The project chosen for partial fulfillment of the requirements for the degree of Master of Arts in Teaching in the field of Theater Arts was the production of Herb Gardner’s comedy, A Thousand Clowns. This particular play was chosen because it met production requirements more closely than any other script considered for the project. The project involved, after selection of the script, casting the characters, a six-week rehearsal period, consulting with the technical staff on matters of lighting, setting, and costumes, four performances at the Portland State College Idea Theater, two performances at the Oregon State Penitentiary, and the compiling of a complete Play Production Book which describes all phases of the production. Existing standards of play direction and projection book composition were observed throughout the production period. Special emphasis was placed on each actor’s development of his character, remembering that an educational theater situation is also a learning situation for all concerned. Character relationships became extremely important to the sense of script, as the play is actually built on a series of character sketches in which we see many contemporary American types. The play’s conflict is seen through character and is obvious from the first few lines of Act I. Murray Burns has made his value judgments on American society and has found the latter to be far below his expectations. He is now attempting to live by his own eccentric rules and, at the same time, retain custody of his nephew, who is in the process of being removed from his home by the Bureau of Child Welfare. Into this theme of individuality versus structure is woven the familiar boy-meets-girl pattern. The entire play, consequently, depends on character and inter-character relationships. The play’s pure entertainment value was stressed, rather than any moral message which might have been present in the script. The play is funny, but there are definite deficiencies in the areas of plot development and the play’s philosophy. The purpose of the production was to present consistently a humorous, enjoyable evening of theater for the audiences and a beneficial learning situation for the actors, director, and production staff. After several casting difficulties and minor technical slow-downs, A Thousand Clowns enjoyed near capacity houses at P.S.C. and an extremely warm reception from the members of Oregon State Prison’s Upward Bound program. The show increased in effectiveness at each performance. Character came through to the audiences. Serious pace problems involving quick timing from beginning to end were solved. The actors did the work themselves. They improved their craft and learned and benefitted from this experience. From the director’s standpoint, the experience was enjoyable and profitable, provoking new ideas and calling upon new methods to work them out.

The black walnut, Juglans nigra L., is native to the United States (USA) and is a valuable timber and nut tree. Just before the beginning of the 21st century, several western states observed a decline in the health and, later, death of black walnut trees. The pathogen-vector complex now known as thousand cankers disease (TCD) was shown to be the cause. The disease, caused by Geosmithia morbida Kolařik, is vectored by the walnut twig beetle (WTB), Pityophthorus juglandis Blackman. Thousands of WTB will swarm and enter a tree vectoring the fungus at each entry point where cankers then develop, quickly expand, coalesce and kill the branch or stem. The disease has been confirmed across the USA and in parts of Europe. The research and development of resistant cultivars is important to maintain native populations and livelihoods. The purpose of this project was to evaluate black walnut and hybrid trees for resistance to TCD through direct inoculation with the pathogen G. morbida. Inoculation of limbs took place in early summer of 2015, 2016 and 2017 at the Cyril Reed Funk Research Farm in Richmond, UT and Dayton, ID. Inoculated limbs were removed from the tree after senescence and canker size measured. An average of 336 trees were inoculated. One tree consistently exhibited resistance to TCD indicated by no canker staining. An additional 14 trees exhibited resistance for two of the three years. The results of this project indicate that breeding for resistance to TCD could be a management option for the disease.

Thesis (M.A.)--Georgetown University, Washington, D.C. / Bibliography: p. 73-75.

A regional field and geochemical study has allowed the identification of three primary units within the Proterozoic basement of the Valley of a Thousand Hills. The Nagle Dam Formation incorporates several chemically distinct orthogneiss series, characterised by limited intragroup fractionation, and derived from discrete sources. Intrusive into the gneisses are the megacrystic A-type granites of the Mgeni batholith, comprising the biotite granites of the Ximba Suite; the hornblende granites and charnockite of the Mlahlanja Suite; and the medium grained leucogranite of the Nqwadolo Suite. Petrogenetic modelling indicates that these are predominately cumulates. A general model for the A-type granites suggests that they were derived through variable MASH processes on an original within plate type basalt. Enclaves within the Mgeni batholith form a distinct series, the Valley Trust Formation, comprising a nongenetic orthogneiss association of amphibolite and crustal sourced quartzo-feldspathic gneiss and locally derived paragneisses. Interaction between the biotite granite and the pelitic enclaves generated a biotite garnet granite. Geothermobarometry suggests temperatures of metamorphism to a maximum of 770°c for the Nagle Dam Formation and c.850°C at a pressure of 6 kb for the Valley Trust Formation. Potential magmatic temperatures of c.760°C at 5 kb are derived for the Mgeni batholith. High Mn garnets within late veins indicate subsequent intrusion at higher levels. Derivation of a tectonic model for the Valley of a Thousand Hills is assisted by a revaluation of the chemical tectonic discrimination plots as source or initiator discriminators. These indicate an origin for the Nagle Dam Formation in an arc environment, while the bimodal orthogneiss association of the Valley Trust Formation and the A-type character of the Mgeni batholith suggests their evolution during extensional events. Geothermobarometry defines an isothermal decompression path, possibly generated during a collision event, superimposed on which is a potential midcrustal heating event, resultant on the intrusion of the Mgeni batholith. These data can be integrated with revised lithotectonic data from the southern portion of the Natal Province to derive a regional model. This comprises: the collision of a number of arcs with associated splitting to form backarcs, sedimentation, and failed rift systems; syn-collisional S-type magmatism, contemporaneous with isothermal decompression of the region; and a series of pulses of post-orogenic granites. / Thesis (Ph.D.)-University of Natal, Durban, 1999.

This paper examines the creative process behind the “2001 Nights”narrative film project. The filmmaker (Author) chose the ancient book TheThousand and One Nights, as a foundation and structure to tell a number ofcontemporary stories. Through these stories the author is hoping to explorea number of themes.The film mixes elements of magical realism with dramatic fiction toexplore the concepts of alienation, displacement and diaspora, trying tounderstand the concept of the “other”. Under the politicized, stressfulclimate of current world events, the film also examines identity. This piece ispersonal, in that the author is trying to take his own search for identity to amore global level.

It was the purpose of this study to adapt and produce Jules Verne's Twenty Thousand Leagues Under the Sea for a group interpretation presentation.

The purpose of this thesis is to understand the way in which religion and politics played a role in the formulation of a cyclical ethos of conflict, focusing in the last and most important civil war of nineteenth-century Colombia: The War of the Thousand Days (1899-1902). A historiographical review was used to understand the interactions between these two structures, and it pointed at a main problem centered in the political use of religion, as well as the transformation of political debate into a matter of political faith. In conclusion, the War of the Thousand days strengthened narratives of vengeance, worsened the situation of the country, and solidified an ethos of conflict in which the State used the Church to legitimize itself against the threats to the status quo of systemic inequality.

The aim of this study is to examine the collection One Thousand and One Nights (also: The Arabian Nights) from a european perspective, by comparing different european translations. The study focuses on three translations into Swedish from different periods of time and how the tales have changed in the translation process - depending on the prevailing line of approach and Western perceptions of Eastern standards. The thesis of the study is that Eastern culture, from a Western perspective, has been seen as exotic and different but not as a high literary culture and that this view has affected the translations into european languages. The study shows, among other things, that Western culture is many times considered normative in the translations and that the translators often give their own voices a prominent role, also that common Western notions of the East affects the translations. The word ”orientalism” is used frequently in the study and it refers primarily to the image of the Orient as it is described in Edward Saids' book Orientalism: as a Western construction whose main purpose is to strengthen its own conception of the Orient and thereby strengthen the Western identity as better than the Orient. The study shows, with basis in Saids' Orientalism, that the translation of One Thousand and One Nights often serves as a filter for Western beliefs and a fulfillment of expectations that already exist.

The idea of home, the ownership of property, and the impact of the home on the moral character and identity of its inhabitants were important concepts in the late nineteenth century. These views were perpetuated by a wide range of supporters including writers, religious leaders, social reformers, politicians. Architects and developers became aware of these ideas and capitalized on the hopes and dreams of middle-class North America by designing, marketing and building the right kind of houses, but perhaps more importantly, by building them in the right location which most often meant the suburban areas around major cities. Architect and writer Franklin Townsend Lent (1855-1919) is but one of many architects practicing in North America who appreciated the contemporary consumers’ sensibilities, and their attachment to their homes. Not only did Lent understand the importance of the concept of home, he was able to develop a design vocabulary that drew on the contemporary fascination with the American colonial period. In addition, he appreciated the consumer’s desire for a beautiful home in the suburbs, and took advantage of this in his work in New Jersey notably on the development of a suburban neighbourhood called Roosevelt Manor. Lent contributed to the built environment by designing and building many suburban houses, island and seaside cottages, and other structures. He also wrote three books and several pamphlets that provide an understanding of his personal contribution to architecture in suburban American, and to the early development of resort architecture in the Thousand Island region of Upstate New York and Ontario, an area that has received very little scholarly attention. This paper will focus on the domestic architecture of Lent in an attempt to construct an understanding of this unique contribution in the context of late nineteenth century and early twentieth century society by examining his published architectural writings, his advertisements, and some representative houses that he designed and built in the United States and Canada. / Thesis (Master, Art History) -- Queen's University, 2012-10-12 14:16:06.91

In 1867, the budding naturalist and future father of our national parks, John Muir, embarked on his thousand-mile walk to the Gulf from Jeffersonville, Indiana, to Cedar Key, Florida. Almost 150 years later I undertook the same journey, retracing the wilderness advocate’s footsteps through the South to catalog all that has changed in a century and a half of progress, to try and better understand the inception of his environmental ethics, and to learn to see the world as he did, harmonious, interconnected, rejuvenating and imbued with a pervasive spirituality. The chapters of this thesis retell selected legs of that journey.