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This thesis is an investigation of the way in which the painter May Stevens (b. 1924) synthesizes her personal experiences and political philosophy to form complex and enduring works of art. Primary data was accumulated through an extended interview with May Stevens and by examining her works on exhibit in New York and Boston. An analysis of selected works from her "Big Daddy" and "Ordinary/Extraordinary" series revealed how her personal feelings about her own family became entwined with larger political issues. As an important member of the feminist art movement that evolved during the 1970s, she celebrated this new kinship among women in paintings that also explored the contradictions in their lives. In more recent work she has explored complex social issues such as teenage prostitution, sexism, and child abuse in a variety of artistic styles and media. This study investigates how May Stevens continues to portray issues of international significance in works that consistently engage the viewer on a personal, almost visceral level.

In this dissertation, Wallace Stevens' imagination-reality problem as depicted in his poetry is discussed in terms of an eco-critical map-territory divide. Stevens's metaphor of "the necessary angel" acts to mediate human necessity, the map, with natural necessity, the territory, in order to retain contact with changing cultural and environmental conditions. At stake in this mediation are individual freedom and the pertinence of the imagination to the experience of reality. In Chapter 2, the attempt at reconciliation of these two necessities will be described in terms of surrealism. Stevens's particular approach to surrealism emphasizes separating and delineating natural necessity from human necessity so that through the poem the reader can experience the miracle of their reconciliation. In Chapter 3, this delineation of the two necessities, map and territory, will be examined against Modernist "decreation," which is the stripping bare of human perception for the purpose of regaining glimpses of the first idea of the external world. And in Chapter 4, Stevens's approach to the problem of the map-territory divide will be considered against his alienation or internal exile: balancing nature and identity through mediating fictions results in a compromised approach to the marriage of mind and culture in a historically situated place.

Eudora Welty and Wallace Stevens share important aesthetic beliefs, especially regarding uses of the creative imagination by artists in acts of creation and characters in acts of living. A close reading of seventeen of Welty's stories, accompanied by references to related ideas in many of Stevens' poems, reveals how the imagination functions as epistemology and eucharist, while governing the shape of individual human views of the quotidian. The more abstract patterns of thought in their later works seem to move Welty closer to belief in a world beyond the quotidian than they do Stevens.

The problem of this study was the identification of selected characteristics of Minnie Stevens Piper Professors. Purposes of the study were: (a) to determine characteristics of Minnie Stevens Piper Professors, and (b) to determine whether these professors possess characteristics which typify outstanding college teachers as described by the Selection Research, Incorporated College Teacher Perceiver interview. Forty subjects, 20 from community colleges and 20 from senior colleges, were randomly selected from the 1978 through 1988 lists of Piper Professors. Fifteen community college and 11 senior college professors agreed to participate by being interviewed with the College Teacher Perceiver. This interview identified 13 characteristics, or themes, of excellent college teachers.

This research focuses on events surrounding the activities of Battery Freeman, a coastal defense facility constructed within the earthworks of "old" Fort Stevens near Astoria, OR, in 1900 and destroyed in 1939. Archival data are used in conjunction with nearly 5,000 artifacts that were recovered from archaeological excavations in 1989 by the Oregon State University Field School, to reconstruct the history of the facility. Archival information provided a detailed representation of the spatial setting of Battery Freeman with respect to the original earthworks of Old Fort Stevens. In addition, this information detailed the timing and progress of and materials used in the construction of the battery. Spatial, temporal, and typological analyses were conducted on the artifacts. The great majority of the artifacts are associated with Battery Freeman architecture. Many of these artifacts were homogenously distributed throughout a "fill unit" reflecting the leveling and bulldozing of the site. However, several primary features were preserved, including a remnant of the east bulkhead wall of the pre-1900 structure and an incinerator feature apparently used in the battery. The spatial context of artifacts associated with these features could be interpreted with greater confidence. / Graduation date: 1994

Texte remanié de: Ph. D.--Knoxville--University of Tennessee, 1998. / Bibliogr. p. 119-125. Index.

Reproduction de : Thèse d'exercice : Médecine vétérinaire : Toulouse 3 : 2008. / Titre provenant de l'écran-titre. Bibliogr. p. 91-97.

No description available.

Wallace Stevens (1879-1955) is probably the greatest and most prolific exponent of purist estheticism in all of American letters. Born in Reading, Pennsylvania, his first book of poetry, Harmonium (1923) won him the respect and admiration of his fellow writers, but brought him little popular acclaim and less remuneration. His career as a poet spanned four decades, the 1923 volume being followed by Ideas 2( Order (1935); The Man with the Blue Guitar (1937); Parts of â World (1942); Transport to Symmer (1947); The Auroras gt Autumn (1950); The Necessary Angel (a collection of essa7s, 1951); The Collected Poems of Wallace Stevens (1954); and Opus Posthumous (a miscellany of poems, plays, and prose works, edited by Samuel French Morse, 1957). Unlike most of his contemporaries, Stevens chose to divide his time between the world of poetry and that of business, keeping in the process very much to himself, and refusing to mix with literary or academie society. From 1916 to his death in 1955, he was associated with the Hartford Accident and Indemnity Company, of which he became vice-president in 1934. [...]