Zugl.: Kiel, Univ., Diss., 2006

Developing complex software systems often involves multiple stakeholder interactions, coupled with frequent requirements changes while operating under time constraints and budget pressures. Such conditions can lead to hidden problems, manifesting when software modifications lead to unexpected software component interactions that can cause catastrophic or fatal situations. A critical step in ensuring the success of software systems is to verify that all requirements can be traced to the design, source code, test cases, and any other software artifacts generated during the software development process. The focus of this research is to improve on the trace matrix generation process and study how human analysts create the final trace matrix using traceability information generated from automated methods. This dissertation presents new results in the automated generation of traceability matrices and in the analysis of analyst actions during a tracing task. The key contributions of this dissertation are as follows: (1) Development of a Proximity-based Vector Space Model for automated generation of TMs. (2) Use of Mean Average Precision (a ranked retrieval-based measure) and 21-point interpolated precision-recall graph (a set-based measure) for statistical evaluation of automated methods. (3) Logging and visualization of analyst actions during a tracing task. (4) Study of human analyst tracing behavior with consideration of decisions made during the tracing task and analyst tracing strategies. (5) Use of potential recall, sensitivity, and effort distribution as analyst performance measures. Results show that using both a ranked retrieval-based and a set-based measure with statistical rigor provides a framework for evaluating automated methods. Studying the human analyst provides insight into how analysts use traceability information to create the final trace matrix and identifies areas for improvement in the traceability process. Analyst performance measures can be used to identify analysts that perform the tracing task well and use effective tracing strategies to generate a high quality final trace matrix.

Alexander the Great (356-323 BCE) was the king of Macedon and one of the greatest military commanders in the ancient world. Before his death at the age of thirty-three, Alexander had conquered Greece, the Persian Empire, and northern India. Alexander provided a model of a secular ruler for leaders in medieval and Renaissance Europe. Furthermore, with the revival of antique culture during the Renaissance, the life of Alexander became a favourite classical subject in art and literature. My thesis seeks to examine the artistic interest in the life of Alexander during the Italian Renaissance. During the late Middle Ages and the Renaissance, artists portrayed episodes from the life of Alexander for elite patrons, who commissioned monumental frescoes and panel-paintings, along with pieces of maiolica pottery, tapestry and sculpture for use in the rituals of court life. While Alexander represented a model of secular authority for the patron, he was also intrinsically linked with art. Alexander's court artists, particularly Apelles, had a legacy that was eagerly emulated by modern artists. This thesis begins by tracing the long literary tradition of Alexander. Accounts by ancient authors, medieval romances, and new humanist texts all informed the production of images of the ancient king. I will explore the earliest representations of Alexander influenced by the humanist themes of uomini famosi and Petrarch's I Trionfi, followed by the reception and the appeal of portraits of Alexander created by Andrea del Verrocchio, Valerio Belli, and Giulio Romano. I will argue that, based on evidence in the form of drawings, Raphael had life-long artistic interest in Alexander, and many of his designs were adapted by other artists, including a fresco by Sodoma at the Villa Farnesina, and finely decorated maiolica pottery. Finally, I will consider the monumental cycles of frescoes executed by artists for patrons, who had a profound personal connection to the ancient monarch. While the artistic interest in the life of Alexander seems to derive from the fact that he was an all'antica subject, as I will demonstrate throughout this thesis, this interest took many forms for patrons, artists, and viewers. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-17 11:47:31.549

Inaug.-diss.--Munich. / Lebenslauf. "Die vorliegende Dissertation umfasst nur 1/3 der gleichzeitig im Buchhandel erscheinenden Arbeit." "Literarische hilfsmittel": p. 59-61.

High Wire is a chamber ballet in five movements for multiple woodwind player (piccolo, Eb clarinet, alto saxophone, bass clarinet) and piano. It was inspired by Frederick H. Graham's Wait For The Muncie Boys: Indiana's Early Circuses, and was first performed, with choreography by Michele Kriner, at a concert of the Middletown Arts Project on January 26, 2003. The work is somewhat unusual in that it is both tonal and serial. It evokes popular musical styles of the turn of the twentieth century, with particular reference to circus music, and yet it is based on a twelve-tone series and generally adheres to strict serial techniques. The genesis of the work, the relationship of the music to the choreography, and the way in which two rather different musical sensibilities are reconciled are discussed in the written report that serves as an introduction to the score. A recording of the first performance is included in the side-pocket. / School of Music

Inaug.-diss.--Munich. / Lebenslauf. "Die vorliegende Dissertation umfasst nur 1/3 der gleichzeitig im Buchhandel erscheinenden Arbeit." "Literarische hilfsmittel": p. 59-61.

The thesis advances the name of Raphael Santi, the High Renaissance artist, to be included among the famous and highly esteemed Humanists of the Renaissance period. While the artistic creativity of the Renaissance is widely recognized, the creators have traditionally been viewed as mere craftsmen. In the case of Raphael Santi, his skills as a painter have proven to be a timeless medium for the immortalizing of the elevated thinking and turbulent challenges of the time period. His interests outside of painting, including archaeology and architecture, also offer strong testimony of his Humanist background and pursuits.

In this essay, I argue that the angel Raphael introduces a poetic sensibility into Paradise in order to provide Adam and Eve with “equipment for living” after the Fall. Unlike other critics who have interpreted Raphael as a poet, I focus on the implications of Raphael’s poetic teaching for postlapsarian life. I also call attention to the dangerous effects of Raphael’s “song,” which awakens Adam’s insatiable curiosity about forbidden subjects even as Raphael cautions him to practice temperance and “be lowly wise.” Raphael aims to both “delight and instruct” his audience through poetic discourse, but Milton shows him struggling as Adam’s delight interferes with the angel’s efforts to instruct him. I discuss Raphael’s attempts to mitigate Adam’s enthrallment at his words through disclaimers that remind him to remain temperate in his pursuit of knowledge and to resist subjection to beauty and pleasure—including the charm of “song.” Through Raphael’s meditations on the challenges of poetic representation, Milton reflects on the double-sided nature of his own craft. My essay seeks to reconcile the beneficial purpose of Raphael’s visit with its troubling effects. By reading Raphael’s careful efforts to temper and reorient Adam’s curiosity alongside Milton’s statements on the value of literature in Areopagitica, I explore Milton’s sense of how pleasure, doubt, and even temptation—if rightly tempered—can aid fallen humans in the cultivation of faithful obedience. / text

Inaug.-Diss.--Philosophisch-historische Fakultät--Heidelberg, 1977.

Thesis (M.S.)--University of Wisconsin--Madison, 1955. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 130-136).