In the study of navigation, frequently it is assumed that navigation is accomplished using either an allocentric strategy based on a cognitive map, or an egocentric strategy based on stimulus response associations. Further, it is frequently assumed that individual navigators, or even entire genders, are only capable of navigating by one strategy or the other. The present study investigated whether individuals or genders were limited to a particular navigational strategy and whether both strategies might be learned or used at the same time. In the present study, undergraduate students were tested in a virtual Morris water maze that was modified to allow successful and efficient navigation using either an allocentric or an egocentric strategy. Learning trials on which the participants had to learn the location of the platform were alternated with probe trials on which participants would show which strategy they were using. At the end of testing, participants were given a series of tests to determine what knowledge they had acquired and which strategies they were capable of using. Results indicated that: a) most people preferred to navigate egocentrically in this maze, but some preferred to navigate allocentrically, b) people tended to use an egocentrically strategy first, but it was not a necessary step to learning to navigate allocentrically, c) people were better at their preferred strategy, d) people learned information about their non-preferred strategy, and e) those who preferred to navigate egocentrically could nevertheless learn to navigate allocentrically. Surprisingly, all of these results were true for both men and women, although women tended to prefer egocentric navigation at a higher rate than men, and men outperformed women when forced to navigate allocentrically. These results suggest it may be too simple to think of navigators as being capable of only a single navigational strategy or of learning only one strategy at a time. / Graduate

The purpose of this study is to investigate what seem to be the principal attitudes of Americans toward Mexico and Mexicans as expressed by four contemporary American authors, and to point out and evaluate salient features in their respective treatment of the subject.

Employing the designer William Morris as a source of inspiration, this project seeks to explore the call for nature and beauty as a part of our lives. Moreover, it interweaves the necessity for experience of the sensual world (the five senses) with the cerebral world (a requisite to igniting the internal imagination)—a concept embodied in the form of the book. It advocates a redefining of the book as an imagination sculpture (the external and the internal) reflecting this new definition.

The aim of this thesis is to introduce the theoretical and practical aspects of fundamental analysis. The thesis is divided into three main parts in which global analysis and sector analysis is gradually performed and in the last part a valuation of selected equities is performed. Emphasis is placed on the financial sector and manufacturing of tobacco products. In the financial sector the equities of Komerční banka and Erste Bank Group are analyzed and the representative of manufacturing of tobacco products is Philip Morris ČR. After determining the intrinsic value of the shares by several methods, their market position is concluded. Finally, the success of the chosen methods is evaluated.

The purpose of this study of William Morris’s 1875 translation of Vergil’s Aeneid is to rehabilitate this translation after more than a century of almost total critical neglect. Following an introductory chapter that situates Morris within the context of emerging theories that seek to characterise the problems that are unique to classical translation activity and the nature of “retranslation” as promulgated by Laurence Venuti and others, I examine Morris’s preparation for this massive classical task, interrogating the extent and character of his classical education at Marlborough College and Oxford University in the 1850s. I then examine his “two Aeneids” – an illumination on vellum of Vergil’s epic in Latin, begun in 1874 with Edward Burne-Jones but never completed, and his subsequent unadorned translation of the Aeneid into English, which he completed in 1875 and which was published by the end of that same year – in a third chapter that engages what little criticism is available on the illuminations, before describing and interpreting them for the reader (plates are also provided as an Appendix.) My fourth chapter, the centrepiece of the dissertation, constitutes a close critical reading of Morris’s translation alongside the Latin original, and the final chapter rounds out the discussion by way of addressing the spotty critical treatment of this lengthy work of classical translation, after which I situate Morris within the history of English translations of the Roman epic by means of theory: namely, Antoine Berman’s “retranslation hypothesis”, Lawrence Venuti’s concept of “doubly-abusive fidelity”, and Siobhan Brownlie’s proposal for a post-structuralist retranslation theory. I conclude that a just interpretation of Morris’s achievement will begin with an understanding of his aesthetic, ethnic, and political motivations, and I conclude that his Aeneids are a unique and valuable contribution to late Victorian classical translation praxis.

The areas of investigation are the portrait, the gaze, the American filmmaker Errol Morris, representation of reality and subcultures. These are discussed within an historical, technical, cultural and social framework. Colour, the film theorist Bill Nichols, the filmmaker Errol Morris are discussed with reference to the central gaze and what constitutes reality. Taking on another identity, the role of subcultures and my influences as a photographer are explored within this context. Work for Examination Other Lives is a photographic work consisting of portraits including: civil war re-enactors who believe that the war between the northern and southern states of America still exist Elvis Presley impersonators and fans who believe that Elvis Presley still lives people who take on another identity as scarecrows in the context of a local festival people who take on another identity as medieval knights.

Thesis (M.A.)--University of Nevada, Reno, 2006. / "May, 2006." Includes bibliographical references (leaves 53-55). Online version available on the World Wide Web.

Thesis (Ph. D.)--Columbia University, 2005. / Includes bibliographical references (p. 214-226). Also available on the Internet.

In the mid-nineteenth century, when organizations such as the Early English Text Society began making an increasing variety of medieval texts accessible to Victorian readers, the "everyday life" of the past became an important subject of historiography. For many of William Morris's contemporaries, this project of social history and textual recovery provided welcome evidence to support either narratives of nostalgia for an ordered past or a comforting liberal sense of progress; for Morris himself, however, the everyday life of the medieval past offered an array of radical possibilities for creative adaptation. Morris's broad reading in newly recovered medieval texts, his library of manuscripts and woodcut books, and his personal experience of medieval domestic architecture were more instrumental in developing his sense of the past than were such artefacts of high culture as the great cathedrals and lavishly illustrated manuscripts, since it was through the surviving items of everyday use that Morris could best approach the creative lives of ordinary medieval men and women. For William Morris, the everyday medieval "art of the people" was collaborative, de-centralizing, and devoted to process rather than to the attainment of perfection. Morris consistently works to strip ancient texts of their veneer of authority, resisting the notion of the rare book as an object of cultural mystery and as a commodity. His response to the art of the past is a radical process, in which reading is not mere "poaching" on the hegemonic territory of capital and cultural authority, but an immersive activity in which any reader can be intimately and actively engaged with the artefact from the earliest moment of its production. Such active reception, however, as diverse and fallible as the individuals who practice it, requires in turn an ongoing creativity in the form of adaptations of, and even collaboration with, the past. Morris's theory of creative adaptation was consequently itself not static, and this dissertation traces its evolution over Morris's career. In his early poetry, Morris reveals his sense of the limitations of the historical record as his characters grasp simultaneously at fantasies and physical objects to make sense of the crises in which they find themselves, suggesting the incomplete and unstable circumstances of textual reception itself. In the socialist lectures and fiction of the 1880s, Morris makes use of surviving and imagined fragments of medieval material culture and domestic architecture to describe an aesthetic that can embrace creative diversity, co-operation, and even imperfection across historical periods. In the works produced by his Kelmscott Press, the material book itself becomes a collaborative site for artists, illustrators, and editors to work out the active reception and dissemination of the popular reading of the past. Finally, in the romances of the 1890s, Morris describes a diversity of possible social geographies, ultimately articulating a vision of the romance genre itself as a popular art, equally capable of transformation over time as are the artefacts of everyday life that Morris creatively employs in his fictions throughout his career.

In the mid-nineteenth century, when organizations such as the Early English Text Society began making an increasing variety of medieval texts accessible to Victorian readers, the "everyday life" of the past became an important subject of historiography. For many of William Morris's contemporaries, this project of social history and textual recovery provided welcome evidence to support either narratives of nostalgia for an ordered past or a comforting liberal sense of progress; for Morris himself, however, the everyday life of the medieval past offered an array of radical possibilities for creative adaptation. Morris's broad reading in newly recovered medieval texts, his library of manuscripts and woodcut books, and his personal experience of medieval domestic architecture were more instrumental in developing his sense of the past than were such artefacts of high culture as the great cathedrals and lavishly illustrated manuscripts, since it was through the surviving items of everyday use that Morris could best approach the creative lives of ordinary medieval men and women. For William Morris, the everyday medieval "art of the people" was collaborative, de-centralizing, and devoted to process rather than to the attainment of perfection. Morris consistently works to strip ancient texts of their veneer of authority, resisting the notion of the rare book as an object of cultural mystery and as a commodity. His response to the art of the past is a radical process, in which reading is not mere "poaching" on the hegemonic territory of capital and cultural authority, but an immersive activity in which any reader can be intimately and actively engaged with the artefact from the earliest moment of its production. Such active reception, however, as diverse and fallible as the individuals who practice it, requires in turn an ongoing creativity in the form of adaptations of, and even collaboration with, the past. Morris's theory of creative adaptation was consequently itself not static, and this dissertation traces its evolution over Morris's career. In his early poetry, Morris reveals his sense of the limitations of the historical record as his characters grasp simultaneously at fantasies and physical objects to make sense of the crises in which they find themselves, suggesting the incomplete and unstable circumstances of textual reception itself. In the socialist lectures and fiction of the 1880s, Morris makes use of surviving and imagined fragments of medieval material culture and domestic architecture to describe an aesthetic that can embrace creative diversity, co-operation, and even imperfection across historical periods. In the works produced by his Kelmscott Press, the material book itself becomes a collaborative site for artists, illustrators, and editors to work out the active reception and dissemination of the popular reading of the past. Finally, in the romances of the 1890s, Morris describes a diversity of possible social geographies, ultimately articulating a vision of the romance genre itself as a popular art, equally capable of transformation over time as are the artefacts of everyday life that Morris creatively employs in his fictions throughout his career.