the following research questions has been established: What are the most important problems in the parent-physically handicapped child interaction? How can nursing care help in the parent-physically handicapped child interaction? What is the proper procedure for the nursing care of a physically disabled child and his/her close relatives? After carrying out research examinations the answers to the above-specified questions are as follows: 1. The most important problems lying in the parent-physically disabled child interaction are as follows: parent to reconcile himself/herself with his/her child's diagnosis, more frequent occurrence of stress situations, excessive emotional ties of the physically handicapped child with his/her nursing personnel. 2. The nurse can help by means of nursing process in an active manner solve the above-specified problems in interrelation between parent-physically handicapped children. On the basis of information having been gained by the study of professional literature and pieces of information obtained from the answers of the parents of physically disabled children a nursing documentation has been made in accordance with the Kathryn Barnard interaction model as well as nursing care standard of physically handicapped children. By finishing it both the third and fourth aims have been accomplished. Nurses providing care for physically disabled children have used the nursing documentation and it has proved useful and nursing personnel declared it satisfactory. The nursing documentation and the standard should help nurses in providing quality nursing care of physically handicapped children.

The English diction texts by Madeleine Marshall and Kathryn LaBouff are two ofthe most acclaimed manuals on singing in this language. Differences in style between the two have separated proponents to be primarily devoted to one or the other. An in-depth study, comparing the precepts of both authors, and applying their principles, has resulted in an understanding of their common ground, as well as the need for the more comprehensive information, included by LaBouff, on singing in the dialect of American Standard, and changes in current Received Pronunciation, for British works, and Mid-Atlantic dialect, for English language works not specifically North American or British. Chapter 1 introduces Marshall and The Singer’s Manual of English Diction, and LaBouff and Singing and Communicating in English. An overview of selected works from Opera America’s resources exemplifies the need for three dialects in standardized English training. Chapter 2 reviews notational and diction resources, and use of the International Phonetic Association’s alphabet (IPA). Chapter 3 directly compares Marshall and LaBouff’s views of the importance of the unstressed syllable, often schwa [ә] or open I [ɪ], as vital to allowing the audience to understand the flow of the sung text, and contrasts their differences regarding < r >. Chapter 4 discusses observations in applying the tenets with singers, focusing on three arias coached for this dissertation. Chapter 5 states conclusions and opportunities for further research. Figures include materials from the Juilliard School Archives. Appendices include interviews.

History, both collective and personal, often provides a stimulus for Southern poets and is useful in bridging the gap between the writers' personal memories and associations and those of the reading audience. The critical introduction to this collection explores connections between personal and shared history in the works of Natasha Trethewey, Betty Adcock, and Kathryn Stripling Byer. These poets convey their own connections to the past through reacting to historical photographs, relaying their own experiences during natural disasters, and setting private incidents within their larger historical contexts. These poets also suggest that time is concentric and malleable, and that history is essentially changed through its retelling. Poems offer a chance to rewrite one's own history. In the final section, I show that historical connections are treated similarly in my own work and that, through making associations with history, my poems also attempt to rewrite the past.

The aim of this essay is to examine the significance of the concept of sanctification in biblical theological reflection on economics through a comparative textual study. The theologians analyzed are Albino Barrera, Wayne Grudem, and Kathryn Tanner. In what way are their biblical and systematic theologies of economics related to their understanding of the concept of sanctification? What is the relationship between sanctification and the Bible’s words on economics? In a broader perspective, the essay aims to reflect on how the concept of sanctification can be viewed and enunciated in the light of a capitalist economic system. The theologians used in the essay all have their origins in disparate theological discourses, Christian communities, and academic disciplines. Barrera is a biblical scholar, economist and a priest in the Catholic Church. In Biblical Economic Ethics, Barrera writes an economic theology with an emphasis on social justice. Grudem is a Calvinist Baptist biblical scholar and systematic theologian, active in conservative evangelical theological discourse. In Politics according to the Bible, Grudem presents his biblical theology on politics and society. Tanner is a systematic theologian in the Episcopal Church, active in the disciplines of feminist and constructive theology. In Christianity and the New Spirit of Capitalism, she critiques the economic paradigm she describes as the new spirit of capitalism. Barrera, Grudem, and Tanner all make different readings of what the Bible has to say about economic life. Grudem actively endorses the economic system of today, while Barrera and Tanner have a more critical voice. Barrera sees sanctification as a gift of divine friendship from God. Grudem views sanctification as what comes after conversion from sin and the blessings granted by God. Tanner means that sanctification takes place through the work of the Spirit and by Jesus’ gift of a life in holiness. Through the essay a connection has been established between a person’s view on sanctification and their biblical theology on economics. Barrera’s, Grudem’s, and Tanner’s biblical theology on economics is closely connected to their understanding of the concept of sanctification. There seems to be a connection between the biblical material that is being analyzed, how it is analyzed, and what is being left out. A central finding in the essay is the connection between the understanding of sanctification as either a gift or a reward.

This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible? To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze. I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.