In 2014, as the number of survivors dwindles, the representation of their memory and testimony after they have gone becomes increasingly important. Although it is critical to discuss the historical facts of the atrocities of World War II, those facts often do not reach the personal experiences of many survivors, who can only express many of the details of their experiences through an expression of their memories through testimony. One such testimony is that of Wanda Bielecka, a survivor of Auschwitz-Birkenau concentration camp. This practice-based research (consisting of a film and accompanying thesis) explores her memories as they are expressed through her own testimony, and the testimony of her testimony of eleven members of her family. The practice element of the PhD consists of a 73-minute film called Wanda. Wanda is a found footage narrative, a new form of film developed to answer the following research question: how is survivor experience represented in the collective memory of a survivor’s family, and how can the form of the found footage narrative be used as a way of understanding the construction of that memory? This research will explore the collective memory of the Bielecka family around the events of Wanda’s life during World War II from her incarceration in Auschwitz to her eventual liberation and journey to Paris. This collective memory will be explored as a mythology around Wanda’s experience. The film itself will then reflexively reveal its’ own place in the construction of that mythology. A formal conception of the dialectical image is fundamental to the film’s form. This form has been developed through research into essayistic modes in literature and film. It will be shown that the found footage narrative is a form of film that can be used to research, not just the collective memory around Wanda’s experience, but also other instances of collective memory.

The purpose of this thesis is to attempt to demonstrate the function of the Hylas myth in Propertius 1.20. The first chapter consists of a text and translation of the poem. Chapter 2 introduces the question of the role of mythological exempla in Propertius' poetry. It is found that while scholars recognize the relevance and importance of mythological material in other elegies they deny that the Hylas tale bears more than a superficial relevance to its context. Chapter 3 considers the poetry of the Monobiblos, to which 1.20 belongs. Three elegies are analysed so as to illustrate Propertius' purpose and methods in adducing mythological material in his poems. It is concluded from these analyses that mythological exempla not only illustrate the poet's portrayal of contemporary figures and situations but also contribute new elements that suggest or develop aspects of his theme not otherwise made explicit. Four general means by which Propertius adapts traditional mythology for his own purposes are noted. A study of 1.20, to which Chapter 4 is devoted, begins with a brief discussion of the Hylas myth as it was known in Propertius' day. Texts of Apollonius Rhodius' and Theocritus' versions of the tale, the two most important extant literary accounts, and several illustrations of the myth in art are provided. The main component of the chapter, however, is an analysis of 1.20 that attempts to reveal the skilful manner in which Propertius narrates the tale of Hylas, adapting traditional material with a purpose and method similar to that observed in his other elegies, and presenting it as a relevant and integral part of his portrayal of the contemporary figures and situation with which the poem is concerned. There follow an appendix and a bibliography. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

In this paper we intend to reveal media image of former president of Iraq, Saddam Hussein as it has been constructed for six months before the war in 2003 has started. Research material came from Newsweek International news magazine. Text was decyphered using semiotic methods set in the theoretical framework based on Marxism and some of its followers. We found the representation of a "dictator" an ideological narrative serving needs of dominant ideology.

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I Don't Share Spirit Animals is presented in conjunction with a visual art exhibition that is made up of mixed material sculpture and painting. Primary ideas explored within the body of work are the uncanny, personal mythology and material transformation.

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The practice of science in the search for the First Americans is a flawed endeavor. Not only is science constrained by the shifting centers of cultural power external to science, but also by the institutions, elites, and cognitive values internal to science. Substantive disagreement over a cultural past is a reflection of unstabilized power relationships in the present. Although science traditionally is believed to speak truth to governmental power, federal law dictates that American Indian traditions hold an epistemological status equal to the methods of science when determining the cultural affiliation of, and access to, pre-European human remains. Consequently, discovery and examination of the most important First American artifacts occur only as a product of a negotiation between scientists and the very groups that frequently oppose them. This is a case study of the practice of science in its search for the First Americans in this unstable environment. This dissertation deconstructs: (1) the conflicts between the methods of science and the traditional beliefs of modern American Indians; (2) the power struggles for primacy of place internal to the sciences themselves; and (3) the interactions with external authorities such as government agencies, the press, universities, and museums. It is an examination into how the issues have been defined and how differences in cultural myths, scientific theories, research methodologies and public policy remain unsettled in modern America. It is an investigation of the blurred boundaries between science and myth as well as between fact and theory that ultimately weaken the credibility of science as a cultural mechanism for interpreting the natural world. Finally, this dissertation concludes that the absence of a firm American cultural ground upon which to place an epistemological fulcrum has greatly contributed not only to the First American identity search remaining unresolved, but also to the instability of the very science which is conducting the search. / Ph. D.

Her Terrible Splendor is a poetry collection that transports the Greek witch-goddess Circe from her mythical island of Aeaea to modern-day East Texas, where I was raised. By locating Circe in the Piney Woods, I heighten the strangeness that I identify with that setting and open up new contexts for considering Circe as a woman, as an enchanter, and as figure of retelling and revision. Circe appears in an array of roles—friend, lover, mentor, alter-ego, muse—as the poems view her through different lenses, including ekphrastic responses to visual art, rewritings of myths, and "portrait" poems that cast people from the human speaker's life as the goddess herself. A powerful mythic woman who works alone and creates a haven for strange creatures and lost humans, Circe offers a way for the manuscript to consider the complex, multifaceted process of coming of age as a woman, self-making as myth-making.

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