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ABSTRACT This thesis explores the progression of my work through my graduate studies at the University of New Orleans. I examine the central psychological themes of the human experience. Through painting, drawing, printmaking, and sculpture, I investigate various ways of translating personal and universal experiences into open-ended visual allegories. These psychological narratives are intended to function ambiguously- allowing the viewer to develop their own ideas and responses to the work. Using the figure paired with symbols and also using mass-produced common objects to function as the figure; placing them in ambiguous environments, I juxtapose physical and psychological spaces that evoke emotions, experiences, memories, and identity. Key words: Sculpture, Drawings, Monotypes, Human Experience, Psychological Space

This thesis is concerned with the description of individual experiences of (architectural) space in a social milieu. Architecture, while considered to be primarily concerned with space as its medium, has a very impoverished (or occasionally, very contorted) verbal language in which to discuss space. The author, as a beginner teacher, noted this in attempts to explore spatial experience with students of architecture, and resolved with their help to generate an appropriate verbal vehicle. The main body of the thesis relates this attempt and accounts for its failure. The Thesis, thus, follows three intertwined streams. 1) A scientific investigation into means for the description of human experience of (architectural) space, using methods developed from Kelly's Personal Construct Theory Repertory Grids. 2) A partially developed spatial analytic language, my personal response to 1) above, which is to be seen as the start of a new research programme that may last many years (the future of which is outlined). 3) An account of a personal learning experience both from, around and through each of these. These streams are organised into three parts. Part 1: Background Studies - into work in associated areas and fields, with an assessment of their relevance to the undertaking presented here. Part 2: The Experiments - attempting (and failing) to create a language, and the transition from verbal to visual, with critical arguments and observations. Part 3: A New Beginning - learning from the failure of Part 2, and the argument for and commencement of a new research programme.

<p>The following study of Alice Munro's collections of short stories, Who Do You Think You Are?, The Moons of Jupiter, and The Progress of Love, closely examines the feminine perception of human relationships and traces Munro's theme of lithe pain of human contact. Chapter I explores the changing perception of life and relationships as seen through the eyes of the central character of Who Do You Think You Are? and discusses the paradoxical view of life articulated by Munro, a view which asks that the abuse which characters inflict upon one another be seen as both savage and splendid, as perversely necessary in any relationship between her characters. This idea of a necessary pain is discussed in Chapter II in light of Munro's more intense fascination with it in The Moons of Jupiter. Her vision of the humiliating necessity of inflicting and enduring pain does not, however, culminate in a clearly-defined resolution to the paradoxes of experience; indeed, The Moons of Jupiter suggests Munro's growing hesitancy to solve the puzzles of human experience. Chapter II also examines Munro's experimentation with narrative time shifts and discusses this new interest in technique as it pertains to her preoccupation with the disparity between illusion and reality in the lives of her characters. The shifting back and forth between past and present is a technique which Munro continues to employ in her next work, The Progress of Love, which I examine in Chapter III. This most recent work, like Who Do You Think You Are? and The Moons of Jupiter, looks closely at the delicate moments of exposure in experience and at the necessary painfulness of those moments, but with a difference. In The Progress of Love Munro seems to allow her characters moments of serenity and moments of self-knowledge; the feminine perception of experience has altered to the degree that her characters appear able to move beyond disillusionment through to a kind of survival of those moments of exposure which in the Moons of Jupiter appear to overwhelm and almost paralyze the characters. </p> / Thesis / Bachelor of Arts (BA)

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In Turkey, one of the main problems of architecture and urban design seem to be the rapid transformation of physical environments, street experiences, and consequently the transformation of collective memory. One consequence of this basic problem can be the loss of the meaning of urban space. This calls for an historical examination of salient features of urban space that compose the collective memory. In this respect, this thesis aims to explore the changing physical characteristics of the boulevards through examining the transformation of collective memory. To provide empirical evidence for this, the thesis will study the transformation of collective memory of inhabitants from different age groups about the Atat&uuml / rk Boulevard, by exploring the changing salient features of urban space and human experiences in space through a period of the last 60 years.

The poems in this collection are elegiac; celebrations of losses and failures, tributes to the daily doldrums that are at the center of human experience. They threaten to expose the uncertainty that exists and refuses to exist in our everyday lives. They explore the otherness associated with the individual and often turn to the universal formulas of music and physics to make order of the world around them. Often times the Speaker finds that the seeming chaos manifests within her already orderly life, the daily routines of work and family. Poetic magic, so to speak, weds this ordered chaos to the laws of nature and its routines, especially birds, which makes a recurrent appearance throughout the manuscript.