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Hughes, Peggy Janeane. "Paradise Lost." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5953.
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The worldwide gap between rich and poor is widening. Status seeking and status keeping are fueled by the conspicuous consumption of luxury goods. These bright shiny objects are staples in a restricted economy in which only the wealthy participate. The notion of gaining riches for the purpose of helping the poor is fading. Materialism, luxury and riches have been the subject of religious and secular inquiry. In this quest, wealth has been condemned and applauded. Prestige-obsessed consumers are becoming blind to worsening social conditions.
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Büscher, Barbara. "Lost & Found." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-25431.
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Djukic, George. "Essentialism : Paradise lost /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phd626.pdf.
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Hoelscher, Kylee. "What we lost." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1586508.
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<p> <i>What We Lost</i> contains chapters from a novel about two sisters whose relationship is irrevocably changed after one of them suffers a miscarriage at six months pregnant. Sarah, a mother of two children, and the sister of Lacy, who loses her baby, narrates the novel. <i>What We Lost</i> is a story about what happens when sisters, who have been at odds with each other their entire lives but are still best friends, have to deal with a real tragedy. Sarah and Lacy will have to decide if they will allow this tragedy to finally wrench them apart or bring them together at a time when they both need each other the most.</p>
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林君煌 and Kwan-wong Alan Lam. "The lost field." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B3198521X.
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Patrick, Denise L. "Lost and Found." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2101.
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Montjoy, Ashley Nicole. "Lost in Perception." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42648.
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Lost in Perception is a manuscript of narrative poems that are unflinching honest explorations of the selfâ emotional states-of-mind such as anxiety and anger, and states-of-being such as feelings of self-worthlessness. Confessional in nature these poems derive from familial relationships, domestic abuse, desire, sex and/or a combination of the aforementioned. To an extent, Lost in Perception is a manuscript of a diarist. It features a number of poems concerning a romantic relationship with an alcoholic that present a cohesive narrative within the collection. The narrator in Lost in Perception views the self as divergent from the self it once was and should be againâ the self lacks well-being or wholenessâ to become whole again most of the poems turn toward the natural world. The narrator perceives the self as existing in an unnatural state and what exists in nature is harmonious. The narrator wishes to take something from nature and apply to the self such that the self becomes whole again. There are two primary landscapes within Lost in Perceptionâ Florida coastal lands and Southwest Virginia Appalachian foothills and valleys. The natural world is also the space where the narrator enacts an emotional response to work through personal turmoil. The narrator turns toward nature as a place to figure out and/or admit something about the self, rid the self of negativity and to articulate a desireâ primarily for change to occur. Lost in Perception is an unabashed and clear presentation of an individual who once felt whole, but who now feels broken or stuck.<br>Master of Fine Arts
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Hayes, Leda Hayes. "The Lost Boy." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510933652950512.
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Lam, Kwan-wong Alan. "The lost field." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953047.
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Sturm, Ulrike. "Lost for Words." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9501.
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This thesis explores the themes of identity and cultural alienation at the juncture of truth and memory, through a focus on the work of six contemporary artists who have worked with visual narratives and/or graphic novels as vehicles to relate their personal experiences. These artists are Barbara Hanrahan, Marjane Satrapi, Ian Abdulla, Alison Bechdel, Shaun Tan and Lars Martinson and their experiences range from finding themselves in country where they do not speak the language, through to travel and migration stories, as well as feelings of cultural isolation within one's own culture as a result of being a member of a social or ethnic minority. In parallel with the investigation of the work of these artists, the literary work of WG Sebald is also drawn upon to explore these themes. His unique combination of image and text challenges our commonly held notions of the veracity of images. The consideration of work of Sebald in conjunction with the narrative visual works of Hanrahan et al offers insights into the broader concept of identity and how our memories, whether true or not, and however distorted or flawed they may be, are what situate us socially, culturally and individually. Some of the artists discussed incorporate a strong text element in the work of, yet despite this, there nevertheless exists a sense of a loss for words: a 'silencing' in a certain sense, and a struggle to express one's identity, which they find through the narrative of visual language. These themes are reflected in the creative work Sturm produced as part of her research. Her creative work contemplates the influence that her experience of migration from Germany to Australia as a young child has had on her personal experience of identity, and developed into an exploration of the nexus between memory and truth. The conclusion proposed is that it is not 'truth' that matters so much as our perception of the truth from a particular point in time and a particular perspective, and that this is a key element in the concept of identity. Apart from cultural experiences, these perspectives vary vastly from childhood to adulthood, although our childhood perceptions frequently creep in to affect our adult lives.
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Lindholm, Anton. "Lost in translation." Thesis, KTH, Arkitektur, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-273736.
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This thesis explores the threshold between the analog and digital realms through various investigation of theories and methods. My interest in this subject came as a result when reflecting upon my 5 years at KTH, describing a gradual transition from analog to digital. This raised questions of the relevance of analog in an otherwise digital reality. The aim of this project was never defined in advance, instead a selection of questions and observations emerged as a result. The intension was never to declaim one or the other but rather to investigate in new possibilities connected to its use.
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Kresock, Sylvia Anne. "Lost in Transmission." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/144569.
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Metzgar, Bonnie. "You lost me." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2581.
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Kazi-Nance, Ambata K. "Lost and Found." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2614.
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McKay, Mark. "Economic lot scheduling with stochastic demands and lost sales /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/8726.
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Hill, Roger M. "Lost sales inventory models." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302560.
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Isom, Nicholas. "Lost in the Fire." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/td/1444.
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In this paper, I will discuss the production of my thesis film, Lost In The Fire. The main subjects of this paper are Writing, Directing, Production Design, Cinematography, Editing, Sound, and Technology. I will also be talking about the ways the Graduate Film program at UNO prepared me to accomplish this project. In addition, I will share my process and reflect on the failures and successes of making this film.
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Meals, Nathaniel Jeffrey. "Among the Lost: Fictions." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522933463551811.
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Ludi, Paul Anthony. "Smuts : Lost in Transmission?" Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60380.
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This dissertation examines the transmission of the past and how it is affected by context, source materials, and the individual with regards to opinion and inherent bias. The subject of this analysis is Jan Christiaan Smuts and how he has been portrayed over the last century. Various authors are analysed with W. K. Hancock forming a kind of watershed given the access to primary material. The dissertation includes a brief discussion of South African historiography as well as a brief biographical outline of Smuts's life. The main concern is however a literature analysis of selected material which will set out to illustrate how information is often "lost in transmission."<br>Dissertation (MHCS)--University of Pretoria, 2016.<br>Historical and Heritage Studies<br>MHCS<br>Unrestricted
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Wood, Sarah. "Lost film found film." Thesis, University of Kent, 2015. https://kar.kent.ac.uk/48012/.
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In an age where the historical event is mediated increasingly through the still and moving image, new stress is placed on the archival image as surviving evidence of and performer of history. Lost Film Found Film asks what the scope is for re-intervention by artists who engage with the documentary archival. What is found in their reappropriation? What is lost in the remix? Through a discussion of key works by Jean-Luc Godard, Hito Steyerl, Harun Farocki, Jayce Salloum, Johan Grimonprez and Eyal Sivan, Lost Film Found Film offers a definition and a description of what I have called the Cinema of Aftermath. I define this as cinema that evolved in the aftermath of the Second World War, that deploys found footage film not only as a form of critique but also as a form of participation in wider historical and political events. I argue that the Cinema of Aftermath comments on politics and is also political. Central to its project is a questioning of the potency of the archival image in both its self-reflexive and wider cultural use. In three chapters, I explore how the Cinema of Aftermath recalibrates the meaning and renews the formal possibilities of the documentary, and analyse the performance of memory, truth and evidence by this aestheticisation of archival image.
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Manderson, David. "Lost bodies : an original novel with a critical introduction (Lost bodies/social critique)." Thesis, University of Strathclyde, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442024.
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Kozlova, Ekaterina E. "'Whoever lost children lost her heart' : valourised maternal grief in the Hebrew Bible." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:eb33c1be-0f1b-45e3-bb38-6ec147250b9b.
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Recent studies on ancient Israel's mortuary culture have shown that mourning rites were not restricted to the occasions of death, burial and subsequent grief but were, in fact, implemented in diverse contexts. In this thesis I am looking at biblical traditions in which these solemn practices contributed, or sought to contribute to various forms of social restoration. More specifically, I explore the stories of biblical grieving mothers who are placed at key junctures in Israel's history to renegotiate the destinies not only of their own children, dead or lost, but also those of larger communities, i.e. family lines, ethnic groups, or entire nations. Since 'the social and ritual dimensions of mourning are intertwined and inseparable ... [and] rites in general are a context for the creation and transformation of social order', these women use the circumstance of their 'interrupted' motherhood as a platform for a kind of grief-driven socio-political activism. Since maternal bereavement is generally understood as the most intense of all types of loss and was seen as archetypal of all mourning in ancient Near Eastern cultures, Israelite communities in crisis deemed sorrowing motherhood as a potent agent in bringing about their own survival and resurgence back to normalcy. I begin my discussion on mourning rites as tools of social preservation and restoration in biblical traditions with (1) a list of modern examples that attest to a phenomenon of social, political, and religious engagement among women that stems from the circumstance of child loss; (2) a survey of recent grief and death studies that identify maternal grief as the most intense and the most enduring among other types of bereavement; (3) an overview of ancient Near Eastern cultures (Mesopotamia, Egypt, Hatti, Syro-Palestine) that not only viewed maternal grief as paradigmatic of all mourning but also utilised ritual actions performed by mothers in contexts of large scale catastrophes as mechanisms for dealing with a collective trauma. Against this background my project then turns to discuss four biblical mothers: Hagar (Gen. 21:14-21), Rizpah (2 Sam. 21:1-14), the woman of Tekoa (2 Sam. 14:1-20) and Rachel (Jer. 31:15-22), all of whom perform rites for their dying or dead children and exhibit a form of advocacy for society at large.
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Möllers, Hildegard. "A paradise populated with lost souls : literarische Auseinandersetzungen mit Los Angeles /." Essen : Verl. die Blaue Eule, 1999. http://catalogue.bnf.fr/ark:/12148/cb38876107f.
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QUINTANS, ERICA TAVARES. "I HAVE ALSO LOST MY SON: PATERNAL MOURNING IN GESTACIONAL/NEONATAL LOSS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34141@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES<br>O luto é um processo natural e esperado diante do rompimento de um vínculo significativo. Socialmente ainda é desconsiderado o pesar perante a perda gestacional/neonatal, sendo uma categoria de Luto Não Reconhecido. Os homens são socialmente incitados a evitar suas emoções e a não entrar em contato com seus sentimentos, existindo a ideia de que eles não se enlutem pela perda de um(a) filho(a) no período gestacional/neonatal. O presente estudo pretendeu pesquisar a vivência de homens sobre o luto na perda de um(a) filho(a) no período gestacional/neonatal. Para isso, foi realizada, inicialmente, uma revisão da literatura de estudos do tema, na qual foram encontrados poucos registros sobre o assunto, os existentes sendo internacionais. Após essa etapa, foi realizado um estudo exploratório por meio de 10 entrevistas semi-estruturadas, baseadas em um roteiro previamente delineado. Foram realizadas 3 entrevistas piloto. A análise dos resultados foi feita a partir do Método de Explicitação do Discurso Subjacente (MEDS). Do discurso dos sujeitos emergiram 8 categorias de análise: Foi perda mesmo… e eu também senti; Cuide dela e segure firme, porque você precisa ser forte!; Não vamos falar sobre isso; Algo mudou entre nós; Ritual: um momento singular, para uma experiência singular; Algumas coisas tornaram esta experiência mais fácil… Outras coisas a tornaram ainda mais difícil; Existe um sentido para o que eu vivi; No futuro eu quero... Como resultado destaca-se o fato de os homens sentirem diversas emoções profundas ante a perda de um filho no período gestacional/neonatal, ainda que, muitas vezes, não encontrem um suporte social efetivo. Em relação aos rituais de despedida, os homens encontram-se divididos quanto a sua realização. Entretanto, o relacionamento conjugal parece ser a fonte de apoio necessária para vivenciar as emoções e saírem fortalecidos dessa experiência. A maioria dos homens parece ter conseguido encontrar um sentido para suas experiências, percebendo que são pessoas melhores após perderem os(as) seus(uas) filhos(as). A partir da perda, muitos têm uma perspectiva de futuro e de reconstrução de suas vidas, desejando ter mais filhos ou mudar de cidade. Ficou evidente que, quando existe a oportunidade, os homens falam abertamente sobre como foi, para eles, a experiência de perder os(as) seus(uas) filhos(as).<br>Mourning is a natural and expected process in the face of breaking a meaningful bond. Socially it is still disregarded the regret against gestational/neonatal loss, being a category of Unrecognized Grief. Men are socially urged to avoid their emotions and not to get in touch with their feelings, and there is the idea that they do not get involved in the loss of a child in the gestational/neonatal period. The present study aimed to investigate the experience of mourning in the loss of a son/daughter in the gestational/neonatal period. For this, a literature review was initially carried out in which few studies on the subject were found, all of which are international. After this step, an exploratory study was carried out through 10 semi-structured interviews, based on a previously delineated script. Two pilot interviews were held. The analysis of the results was made from the Explanation Method of the Underlying Discourse (MEDS). From the discourse of the subjects emerged 8 categories of analysis: It was loss even ... and I also felt; Take care of her and hold it tight, because you have to be strong !; Let s not talk about it; Something has changed between us; Ritual: a singular moment for a singular experience; Some things have made this experience easier... Other things have made it even more difficult; There is a sense to what I have lived; In the future I want to ... As a result, the fact that men feel several deep emotions about the loss of a child in the gestational/neonatal period is highlighted, although often they do not find effective social support. Regarding the farewell rituals, men are divided as to their accomplishment. However, the marital relationship seems to be the source of support needed to experience the emotions and come out strengthened from this experience. Most men seem to have managed to find meaning in their experiences, feeling that they are better people after losing their children. From the loss many of them have a future perspective and reconstruction of their lives, desiring to have more children or change to another city. It became clear that when there is an opportunity, men openly talk about how it was for them the experience of losing their children.
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Curdy, Averill. "From the lost correspondence : poems /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164499.
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Bender, John Brett. "Lost tramps & cherry tigers." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/68/.
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Azad, Nafiza. "The road of the lost." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50925.
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The full abstract for this thesis is available in the body of the thesis, and will be available when the embargo expires.<br>Arts, Faculty of<br>Library, Archival and Information Studies (SLAIS), School of<br>Graduate
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Meynell, Robert A. S. "Canadian Idealism: Forgotten, not lost." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29236.
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What does it mean to be free? How have Canadians tried to answer this question? Where does Canada's political culture stand today? These are the themes of this dissertation, and at its heart we will find the abundance of G.W.F. Hegel's political philosophy. The road to answering these questions begins with recognizing that there is a distinctive tradition of Canadian political philosophy which offers an original formulation of the question of freedom, community, and history. The tradition is Canadian Idealism, and its members share central elements of a common vision that is strongly informed by Hegel's thought. This dissertation identifies this tradition and its central tenets, traces the influences and makes a general critical assessment of its political prescriptions.
The case is made through an analysis of the importance of Hegel's philosophy to the works of three leading Canadian thinkers: C.B. Macpherson (1911-1987), George Parkin Grant (1918-1988), and Charles Taylor (1931-). These three political philosophers are excellent representatives of the continuance of the Hegelian tradition since the 1950s. They have had an enormous influence on Canadian scholarship and they each embody very different strains of the theoretical approach, thus giving us a good sample of the various forms that a Canadian idealist can adopt. Hegel's philosophy has served as the foundation for their arguments regarding multiculturalism, nationalism, human agency, and the crisis in values of the modern age. While many people have argued for and against the culturalist and nationalist politics of Grant and Taylor or the form of socialism articulated by Macpherson, the significance of their Hegelianism has been underemphasized, and in the cases of Grant and Macpherson it has been almost universally unrecognized. I see them not as isolated political philosophers who share an interest in Hegel, but rather as members of a scarcely acknowledged Canadian intellectual tradition that has been recorded by a few intellectual historians, but virtually ignored in the literature on Canadian political thought.
Not only does this dissertation refine our understanding of these three prominent Canadian thinkers and their conceptions of freedom and community, but it also outlines the main tenets of an intellectual tradition that has played a major role in defining Canada's political culture.
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Tambala, Smartex Godfrey. "Redefining lost culture through architecture." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ31646.pdf.
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Thrasher, Kevin Mendel. "Exercise Musk Ox, lost opportunities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0003/MQ32383.pdf.
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Landers, Marion Rose. "Lost Lesotho princess/landlord ears." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/4130.
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This thesis is titled Lost Lesotho Princess/Landlord Ears. It consists of an original play
of the same name based upon the life-story of the author’s paternal grandmother and an
accompanying essay titled “Lost Lesotho Princess/Landlord Ears: Visibility, Invisibility,
Roots and Liminality in the African Diaspora.” The play falls under the following
theatrical categories: African Diaspora drama, black theatre, western Canadian black
theatre, realism, the memory play and to some extent, contemporary existentialism. The
essay is a discussion by the author regarding the dramatic, social and political context of
the play. The following themes are highlighted: history — pertaining to a collective black
history and individual histories and (her)stories, regarding and respecting ones’ elders as
a link to history and Africa, and notions of commonality and difference within the
African Diaspora with attention paid to myths and narratives about what it means to be
‘dark-skinned’ or ‘light-skinned’ in various black communities around the world. The
methods of investigation were: a study of the drama and literature of the African
Diaspora, the dramatic literature of other post-colonial societies and marginalized groups,
one-on-one interviews with Rose Landers, whose experiences are represented by Carrie,
the main character in Lost Lesotho Princess/Landlord Ears and field research at JazzArt -
a dance-theatre company in Cape Town, South Africa. The view-point the play lends
itself to and the conclusions drawn by the essay are: that black people and black
communities need agency and healing, that being of mixed race does not have to equal
psychological confusion and that mixed communities, families and cultures have been
and will continue to be relevant to the universal black experience and the artistic
representation of the African Diaspora. The importance of writing as a form of healing,
resolution and revolution for members of the African Diaspora and the importance of
authorship of ones’ own history is highlighted.
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Learmonth, Nicola. "Self-perception in Paradise lost." Thesis, University of Canterbury. English, 2001. http://hdl.handle.net/10092/7058.
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Milton's God can derive satisfaction from relationships with the Son, the angels and Man, and hold these creatures accountable for maintaining this union only if he allows them free choice. Creatures demonstrate their love and obedience, and so maintain their relationships with God, by choosing to carry out the divine will. The choice either to maintain or break union with God must be deliberate, and involve an internal process if that creature is to be free and held accountable for their actions. The intellectual faculties of reason, will, and self-perception enable created beings to exercise their freedom consciously. All free agents must apply their self-knowledge to comprehend and fulfil their respective roles in Creation. An accurate creaturely self-perception involves creatures knowing their identity and nature; understanding the limits of their power to act; appreciating God as the source of their existence and their power to act; and recognising their places and roles in the divine order. Self-understanding is connected to happiness and together these form an appreciation that motivates free agents to establish and continue their alliances with God. The Son, Satan, Adam and Eve all behave in accordance with the way they understand themselves. The Son's selfless obedience to God is motivated by his appreciation for God as his Maker, and his perception of his role in the divine order as the physical manifestation of God's will. This frees the Son to pursue his desire to promote the divine purpose without consideration for himself. Inaccurate self-perception is self-deception, allowing creatures to believe that their happiness consists in independence from God. Satan deceives himself into believing that he can be God's adversary and that opposition to God is a realistic possibility. Adam's and Eve's individual acts self disobedience are the result of a gradually developing inaccuracy in their self-perception. Adam comes to believe that Eve is the source of his happiness, and this misconception is confounded with his fear of solitude. He disobeys God after allowing his immoderate love for Eve to become a higher priority than his relationship with God. Eve's self-perception is confused when she becomes aware of a disparity between her husband's assessment of her and her own understanding of herself because hitherto Adam has been her primary source of knowledge about God, Creation, and her being. The Serpent inspires a sense of injured merit that corresponds with Eve's impression that Adam judged her unfairly. She disobeys God's law because she comes to believe that obeying God impedes her happiness. These creatures behave in accordance with the way they understand themselves, and can make righteous choices by applying their reason in conjunction with their self-knowledge.
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TANIMOTO, Chikako. "Milton's Eve in Paradise Lost." 名古屋大学大学院国際言語文化研究科, 2005. http://hdl.handle.net/2237/19726.
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Taylor, John A. "The lost wax casting technique." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864921.
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The primary objective of this creative project was to fully explore and analyze the centuries old technique of lost wax casting.The secondary objective was to produce a body of work combining my creative inspirations from nature and my African culture.This body of work employed a variety of traditional metalsmithing techniques combining raised/constructed hollow ware, in a variety of metals, with cast metal forms.<br>Department of Art
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Branz, Tyler. "HAVE NOMINATING CONVENTIONS LOST POWER?" Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3185.
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Do conventions still have relevance in the modern political world? Some call them glorified television infomercials for presidential candidates while others refer to them as admired pillars of American political history. Whichever viewpoints one identifies with, presidential conventions are interesting to study historically, and can be studied analytically. The following case studies examine the institution of the nominating convention: what they do, how they form, what they have accomplished and how they affect the voters. This study finds that conventions are still meaningful in American politics, particularly for affecting party unity, candidate image and, to a lesser degree, party platform.<br>M.A.<br>Department of Political Science<br>Sciences<br>Political Science MA
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Conner, William. "Less Lost: No Touchdown Dance." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5919.
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Less Lost is a feature-length film by William Chase Conner, made as part of the requirements for earning a Master of Fine Arts in Film & Digital Media from the University of Central Florida.<br>M.F.A.<br>Masters<br>Visual Arts and Design<br>Arts and Humanities<br>Film; Entrepreneurial Digital Cinema
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Levy, Moira. "Lost on the way home." University of Western Cape, 2018. http://hdl.handle.net/11394/6089.
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Magister Artium - MA<br>This is a novella about homelessness, and the forms of exile, loss and displacement that it
creates. Based in South Africa and Palestine/Israel, it is a story about four men who all find
themselves alienated and marginalised and who, in their different ways, find themselves lost
in their search for a place to belong.
Reuben is the primary character. Estranged from the Jewish community into which he is
born, he turns his back on apartheid South Africa, expecting to find an alternative home in
Israel. But when he arrives there he encounters once again the same dark side of humankind
that he thought he had left behind.
He is not the first of his family to be driven from a place he calls home. His grandfather,
Sam, who has already passed away by the time this story takes place, experienced
homelessness after Nazism forced him to flee. The novella opens at the moment when
Reuben takes his son Dov to Israel as a young child. But a growing estrangement between
father and son emerges over time, as Dov is fiercely loyal to Israel while Reuben becomes
bitterly disillusioned. They find themselves pitted against each other politically, until the
pathology of Israeli militarism drives Dov to a breakdown. Following Dov's own eventual
personal escape into exile, when he decides he must dissociate himself from the Israeli
Defence Force, he calls out to his father to rescue him and take him home. Finally there is
Haroom, a young Israeli Palestinian whom Reuben befriends, who has his own story of
rootlessness and the absence of belonging.
In Lost on the Way Home, the politics of oppression, discrimination, dispossession, and
violent victimisation underpins each of the four men's individual stories. And despite their
differences, all share the experience of being driven from their "homes", or the communities
or places from which they originated. It is through their individual relationships that they
reach out to each other to find a place to share and establish an alternative to the homes they
have lost. In the end it is left to Reuben and Dov to struggle to find a way of finding each
other when they set off together on a desert hike with no destination and only the goal of
escaping their pasts.
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Lebeau, Vicky. "Lost angels : cinema, identification, dispossession." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261408.
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Salvatori, Pedro. "Lost: aproximándonos al tiempo final." La Mirada de Telemo, 2010. http://repositorio.pucp.edu.pe/index//handle/123456789/20382.
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¿Qué tanto alteraron los eventos los personajes cuando viajaron en el tiempo?...¿Pueden cambiar el futuro?. Estas son las preguntas principales que los creadores y productores de la serie televisiva Lost han confesado como última puerta del trayecto diverso y fantasioso de los sobrevivientes de un accidente aéreo en una misteriosa isla.
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Butts, Joshua R. "New to the Lost Coast." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258471623.
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Lossgott, Kai. "Maps to get lost by." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/11598.
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Includes abstract.<br>Late in 1998, Lincoln, a former journalist turned truck driver, picks up the ghost of a 17 year old white schoolgirl on a dark Joburg highway. She becomes his confessor, as he relates fragments of his life, hoping to seduce her. He is driving a shipment to Port Elizabeth, where he grew up, but does not want to return home with the news of being HIV positive. He would rather drive forever. Sooner or later Lincoln abandons the map completely, as he proceeds to willfully get lost. He gets stuck in an indeterminate phantom time, struggling to stay awake, losing and finding himself on a journey through eerie nocturnal landscapes and memories he has forgotten. Ban, the ghost's obsessive-compulsive best friend, wakes up after her funeral having tried to commit suicide. He is pursued by memories of Marga while she was alive, in particular her theories on AIDS and sexuality, and his secret love for her. A number of forces, real and imagined, are driving him towards overcoming his fear of leaving the house. Ban feels abused by his mother Helen's lifestyle. She is a con artist with a taste for reckless men, the latest of which is Derrick, who represents to Ban everything which is morally reprehensible about adulthood and growing up. Ean's discoveries in the course of his spring clean of the house, and the stories Lincoln tells the ghost, uncover Helen's great secret. She survived apartheid by denying her coloured family and living as a white woman, rejecting the black father of her child early on for her dream of becoming a .great white actress. When Ban runs away from home with the intention to commit suicide, and Lincoln emerges into the dawn with finer hopes of returning home, they meet without recognising one another as father and son, but unexpectedly give each other hope to carry on. In a world the one does not believe in and the other has abandoned, a boy and a man resist and deny the unfolding of their stories. Central to their struggle are the themes of home, family and healing. For Ban, healing means leaving, for Lincoln it requires return. The memories which pursue them will force them into the discovery of who they are about to become.
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Bowman, Gaynor. "Edward II : England's lost saint?" Thesis, University of Kent, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633645.
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The cult that arose around the posthumous memory of Edward Il is currently recognised but dismissed as a brief, localised aberration, dependent upon external stimulus. The subsuming understandings required to support and project an image of Edward Il as a saintly figure remain unexplored. Therefore, this thesis through a synthesis and analysis of literary and material sources, read against contemporary political, cultural and religious views, aims to identify the foundations of his alleged sanctity and assess the nature, scope and duration of his veneration. This study contends that the idea of Edward Il as a martyr developed three years after his death when it was announced that he had been murdered. The vital nucleus to this was the deeply acculturated belief in the ' inherent sanctity of an anointed king, catalysed into veneration by the abject horror of his murder. This conviction adopted a political dimension in retrospective criticism of the regime of Isabella and Mortimer, which had supplanted the rule of Edward Il and usurped the rule of Edward Ill. The understanding of Edward Il as a saintly figure who stood against the usurpation of God's order became quiescently embedded into the contemporary spiritual hierarchy, resulting in some evidence of it becoming overlooked (as perhaps in the Luttrel/ Psalter) or under evaluated. This argument is explored through fresh interpretations, some re -dating and close readings of four literary pieces. The Lament of Edward If reveals a previously undetected analogy of Edward Il as Boethius. The Vita et Mars is suggested as a hagiography for the king. The Fieschi Letter is considered as a piece of anti-English propaganda emanating from the Hundred Years War and Adam Davy's 5 Dreams about Edward If is re-contextualised as a piece of propaganda possibly written or adapted to gain support for Bishop Despenser's crusade of 1383.
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Panetta, Federico <1990>. "Yugoslav Identity: a lost opportunity?" Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9535.
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L'elaborato si focalizza sul concetto di identità all'interno dell’area dei Balcani Occidentali (ex Jugoslavia) e come questi si sia riflesso su molteplici questioni che hanno riguardato la regione, partendo dell'analisi della questione interetnica.
Mantenendo quindi “l’identità” come filo conduttore l'elaborato si suddivide in due capitoli principali, prettamente compilativi, e un terzo, conclusivo, dove si propone una visione prospettica dell'area partendo da una teoria non ancora molto discussa.
Nella fattispecie il primo capitolo, prettamente storico, presenta una rapida ricostruzione storica dello sviluppo delle diverse realtà etniche nei Balcani occidentali, della nascita e crescita della Jugoslava (principalmente dello sviluppo della Repubblica Socialista, introducendo la figura di Josip Tito) dove si inserisce un paragrafo che analizzi i momenti istituzionali più importanti, in particolare cercando di capire la natura dei rapporti tra le differenti Repubbliche e province autonome inglobate dalla Jugoslavia, con un focus sulla costituzione del 1974, intesa anche come punto di svolta della storia del paese; a questo si ricollega l’idea dell’opportunità perduta di un’identità Jugoslava - persa con la morte di Tito -.
Il secondo capitolo verte principalmente sui conflitti degli anni novanta, cercando di dare una panoramica sull'importanza geopolitica dell’area e spiegando così le ragioni degli interventi esterni.
A tal proposito il lavoro si sofferma con un paio di paragrafi sugli interventi NATO, sia nei primi conflitti (1991 - 1995) che sull’intervento in Kosovo nel 1999, sempre al fine di spiegare l’importanza della questione identitaria, per capire come il conflitto abbia preso una svolta genocidaria; si riprende proprio il concetto e la definizione di genocidio.
Il capitolo è concluso esplicando come i conflitti si sono risolti e quali misure sono state prese sia all’interno che all’esterno della regione (dissoluzione della Jugoslavia, nascita degli Stati sovrani, istituzione del Tribunale Speciale, collaborazione degli Stati) e relative critiche.
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Sands, Niomi B. "Lost and Found: Contemporary Society, Culture, Memory and Experience through the Lens of Lost Property." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/414339.
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This creative arts research project investigates contemporary material culture through a study of lost property collected at a number of New South Wales arts centres both before and after the advent of COVID-19. The focus on New South Wales arts centres was developed to provide a structure for the project that utilised existing network connections and resources. The nature of an object that is first lost and then found evokes and implies a complex series of associations related to memory and experience. This study suggests that with the application of museum practices or protocols and studio production, each separate collection of lost objects inherently develops its own taxonomy as a collection of artifacts. Significantly the impact of the COVID-19 pandemic is measured by transformation in the symbolic register of these humble "lost property" objects when examined through a curatorial lens and with their material translation to the status of contemporary art.<br>Thesis (Professional Doctorate)<br>Doctor of Visual Arts (DVA)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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Barnet, Belinda English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Lost in the archive: vision, artefact and loss in the evolution of hypertext." Publisher:University of New South Wales. English, Media, & Performing Arts, 2004. http://handle.unsw.edu.au/1959.4/44384.
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How does one write the history of a technical machine? Can we say that technical machines have their own genealogies, their own evolutionary dynamic? The technical artefact constitutes a series of objects, a lineage or a line. At a cursory level, we can see this in the fact that technical machines come in generations - they adapt and adopt characteristics over time, one suppressing the other as it becomes obsolete. It is argued that technics has its own evolutionary dynamic, and that this dynamic stems neither from biology nor from human societies. Yet 'it is impossible to deny the role of human thought in the creation of technical artefacts' (Guattari 1995, p. 37). Stones do not automatically rise up into a wall - humans 'invent' technical objects. This, then, raises the question of technical memory. Is it humans that remember previous generations of machines and transfer their characteristics to new machines? If so, how and where do they remember them? It is suggested that humans learn techniques from technical artefacts, and transfer these between machines. This theory of technical evolution is then used to understand the genealogy of hypertext. The historical differentiations of hypertext in different technical systems is traced. Hypertext is defined as both a technical artefact and also a set of techniques: both are a part of this third milieu, technics. The difference between technical artefact and technical vision is highlighted, and it is suggested that technique and vision change when they are externalised as material artefact. The primary technique traced is association, the organisational principle behind the hypertext systems explored in the manuscript. In conclusion, invention is shown to be an act of exhumation, the transfer and retroactiviation of techniques from the past. This thesis presents an argument for a new model of technical evolution, a model which claims that technics constitutes its own dynamic, and that this dynamic exceeds human evolution. It traces the genealogy of hypertext as a set of techniques and as series of material artefacts. To create this geneaology I draw on interviews conducted with Douglas Engelbart, Ted Nelson and Andries van Dam, as well as a wide variety of primary and secondary resources.
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Johnson, William H. "Lost life expectancy rate survey meter." Thesis, Georgia Institute of Technology, 1992. http://hdl.handle.net/1853/16408.
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Norris, Cody. "What is Lost Along the Way." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1526941.
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<p> My Master of Fine Arts project exhibition, <i>What is Lost Along the Way</i>, presented seven paintings that used landscape and fire as metaphors to investigate the-ubiquity of presence and absence in life. What is lost along the way in life and how does loss allow for growth and understanding? My work explores the emotions and thoughts that are stirred when something is taken away. Illusionistic images of smoky forests were subjected to a torch and the chemical reaction of burning was used to create paintings that had a tragic beauty. The creation of the images utilized an additive and subtractive process between painting and burning away layers of paint. The process was controlled but not confined. The accident of the fire and the cyclical nature of creation was important to the larger theme of loss in the paintings.</p>
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Leonard, J. K. "Names and naming in 'Paradise Lost'." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355884.
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