Morphology and syllable weight have both been shown to affect stress patterns, but these effects are analyzed in different ways. The theoretical goal of this dissertation is to propose a Optimality Theoretic model to account for how morphology influences stress, and to do this in a way that parallels the influence of weight upon stress. Prince (1990) lays out the W scEIGHT- scTO-S scTRESS P scRINCIPLE, formalizing the principle by which heavy syllables attract stress in quantity-sensitive systems. I argue for the M scORPHEME- scTO-S scTRESS P scRINCIPLE, a constraint that forces morphemes to attract stress in morphological stress systems. The W scEIGHT- scTO-S scTRESS P scRINCIPLE has a counterpart, the S scTRESS- scTO-W scEIGHT P scRINCIPLE, which forces stressed syllables to be heavy. The counterpart of the M scORPHEME- scTO-S scTRESS P scRINCIPLE is the S scTRESS- scTO-M scORPHEME P scRINCIPLE, which forces stressed syllables to belong to morphemes. This accounts for systems where epenthetic vowels resist stress assignment.

En esta disertacion mostramos que Ramon Perez de Ayala es un autor humoristico, es decir, un autor que se aproxima al mundo tanto criticamente como de modo tolerante y afectivo. El impetu critico lo impulsa a escudrinar su entorno y a desvelar lo que se halla tras lo aparente. Su postura tolerante lo ayuda a comprender las contradicciones que percibe y a preconizar que todo y todos tienen algo que aportar al mundo, donde el observa la armonia caudalosa, concepto que explica la presencia de todas las ideas y las personalidades, infinitamente enfrentadas entre si. Su arte constituye un intento de recrear este estado de "armonia desarmonica", como se aprecia en la riqueza de personajes conflictivos, incongruentes e imprevisibles que crea. Para explicar la manera en que Ayala se aproxima al mundo y al arte, en base a sus ideas y a las que Luigi Pirandello vierte en L'umorismo , configuramos la nocion de acercamiento humoristico . Esta se apuntala en la distincion entre dos conceptos: lo comico, que se refiere a las discrepancias que se revelan a raiz del escudrinamiento critico del mundo y el humorismo, que es la tolerancia de las discrepancias, nacida de la observacion critica. Nuestra nocion consta de dos fases. En la primera, dominada por lo comico, se escudrina a las personas. Surge la risa. El humorismo predomina en la segunda fase, en que se llega a comprender el origen de las contradicciones que se percibe. La risa da paso a una sonrisa cervantina--confortadora y comprensiva. Mediante el estudio del acercamiento humoristico intentamos ofrecer una imagen de Perez de Ayala diferente a la del rigido moralizador que predomina en la critica.

During World War II, the Croatian ultra-nationalist Ustasa persecuted nearly two million Serbs, Jews, and Roma in the Independent State of Croatia, a state that included present-day Croatia and Bosnia-Hercegovina. The Ustasa-run Jasenovac concentration camp became a lasting symbol of ethnic persecution. Political analysts today often cite this genocide as proof that ethnic violence and fragmentation within the region are inevitable. However, an equally important reality is that within just four years, Ustasa excesses had provoked a widespread popular reaction against the violence and against the national exclusivity that inspired it. Although many people in Croatia and Bosnia initially celebrated the collapse of Yugoslavia in 1941 and supported the declaration of Croatian independence, the Ustasa's brutal treatment of minority groups quickly alienated much of the population. Opposition to ethnic persecution took many forms, including assisting people targeted by the government, hiding victims or helping them to escape from the country, aiding prisoners of the regime, and, occasionally, publicly protesting discriminatory measures. Within the concentration camps as well, prisoners of different ethnic backgrounds came together in food sharing and newsgathering cooperatives in a common effort to survive. This rejection of ethnic violence served to discredit the extreme Croatian nationalism represented by the Ustasa--and also its Serbian counterpart represented by the Cetniks. The result was a resurgence of Yugoslavism, a renewed emphasis on the interdependence of Serbs, Croats, Bosnian Muslims, and others. Opposition to ethnic persecution also fueled the expansion of the Partisan resistance and shaped the character of that movement, causing its leaders to develop a program of ethnic equality and a federally organized postwar government. The ideology of Yugoslav unity transformed the Partisans into a popular movement, allowing the Partisans to triumph over both the Serbian domination of the prewar Yugoslav kingdom and the fratricidal violence of the Independent State of Croatia. Thus, people's reaction against atrocities in Croatia during World War II had important consequences for the entire region. The issues of ethnic violence, conflicting concepts of nationalism, and resistance are interrelated and, when considered together, give a fuller picture of developments in Yugoslav history.

Drawing on work in communications, media studies, and history, I argue that the historiographical methods of rhetoric and composition need to move beyond written discourse to consider the use of visual historical representations of the past. To explicate my argument, I analyze multiple examples of local and national television news coverage of the Vietnam War, the Gulf War, and the recent fighting in Kosovo. Based upon these examples, I argue that the television news media work within a dysfunctional, narrative-driven genre that is entirely inadequate in its attempts to analyze current world events, particularly warfare, because of heavy reliance upon culturally recognizable images of the past drawn from both fictional and non-fictional sources. Ultimately, my argument demonstrates the need for a critical methodology in rhetoric and composition for examining texts that are visual--such as photographs, video tapes, and multimedia documents on the Web. I begin with an examination of the history and historiography of rhetoric and composition. Using Susan Jarratt's Rereading the Sophists as an extended example, I analyze how history is both written and critiqued in this field--drawing heavily on such sources as Rhetoric Review's Octalogs and the work of James Berlin, Thomas P. Miller, and Robert J. Connors. To move the historiographical methods into the analysis of visual history, I draw on the work of a wide range of scholars in communications, media studies, and history: Walter Lippmann, Thomas E. Patterson, W. Lance Bennett, Noam Chomsky, Jean Baudrillard, H. Bruce Franklin, and others. After applying the methodology I develop to several texts--from both television and the Web--I extend my arguments beyond historiography to American culture. I argue that the ways in which the past is constructed have direct consequences for the ways in which Americans understand the past and present. Specifically, superficial constructions of history limit the ability of viewers/readers to think critically about the past and thus limit the complexity of arguments on which decisions in the present can be based. In this sense, visual history is an example of deliberative rhetoric limited by the constraints under which forensic rhetoric is constructed.

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<p> This dissertation examines the Possibilities for creating social change through literary criticism by focusing on three American critics: Henry Louis Gates, Jr., Frank Lentricchia, and Edward Said. All three wrote Politically minded literary criticism during the 1980's and 1990's, decades that witnessed a broad-ranging attempt to roll back the change and turbulence associated with the 1960's. With regard to criticism, this attempt amounted to a challenge to literary theory, which was a radical way of thinking that crystallized in the 60's and early 70's and often carried revolutionary social hopes with it. As I suggest in the introduction, we are currently living in a moment in which the radical hopes fostered by literary theory co-exist uneasily with the counterrevolutionary movements of the 80's: the hopes and impulses still exist, but they have no adequate social outlets. Looking back to the 80's, I hope, will help clarify our moment, and Possibly Provide some resources for contemporary criticism. </p><p> My goal in each chapter is twofold: first, to understand the critic on his terms, second, to Put the criticism in dialogue with another body of literary or critical work in order to suggest its broader ramifications. With Henry Louis Gates, Jr., I argue that his effort to move African American literature and criticism into the mainstream of American literary study led him to maintain a view of race as an essence. Comparing his critical work with Hortense Spillers' Proves this Point, but also suggests that a more radical view of race remains in Gates' work. Frank Lentricchia tried to base a Political Program on the intimate experience of Pleasure that he felt when reading Poetry. Putting Philip Roth in conversation with Lentricchia reveals the impossibility of Lentricchia's Program, but also a different and more socially Productive Path for Lentricchia's interest in Pleasure. Edward Said tried to create spaces in his criticism where antagonism could be overcome. Reading Bharati Mukherjee's novel <u>Jasmine</u> (1989) next to Said suggests how useful Said's model can be, but also reminds us that Said only suggested, rather than applied, this model in his work.</p>

En el espanol, existe una distincion en la expresion de la temporalidad, el tiempo y el aspecto. Tal distincion suele ser una caracteristica muy dificil para su ensenanza, especialmente en estudiantes con ingles, donde no aparece esta distincion, como su lengua materna. Recientemente, la adquisicion de la temporalidad de lenguas extranjeras ha sido la base para muchas investigaciones linguisticas. Han surgido varias hipotesis pero la presente investigacion se basa en dos; la Hipotesis del Aspecto y la Hipotesis del Discurso. Compara los resultados de estudiantes de un ambiente academico con los de otro grupo que ha aprendido la lengua en un ambiente natural. Mas especificamente, se analizan los relatos de los estudiantes de espanol como segunda lengua solo en un ambiente academico y se compara con un grupo de estudiantes del mismo idioma con contacto con un ambiente natural en cuanto al desarrollo de la distincion aspectual en el pasado.