Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1984. / Typescript.

The field of medical illustration is experiencing fundamental changes which demand that new knowledge bases be incorporated into existing academic curricula. Students admitted into medical illustration programs come with diverse backgrounds, skills, knowledge, and experiences. This necessitates a comprehensive list of competencies for medical illustrators. However, no such list currently exists. The purpose of this study was to (1) identify all of the tasks (competencies) required of a professional medical illustrator; (2) analyze the necessary level of achievement assigned to each competency by practicing, professional medical illustrators; and (3) organize competencies into curricular themes for the development of a competency-based academic curriculum. A Medical Illustration Competency-Based Process Model (MICBPM) was developed as a methodological tool to establish a competency-based curriculum and was followed to address the research objectives. A panel of experts identified the competencies; a survey was designed consisting of 89 competencies. The survey was sent to 678 medical illustrators from the Association of Medical Illustrators' (AMI) 2002-2003 membership database who had addresses in the United States. Respondents were asked to rate these competencies on their perceived level of achievement necessary. One hundred-forty-two surveys were returned representing a 20.9% response rate. Frequency distributions for demographic characteristics were calculated. ANOVAs were used to investigate differences among average scores for competencies within demographic groups. Demographic characteristics, such as gender, age, time in the field, school affiliation and levels of freelance were analyzed. Factor Analysis determined 21 dimensions of highly correlated competencies. Findings indicated that demographic characteristics did not generally influence the perceived level of achievement needed for medical illustration competencies. Factors were organized into curricular themes; three broad subject headings. This study has provided a structure for a list of important competencies, provided by medical illustrators themselves. Educational administrators will have information with which to restructure their curricula. Governing bodies for medical illustration program accreditation can use the competencies developed in this study.

Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaves 44-46).

Exegesis (MA--Art and Design) -- AUT University, 2007. / Primary supervisor: Laurent Antonczak. Includes bibliographical references. Also held in print (67 leaves : col. ill. ; 30 cm. + DVD) in City Campus Collection (T 743.49 CAR)

Thesis (M.F.A.)--Rochester Institute of Technology, 1989. / Includes bibliographical references (leaves 71-76).

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Includes Bibliography (leaves 34-35).

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaves [325]-343).

Representing the human body ??? science as social meaning adopts and develops systemic functional social semiotics to analyse the popular science texts, The Human Body, Superhuman, Human Instinct, Brain Story, The Secret Life of Twins and How to Build a Human. These are predominantly produced through the resources of the Wellcome Trust and/or the BBC/TLC (The Learning Channel), and feature celebrity doctors (Robert Winston) or scientists (Susan Greenfield) as presenters. Adopting a modified and expanded systemic functional semiotics derived from Kress and van Leeuwen (1996, 2001), it is argued that these texts share a logic that displaces social/historical time (including broader historical and social struggles) by constructing the apparent timelessness of middle-class families, by metaphor and abstraction. Central to the temporalities of these programmes is the notion of ???going back??? to the familial in which conscious (patriarchal) time is seen as ???male??? and the unconscious timeless is seen as ???female???. Second, the penetrative digital modes of the programmes imagine different, if conventional, genders, emphasising the interior and inertial female. The popular medical science discourses highlighted in the analysis constitute an unconscious set of taken-for-granted socio-political contexts in which medical and bioscientific knowledge is paraded and celebrated. Narrative resolution of the contradictions inherent in the contextual refrain of contemporary global capitalism is largely achieved through time by the semiotic realisation of ???going back??? to evolutionary, genetic, and (hence to) essential time and to abstracted spatial metaphors. The production origins (British, multi-national) of the factual science documentary prefigure or pre-structure the genre???s conservative colonising discourse around gender, ???race??? and evolution that are developed as social, political or even military metaphors.

Representing the human body ??? science as social meaning adopts and develops systemic functional social semiotics to analyse the popular science texts, The Human Body, Superhuman, Human Instinct, Brain Story, The Secret Life of Twins and How to Build a Human. These are predominantly produced through the resources of the Wellcome Trust and/or the BBC/TLC (The Learning Channel), and feature celebrity doctors (Robert Winston) or scientists (Susan Greenfield) as presenters. Adopting a modified and expanded systemic functional semiotics derived from Kress and van Leeuwen (1996, 2001), it is argued that these texts share a logic that displaces social/historical time (including broader historical and social struggles) by constructing the apparent timelessness of middle-class families, by metaphor and abstraction. Central to the temporalities of these programmes is the notion of ???going back??? to the familial in which conscious (patriarchal) time is seen as ???male??? and the unconscious timeless is seen as ???female???. Second, the penetrative digital modes of the programmes imagine different, if conventional, genders, emphasising the interior and inertial female. The popular medical science discourses highlighted in the analysis constitute an unconscious set of taken-for-granted socio-political contexts in which medical and bioscientific knowledge is paraded and celebrated. Narrative resolution of the contradictions inherent in the contextual refrain of contemporary global capitalism is largely achieved through time by the semiotic realisation of ???going back??? to evolutionary, genetic, and (hence to) essential time and to abstracted spatial metaphors. The production origins (British, multi-national) of the factual science documentary prefigure or pre-structure the genre???s conservative colonising discourse around gender, ???race??? and evolution that are developed as social, political or even military metaphors.