American composer Jake Heggie's For a Look or a Touch exists as the only classical music work of remembrance based on the topic of remembering homosexual victims of the Holocaust. The composer, after being approached by Mina Miller, wrote this 2007 composition as part of the Music of Remembrance concert series. The music of this work varies in style from a blazing swing dance to a haunting vocalise on "oo." Gene Scheer created the text, delivered in the work by the characters Manfred Lewin and Gad Beck, as a compilation of many influential stories from the documentary film Paragraph 175. For a Look or a Touch chronicles the horrendous treatment of homosexuals before, during, and after World War II. Chapters include an introduction to homosexual persecution during Hitler's reign, a look at current works of remembrance and how For a Look or a Touch came to fruition, an explanation of the texts created by Gene Scheer, a discussion on Jake Heggie's musical setting of this text, and avenues for possible future research. Appendices include text of the German anti-sodomy laws as written in Paragraph 175, the mission statement for the organization Music of Remembrance, transcripts from personal interviews with both Jake Heggie and Gene Scheer, correspondence with Heggie, and the source delineation of Gene Scheer's text.

REMEMBER is a film script that operates within the horror genre but touches upon the subgenre of body horror as well as the sub-subgenre of body modification/alteration. It examines psychological and sociological issues such as identity and acceptance, gender understanding and social assignment. The story follows five young women who live outside the norms of ‘acceptable’ society. After an accident near a small, isolated, rural town called Tantalus leaves them stranded with strangers, the girls soon find that something is amiss. Having arrived during a tornado just before the towns Founder’s Day festival, they discover there is more in Tantalus than meets the eye. The town is founded on a dark past which appears to be returning in a fashion. Now with a body count rising and no way to leave, the women find themselves connected to the murders. The only question that remains is how?

Intentional forgetting is a phenomenon that has been studied by memory researchers since 1968 (Bjork, LaBerge, & Legrand, 1968), however a formal model to explain directed forgetting has not yet been developed. In this paper, I will review the literature on directed forgetting and discuss the results six experiments used assess directed forgetting in highly controlled manner. The striking findings are a.) that directed forgetting phenomena are observed for both free recall and recognition memory when the list method is utilized, b.) that almost the entire effect in free recall is the result of the ability to initially recall the item from the first serial position, and c.) that the costs and benefits are separately affected by an increase in the retention interval. After extensive model analyses, no simple rehearsal or context based model was identified that can handle the full data set. Here I describe a Retrieving Effectively from Memory model (REM; Shiffrin & Steyvers, 1997) that does account for the full range of findings by blurring the traditional distinctions between these classical approached to directed forgetting phenomena.

Poetry in music is the main discussion in this essay. There are three ways to connect music and poem. First, represent the emotion of poems through music; second, parallel the syllables and linguistic intonation to rhythm and pitches; third, transform the methods of writing poems into the methods of composing music. ¡§Remember¡¨ and ¡§The Magic Carousal¡¨ are used as examples in this essay. In ¡§Remember,¡¨ the composer semantically transfers the poetry into his/her music by directly borrowing and engaging the linguistic syntax and formal construction into musical composition. Such method is based on the eight different techniques mentioned in ¡§Looming Imagery,¡¨ a chapter from Yong Wu Huang¡¦s Design of Chinese Poetry, as a means to create musical structures. ¡§The Magic Carousal¡¨ adopts the application of musical tone-painting. A composer creates a tone-poem that expresses the poetic imagery and atmosphere. Based on the concept of musical rhetoric, the words are assigned with particular musical contour or gesture that illustrates the poem even more comprehensively.

Thesis--University of Michigan. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 123-124).

Thesis--University of Michigan. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 123-124).

The remember-know paradigm is widely used in recognition memory research to explore the mechanisms underlying recognition judgments. The most intriguing question about the paradigm that needs to be answered is: Are the processes that underlie “remember” and “know” responses the same or different? The extant remember-know models provide different answers. The dual-process model (Yonelinas, 1994) assumes that “remember” and “know” judgments are made with qualitatively different underlying processes. The one-dimensional Signal Detection Theory (SDT) model (Donaldson, 1996; Hirshman & Master, 1997) and the Sum-difference Theory of Remembering and Knowing (STREAK) model assume that “remember” and “know” judgments are made with same underlying processes but different response criteria. In this thesis, three experiments were conducted to evaluate these models. The remember-know models were fit to the accuracy data to see which model provides the best account for the ROC data. In addition, the reaction time data were fit with ex-Gaussian distributions and the best-fit skew parameters were used to reveal whether the underlying strategic processes for “remember” and “know” judgments are same or not. The results of the remember-know model fit were mixed: In the first experiment with list length manipulation, 6 out of 8 cases were best fit with the one-dimensional models and the other 2 cases were best fit with the dual-process models; in the second experiment with list strength manipulation, 11 out of 18 cases were best fit with the one-dimensional models, another 6 cases were best fit with the dual-process models and the rest one case were best fit with the STREAK model; in the third experiment with response bias manipulation, 6 out of 16 cases were best fit with the one-dimensional models and the other 10 cases were best fit with the dual-process models. The results of ex-Gaussian fit to RT data supported the one-dimensional model better: for the subjects who provide enough overlapping data in comparison of the distributions of hits followed by “remember” and “know” judgments, the values of skew parameter did not differ for “remember” and “know” responses in 7 out of 8 cases. This indicates that the same process underlies “remember” and “know” responses.

ABSTRACT NEGATIVE REMEMBERING SEPTEMBER 2007 AYCAN KAPUCU, B.A., BOGAZICI UNIVERSITY ISTANBUL M.S., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Caren M. Rotello Three experiments investigated the use of recall-to-accept and recall-to-reject processes in recognition and remember-know decisions. In all three experiments, participants studied a mixed list of singular and plural words. During the recognition test, participants made old-new confidence ratings and remember-know judgments for studied items, lures that were similar to studied items, and new lures. Old-similar ROC curves were constructed from the confidence ratings and found to be linear, consistent with the use of a high-threshold recollective process. The ROC intercepts and remember response rates converged on the same estimates of the amount of recollection for both positive (recall-to-accept) and negative (recall-to-reject) decisions.

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A critical analysis of the film Remember the Titans, released in 2000, shows a preoccupation with nation and national identity through race and football. Set in 1971, it follows the desegregation and integration of a high school football team in Virginia. The film articulates a revisionist racial reconciliation reading of the Civil War based on white suffering and subsequent redemption. At its core it is a story about the progress of race relations and racism, framed as interpersonal relationships and segregation, in the United States.