Though Horacio Quiroga is better known for his jungle tales, he was also a prolific film critic. Writing in the early days of silent cinema, Quiroga channeled his love for the new art into a series of four short stories about film: "Miss Dorothy Phillips, mi esposa" (1919), "El espectro" (1921), "El puritano" (1926), and "El vampiro" (1927). These stories not only reveal Quiroga's passion for the cinema, but also showcase the power of film to affect the spectator. The theoretical basis of my study comes from the Deleuzian concept of affect, being defined as the invisible force or intensity which exists in bodies and can also be transmitted between bodies that have differing capacities for acting on each other. In the case of the cinema, the film and the spectator are the two bodies that participate in this transmission of intensities. In the first chapter, I discuss how "El puritano" reveals that film's resurrected images can be more powerful than the originals. Then, I analyze "El espectro," which serves as an example of how film's mimetic qualities increase its power to affect spectators and produce in them visceral reactions. Particularly striking in this story is the filmic gaze of an on-screen actor, a gaze which transmits affect to the other characters. In the second chapter, I analyze "Miss Dorothy Phillips, mi esposa," particularly how it theorizes the erotic gaze of filmed actresses. Then I discuss "El vampiro," in which I study the relationship of two men with the filmed image of a beautiful Hollywood actress. In the story, an inventor is able to "move" film in such a way as to create a spectral woman who can interact with others. However, by the end of the story it becomes clear that it is the film—personified by this spectral woman—that holds the true power in this relationship of bodies.

The purpose of this study was to investigate the effect of the use of an Alternative-Solution Worksheet (ASW) on American ninth-grade students' problem solving performance, and to determine the extent to which instruction in alternative solutions promotes "look back" strategies. "Look back" strategies are based on Polya's (1973) problem solving steps, and they are an examination of what was done or learned previously. The ASW was designed to encourage students to utilize "look back" strategies by generating alternative solutions to the problems. This mixed-methods study was conducted with two existing groups of ninth-grade Algebra I students. An experimental group of 18 students received instruction in utilizing the ASW for two 55-minute class periods a week for a period of four weeks. A comparison group of 14 students did not receive any instruction. Data for this study were collected by pre- and post-testing, ASWs, focus groups, and one student's "think aloud" process. For the quantitative analysis, a one-way ANCOVA was conducted to determine if there was a significant difference in the mean post-test scores between the experimental group and the comparison group. The students' pre-test score was the covariate. The findings indicated that the experimental group scored slightly better on the post-test, and R2=.345, a medium effect size. There were no significant correlations between the ASW scores and the pre- and post-test scores, but the ASW scores were significantly correlated with the students' EXPLORE9 math and reading percentiles. The qualitative findings indicated that "look back" occurred at all six levels of Bloom's Revised Taxonomy, but it is the "look back" that occurs at the upper three levels, in the context of higher order thinking skills, that results in better mathematical problem solving abilities. In addition, positive affective changes were evident despite little improvement in students' mathematical problem solving abilities. The results of this study indicated that higher order thinking skills need to be practiced regularly so students can use them effectively.

In Fred Chappell’s Kirkman tetralogy, narrator Jess Kirkman synthesizes a multiplicity of perspectives for understanding the nature of truth. Blurring the distinction between art and life, Jess's narrative structure mirrors the imaginative reconstruction of experience; the novels are largely non-chronological emotive interactions with and reflections of his most salient memories and imaginings. Synthesizing an impressive cacophony of voices, Jess's stories both describe and apply the wisdom and tales Jess acquires from and with his family members. Each story informs the prior and the next, and the rhizomatic interaction between language, narrative, and reader explores Jess's numerous identities and understandings as narratives venture through space, time, and imagination.

This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.

This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished