Five decades after the event, portraying the Holocaust continues to be a precarious and controversial endeavor. The overall posture of Holocaust representation has been to underline the nonsensical and destructive nature of the event as it extends into the post-Holocaust generation's collective memory. While traditional representations of Jewish catastrophe have relied on ancient Biblical and non-biblical archetypes, originating with Adam's fall from God's grace and mankind's eventual restitution from his fall to be delivered in messianic time, Holocaust narratives have in general not carried a message of redemption, nor have they offered any closure to the event. Not only does Anne Michaels' Fugitive Pieces render a transformative narrative, but the closure in Part I of the novel reaches a level of redemption. This work addresses the problems with the restorative nature of the novel through untangling the dense metaphors, the plot structure and characterization, and by drawing on survivor accounts, psychoanalysis, historiography and literary criticism. I look closely at how Jakob recovers his past, reaches redemption, and how he ultimately comes through the trauma of the Holocaust while remaining on the edges of the event. Likewise, I discuss how the tenuousness of Ben's potential recovery from the transmitted past of his parents deconstructs the restorative closure offered in Jakob's story. That the novel is structured into two parts is significant to my reading; this work shows how the first part of the novel with its rich, lyrical discourse and fulfilling outcome is complicated by the second part which is notably less poetic and does not culminate in explicit restoration. This thesis demonstrates how the novel's parts complement each other, structurally forming a unified story that ultimately offers no real closure. I suggest a possible solution to the problem of redemption in Fugitive Pieces by reading Jakob's story as a myth based on the traditional Judaic archetypal\ restitution and Ben's story as an interpretation of the actual experience of the post-Holocaust ' generation. / Thesis / Master of Arts (MA)

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Typescript (photocopy). / Digitized by Kansas Correctional Industries

The motive of this research is to develop a good stacking method with an automatic material handling system and the procedures that can increase productivity, reduce production costs, and prevent labor injury. A diversity of products leads to a number of different kinds of stacking problems. Much research has been done focusing on two-dimensional arrangement for rectangles, circles or irregular shapes, and threedimensional regular-shaped objects such as rectangular boxes. To solve stacking problems, many algorithms such as the genetic algorithm, simulated annealing and other heuristic algorithms have been proposed. The three-dimensional stacking problem has a practical application in the transportation, manufacturing, and construction industries. There has been relatively little emphasis on three-dimensional irregular objects; however, stacking three-dimensional irregular objects has become more common in industry. In this thesis research, three heuristic algorithms are proposed to stack irregular stone pieces nested in a container with multiple layers. Primary functions of the heuristic algorithms include three major parts. First, it approximates irregular shapes to a cluster of straight lines. Secondly, it arranges the approximated angles one-by-one with the proposed step-by-step rule. Finally, it considers the weight of the stone pieces from the pixel calculation for reasons of stability. The first and second algorithms are based on the area and angle of the stone piece and the third one is based on the approximated weight of the stone. An automatic real-time stacking system including pneumatic devices, sensors, relays, a conveyor, a programmable logic controller, a robotic arm, and a vision system was developed for this study. The algorithms developed were tested by this automatic stacking system for better utilization. Three performance measures were presented in the experimental result. Comparisons between the results from three proposed algorithms and that from the bottom-back-left algorithm are made. Experimental data demonstrate that the utilizations and the stabilities of the three proposed algorithms are statistically better than that of the bottom-back-left algorithm. However, the cycle times of the three proposed algorithms have no statistical difference from that of the bottom-back-left algorithm. In addition, a statistical test between each proposed algorithm is also conducted. Both the utilizations and stabilities have statistical differences between each proposed algorithm while the cycle times do not. The results of this study show that the algorithm developed works effectively for solving the stone-pieces stacking problem.

This study explores Anne Michaels’s representation of the Second World War – with particular reference to the Holocaust – in her novel Fugitive Pieces. The study contends that Michaels demonstrates a way of remembering these traumatic and debilitating events which not only promotes physical, emotional and spiritual recuperation but is also capable of beneficially affecting the future. The first chapter contextualises the study by describing the literary debate that surrounds Holocaust representation in writing, a debate which furthermore entails an argument on the efficacy of literary techniques such as the use of metaphor. In the chapter, it is proposed that the novel ‘speaks out’ against silence, and privileges remembrance over disregard. The second chapter suggests that the novel is an example of the way in which metaphor can be used effectively to figure the Holocaust for survivors and victims, and for subsequent generations. Concomitantly, the chapter defends Michaels’s use of metaphor in its presentation of proposals, concerning her characters and their experience of the Holocaust, that display rare perspicacity and benevolence. The third and final chapter of this study comprises a four-section exploration of specific metaphors which the author uses in Fugitive Pieces to demonstrate that the horror characterising the Holocaust should not be the sum total of its effect, and that affirmations such as faith and hope can and did arise in the context of extreme physical and mental distress. This thesis is based on the proposition that Michaels’s layering of real-life testimony with imaginative intuition introduces her readers to a valuable way of dealing with the past and facing the future.

The purpose of this thesis was to use color as the primary design element for a place of commerce along the Big Dig (Boston). Color informed the building form and provided the connection for the building type and the urban site. The thesis book unfolds in reverse order, with the intent to reveal the final design at the beginning. As the pages unfold, the evolution of the design emerges to complete with the beginning of the thesis. / Master of Architecture

In this research, I utilize the theoretical perspective Knowledge In Pieces to identify the knowledge resources students utilize while in the process of completing various differential equations tasks. In addition I explore how this utilization changes over the course of a semester, and how resources related to the concepts of function and rate of change supported the students in completing the tasks. I do so using data collected from a series of task-based individual interviews with two students enrolled in separate differential equations courses. The results provide a fine-grained description of the knowledge students consider to be productive with regard to completing various differential equations tasks. Further the analysis resulted in the identification of five ways students interpret differential equations tasks and how these interpretations are related to the knowledge resources students utilize while completing the various tasks. Lastly, this research makes a contribution to mathematics education by illuminating the knowledge concerning function and rate of change students utilize and how this knowledge comes together to support students in drawing connections between differential equations and their solutions, structuring those solutions, and reasoning with relationships present in the differential equations. / Ph. D.

Architecture should strive to create a dialogue between the history of architecture and its future. This dialogue is really a mosaic of interconnections formed by our conceptions of context and order. These interconnections strive to be transparent so as to introduce a level of complexity that allows for a multitude of readings and is in constant variation as provided by the site, the inhabitants and the building. It is thru these transparent interconnections that dialogue is enriched. The project has been driven by a reciprocal struggle between specific site conditions, and the development of tectonic pieces that order, clarify and sometimes veil a larger whole. Whose end is to connect with a larger whole and elevate its seemingly simple pieces to a level of complexity that is greater than the sum of those parts. / Master of Architecture

House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are combined to form a quintet, at the climactic point of the entire composition, which occurs at the end of the piece. The scenes depict imaginary events in a Church and at a flower garden. Rear-stage slide projections are used to project the scenes of these locations, and lighting is used to emphasize actions, characters and changes of scene. The singers also serve as actors. The duration of this work is approximately 20 minutes.

This study explores Antal Dorati¡¦s (1906-1988) Five pieces for Solo Oboe (1980-81), a work consists of five short pieces: ¡§La cigale et la fourmie¡¨, ¡§Lettre d¡¦amour¡¨, ¡§Fugue a trois voix¡¨, ¡§Berceuse¡¨ and ¡§Legerdemain¡¨. The work illustrates a typical compositional style of Dorati. Five pieces for Solo Oboe demonstrates the composer¡¦s influence by early 20th century composers such as Arnold Schonberg and Luciao Berio. Nevertheless, the structure of piece can be related to traditional art music of Classical and late Romantic period. In addition, one witnesses the incorporation of folk idioms in the composition. The study is divided into three chapters. The first part focuses on the life and musical background and his creative outputs of Dorati. The second part analyzes the structure of selected work. As for the last part, I discuss the performance interpretation and its style.