Patricia K. Page's prose and poetry exhibit a dynamic creative tension resulting from the conflict of opposites in theme and imagery patterns and in the poet's attitude and perception of her subjects. The concept of separateness results from the thematic opposition of forces of solitude and multitude which focus on the despair of the isolated individual unable to emerge from his 'frozen' cave-like existence and to attain a community of shared feeling. Highly developed black-white dichotomy of images reinforces the conflict of obsessive self-love and pity with the universal need for self-awareness. Some of the poet's subjects succeed in this human search for truth, beauty, and self-fulfillment. Many, however, succumb to loneliness and paranoic isolation. The basic conflict is seen through surface-depth alternations of imagery, the phases of the Rebirth archetypal pattern of transition from terrestrial to aquatic form. The conflict of opposites of isolation and involvement in her early work emphasizes the strength of the pull towards confinement of the self. Then, as Page progresses in objective perception of her individuals, there is a loosening of the force of isolation and a gradual emergence of the individual from solitude into multitude. The conflict of opposites of restraint against freedom grows out of the basic juxtaposition of forces. Self-isolation and the vulnerability of innocence are linked as states of unawareness. Children, social classes and adult individuals are portrayed as victims of indifferent constraining authority, social barriers, and war. Page's Marxian love of humanity dissolves into a Freudian interpretation of communal existence as an escape from the fears of solitude. The poet's presentation of an active social consciousness is a continuance of the contra-positioning of freedom and restrain operating on and within individuals. In Page's work, organic imagery is suggestive of the powers of vitality and the life force - of multitude, universality, and personal freedom. Stagnation, inertia, isolation, and self-love are visualized by images of metal, stone or rock. This metal-flower contraposition evolves into archetypal antipathies of Paradise and Hades. The descent from sunlit gardens above to the dark caverns below takes the form of Freud's Nirvana principle or the first phase of the Rebirth cycle. And the renewal of vitality, the modulation from stone into flower marks the final ascent stage of Rebirth. The pattern of Rebirth related to man's rituals has symbolic meaning for Page's work. The goal of the poet is to remove the "filter of subjectivity" placed over reality and to realize the potential of being reborn into awareness. Ararat becomes a symbol of the power of regeneration and of the unity of all life. P. K. Page presents conflict of opposites in themes and imagery. Yet her primary concern remains that the need for communal experience is greater than the negative desire for self-isolation from reality; that love is more sustaining than pity; that freedom is preferable to indifferent authority; that the search for beauty and truth must overcome fear and horror in the lives of individuals. / Arts, Faculty of / English, Department of / Graduate

This thesis seeks to examine time in the secondary world fantasies of Patricia A. McKillip. Very little work has been done previously on McKillip, and none examines such a broad range of her works. Taking a strict definition of secondary world, I investigate McKillip’s fantasy books that fit within this parameter to see whether there is a unifying principal behind time, in all its forms, in her work. Although time has been examined in fantasies that are obviously about time, very little has been done in the style of Mark Currie or Paul Riceour, who examine time in books that contain time but do not seem to be about time. I investigate time in terms of an overall chronotope, and argue that this seems to be one of the past. I argue that McKillip’s works and other fantasy books like hers have a grammar of the past, and that everything in their works is influenced, to a degree, by this grammar. Thematically organised chapters examine sixteen of McKillip’s immersive fantasies. The thesis begins with an investigation of the overall chronotope of McKillip’s books and the influence this has on her works. It then examines “active time”: time which is used in an active way to undo and heal wrongs of the past. McKillip’s use of legends to add depth and age to her stories is explored. Her pastoral works, those with a nostalgic connection with nature, are examined. The sometimes counterpoint of the pastoral, cities, are then investigated and found to be places of influenced by time passing in the form of age and political era. Lastly, several of McKillip’s characters are examined to show how time has affected them and affected their interactions with those around them.

This thesis is for a Master of Fine Arts in Painting and feature the work and words of Patricia Reppenhagen.

Thesis (M.A.)--York University, 2007. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 69-70). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR29311

Thesis (M.F.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (viewed September 25, 2008)

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Nov. 25, 2008). PDF text: viii, 204 p. ; 882 K. UMI publication number: AAT 3311305. Includes bibliographical references. Also available in microfilm and microfiche formats.

In an attempt to develop a better perspective on P.K. Page's work, the thesis concentrates on the development of her imagery. The imagery illustrates the direction of Page's development and a close study of its nature will uncover the central concerns of Page's writing. The first chapter of the thesis examines the field of critical analysis already undertaken on Page showing its good points and its weak points. The following three chapters trace the chronological development of Page's work. The second chapter covers up to the writing of The Sun And The Moon in 1944. Even her early work illustrates that as her images became complex, her concern with perspective grew. Her more complex work such as, "The Stenographers", "Panorama", and The Sun And The Moon in particular illustrate this concern. The third chapter analyzes the poetry of her first collection As Ten As Twenty and looks at the period between 1944 and 1954. In this period Page's images become more complex and her work becomes overtly involved with perspective and vision. Images revolving around trains, photographs, snow and whiteness become recurring and a continuity develops between her subjects. Most significantly "Round Trip", "The Bands And The Beautiful Children", "Adolescence", "Them Ducks", "Stories Of Snow", "Subjective Eye", and "Photos Of A Salt Mine" illustrate how Page's concern with imagery and perspective was melding together. The fourth chapter deals with her second collection The Metal And The Flower and her third collection Cry Ararat I. It also looks briefly at Page's shift to painting in the Sixties and examines some of her more recent poetry. In this period Page undergoes her most significant changes. Images recur from earlier periods, but now the images elicit a more complex view of the world. Page's poetry reflects her awareness of the bounds of vision. She realizes that one must become a conjuror in order to see different perspectives. Her poetry, painting, and articles reflect this shift as "Reflection In A Train Window", "Arras", "Cry Ararat!", "A Backwards Journey", "Questions And Images", and "Traveller, Conjuror, Journeyman" illustrate. The study demonstrates that as Page's imagery developed, there was a parallel development in her concern with perspective and vision. Her imagery and her vision merge as perspective and vision become her primary concern. Her recent poetry indicates that any further development will be in the same vein as she attempts to discover more about the interrelationship between image, perspective and vision. / Arts, Faculty of / English, Department of / Graduate

Bakgrund Överrapportering, som kan grundas på olika former av kommunikation, har en central roll inom hälso- och sjukvård och sjuksköterskans arbete. Kommunikation kan förmedlas verbalt och icke-verbalt. Om den är bristande kan det äventyra patientsäkerheten och därmed leda till vårdskada. Patricia Benners teori om sjuksköterskans yrkesutveckling valdes som teoretisk utgångpunkt. Syfte Syftet var att beskriva kommunikationen vid överrapportering och identifiera svagheter och styrkor för patientsäkerheten. Metod Det genomfördes en allmän litteraturöversikt med en systematisk ansats, som baserades på 15 stycken vetenskapliga artiklar. Artikelsökningarna genomfördes i två databaser som täckte omvårdnad och medicin. De valda artiklarna analyserades med en integrerad innehållsanalys. Resultat Resultatet presenterades utifrån två kategorier. Den första kategorin var mänskliga faktorer inom kommunikation som påverkar patientsäkerheten, med subkategorierna förberedelser ochansvarsfördelning, subjektivitet och interaktion samt avbrott i överrapportering. Den andra kategorin var strategier vid överrapportering för att styrka patientsäkerheten, med subkategorierna rapporteringsmodeller, bedside handover och strategier för mottagandet av information. Slutsats Av resultatet framkom hur påverkbar kommunikation kan vara, av såväl yttre som inre faktorer. den mänskliga faktorn, såsom subjektivitet och avbrott, var av framträdande betydelse för kommunikationens kvalitet och säkerhet. Att använda rapporteringsstrategier, i form av avdelningsanpassade standardiserade modeller, kunde säkra informationsöverföringen för både uppgiftslämnaren och mottagaren. En säker informationsöverföring är av betydelse för patientsäkerheten.

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