Since the terrorist attacks of September 11th, 2001, a vast discourse on contemporary terrorism has emerged within 'Western' media. This thesis analyzes the discourse of contemporary terrorism, and highlights how the postcolonialist critique of Orientalism pioneered by Edward Said is still relevant within the discourse. This is accomplished by analyzing books that have been published post-9/11 and which have been reviewed in the journal Foreign Affairs. A primary goal of this thesis is to facilitate the de-reification of the socially constructed concepts of both 'the East' and 'the West' which currently dominate representations within the discourse, as well as to highlight some of the key features of the discursive field on contemporary terrorism. The binary representation and stereotyping within the contemporary discourse provides a one-dimensional representation of the issue of terrorism, and by questioning the conformity of these representations we can critically examine one of the most important social issues within our society.

While there have been numerous critical studies of English-Canadian drama, none to date has investigated portrayals of the natural world from an ecocritical perspective, paying particular attention to plays that make the relationship between human characters and the more-than-human physical world a significant part of the action. Through a series of close readings, this study considers the texts of such plays—those written in this part of the world from 1606 to 2011—with respect to what they reveal about attitudes to the natural world. After showing how depictions of nature in plays from 1606 to the late 19th century were inflected by Eurocentric attitudes and colonizing agendas, I go on to draw attention to a series of dramatic works that acknowledge the agency of the more more-than than-human physical world as an oikos or dwelling place that is fundamental to human identity. By showing the rise and development of this body of work from the 1920s to 2011, I trace the genealogy of what I characterize as an ecocentric tradition in English-Canadian drama—plays in which elements of the natural world function, not as scenic backdrops or as a pool of metaphors for exclusively human concerns, but as forces in their own right that shape and determine human actions and are, in many cases, affected by them. / Graduate

Triangle mesh models of images are studied. Through exploration, a computational framework for mesh generation based on data-dependent triangulations (DDTs) and two specific mesh-generation methods derived from this framework are proposed. In earlier work, Yang et al. proposed a highly-effective technique for generating triangle-mesh models of images, known as the error diffusion (ED) method. Unfortunately, the ED method, which chooses triangulation connectivity via a Delaunay triangulation, typically yields triangulations in which many (triangulation) edges crosscut image edges (i.e., discontinuities in the image), leading to increased approximation error. In this thesis, we propose a computational framework for mesh generation that modifies the ED method to use DDTs in conjunction with the Lawson local optimization procedure (LOP) and has several free parameters. Based on experimentation, we recommend two particular choices for these parameters, yielding two specific mesh-generation methods, known as MED1 and MED2, which make different trade offs between approximation quality and computational cost. Through the use of DDTs and the LOP, triangulation connectivity can be chosen optimally so as to minimize approximation error. As part of our work, two novel optimality criteria for the LOP are proposed, both of which are shown to outperform other well known criteria from the literature. Through experimental results, our MED1 and MED2 methods are shown to yield image approximations of substantially higher quality than those obtained with the ED method, at a relatively modest computational cost. For example, in terms of peak-signal-to-noise ratio, our MED1 and MED2 methods outperform the ED method, on average, by 3.26 and 3.81 dB, respectively. / Graduate

The fall of Communism in 1989 presented a unique opportunity for social psychology to contribute to the understanding of these historic events. Through the framework of the theory of social representations, lay meanings and understanding of terms such as ‘democracy’, ‘the individual’ and ‘the community’ were examined in Slovakia and in Scotland. Lay representations of complex concepts are likely to be formed, maintained and changed by both implicit and explicit processes. Some features of representations may be deep-seated and transmitted across generations and across cultures, relatively resistant to change. Others are shaped by already existing thinking schemata and reflect more current social practices. Questions asked where, what were the effects of 40 years of Soviet totalitarianism on the meaning of these terms in Slovakia compared to Scotland, a stable democracy. What aspects of meaning are shared, what aspects vary and reflect the specific political, economic and social histories of these two nations. Data were collected over various phases from 1992 to 1996. The primary methods used were word associations and the rating of single terms through the use of various rating scales. Some interview data were also used. Results indicate that aspects of the meaning of democracy was relatively stable and shared between Slovaks and Scots. For both samples, democracy was conceived primarily in relation to freedom and to value terms such as rights, justice and equality. Compared to the Scottish sample, the meaning of democracy in the Slovaks revealed a highly emotive aspect which reflected the inter-relationship between the current political and social climate with that of their more recent past. For meanings attached to the terms ‘the individual’ and ‘the community’, results varied depending on the method. Conceived of as separate terms, the overall content of meaning of both ‘the individual’ and ‘the community’ were not largely shared by the Slovaks and Scots, lending some support to the dominant view that Soviet totalitarianism destroyed or distorted naturally occurring communities. Taking a more holistic approach and viewing the individual/community as a relational whole, shared aspects of meaning could be identified which were more deep-seated and enduring over histories and cultures, other aspects, in Slovaks, reflected more their recent past. These results are discussed in terms of a structural approach to social representations, which emphasis both stability and change in how meaning is formed, maintained and changed, as well as the multi-layered nature of meaning.

Data from a growing number of research studies indicate that children with hearing loss are delayed in Theory of Mind (ToM) development when compared to their typically developing, hearing peers. While other researchers have studied the developmental trajectories of ToM in school-age students who are deaf and hard of hearing (DHH), a limited number have addressed the need for interventions for this population. The present study extends the current research on ToM interventions to the PreKindergarten and Kindergarten levels. This study used a single-case multiple-baseline multiple-probe across skills design with replications across classrooms to examine the effects of a ToM intervention on participants’ false belief understanding as well as outcomes on a near generalization measure (i.e., Sally-Anne Task, Baron-Cohen, Firth, Leslie, 1985) and a far generalization measure (i.e., five-task ToM developmental scale, Wellman & Liu, 2004). A thought bubble intervention (i.e., a visual representation of what people are thinking) developed by Wellman and Peterson (2013) was modified in key areas: (a) participants were substantially younger than the population in the original study and thus required a pre-teaching phase addressing vocabulary and materials, (b) manipulable materials were created from the description provided in the Wellman and Peterson (2013) study along with parallel materials used in assessment probes, (c) a certified teacher of DHH children provided direct instruction to participants in a small group setting, (d) study length was increased to 25 weeks, and (e) methodological design change (i.e., group design to single-case design). These modifications addressed the need for evidence-based ToM interventions that are both proactive and easily implemented by teachers in a classroom setting. Results from the single-case design portion of the study indicate a functional relation between the thought bubble intervention and the participants’ acquisition of the targeted skills in each stage, although progress was not uniform. Results from the pre-post assessments indicate that the children did make progress up the scale, however, children who used spoken language tended to proceed faster through the stages than those who used sign language. These results inform the field in regard to the efficacy and feasibility of a ToM intervention for young DHH children.

Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

The direct sum decomposition of tensor products for SU(3) has many applications in physics, and the problem has been studied extensively. This has resulted in many decomposition methods, each with its advantages and disadvantages. The description given here is geometric in nature and it describes both the constituents of the direct sum and their multiplicities. In addition to providing decompositions of specific tensor products, this approach is very well suited to studying tensor products as the parameters vary, and drawing general conclusions. After a description and proof of the method, several applications are discussed and proved. The decompositions are also studied further for the special cases of tensor products of an irreducible representation with itself or with its conjugate. In particular, questions regarding multiplicities are considered. As an extension of this diagrammatic method, the repeated tensor product of N copies of the fundamental representation is studied, and a method for its decomposition is provided. Again, questions regarding multiplicities are considered.

The purpose of this research was to determine if there is a model of ideal femininity communicated through advertising in girls’ and women’s magazines. To assess the representations of women in magazine advertisements, a content analysis of advertisements appearing in three top-selling, demographically-defined women’s magazines (Girls’ Life, Seventeen, and Cosmopolitan) was conducted. Using feminist theory and hegemony theory as critical lenses, advertisements were analyzed quantitatively and qualitatively. Each advertisement was assessed using five criteria: physical characteristics, social context, personality and attitude, and subtext. Using this data to establish the dominant representations of women, it was determined that there is a model of ideal femininity which is developed through establishing common ideals shared by all three magazines and by gradually introducing new ideals which correspond to shifts in real-world interests and experiences of women. It was concluded that a model of ideal femininity is developed through advertising in girls’ and women’s magazines, this model is used as a guide to direct girls and women towards specific ideal preferences, attitudes and behaviours, and this model continues to emphasise traditional cultural values and gender ideals which are not necessarily reflective of the range of roles women assume in today’s society.

This thesis comprises of two separate game theoretic models that fall under the general umbrella of network formation games. The first is a coalitional model of interaction in social networks that is based on the idea of social distance, in which players seek interactions with similar others. Our model captures some of the phenomena observed on such networks, such as homophily driven interactions and the formation of small worlds for groups of players. Using social distance games, we analyze the interactions between players on the network, study the properties of efficient and stable networks, relate them to the underlying graphical structure of the game, and give an approximation algorithm for finding optimal social welfare. We then show that efficient networks are not necessarily stable, and stable networks do not necessarily maximise welfare. We use the stability gap to investigate the welfare of stable coalition structures, and propose two new solution concepts with improved welfare guarantees. The second model is a compact formulation of matchings with externalities. Our formulation achieves tractability of the representation at the expense of full expressivity. We formulate a template of solution concept that applies to games where externalities are involved, and instantiate it in the context of optimistic, neutral, and pessimistic reasoning. Then we investigate the complexity of the representation in the context of many-to-many and one-to-one matchings, and provide both computational hardness results and polynomial time algorithms where applicable.