Abstract HYDE, KATHERINE ANN. Holding Disillusionment at Bay
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A Strategy for Representing Difference and Cultural Diversity on Stage, and Jump for Jordan: a Play
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2016 Dialogic interplay: A strategy for representing difference and Cultural Diversity on stage, and Jump for Jordan: a play Donna T. Abela University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Abela, Donna T., Dialogic interplay: A strategy for representing difference and Cultural Diversity on stage, and Jump for Jordan: a play, Doctor of Creative Arts thesis, School of the Arts, English and Media, University of Wollongong, 2016. -
A Philosophy of the Dreaming Mind
Dream Pluralism: A Philosophy of the Dreaming Mind By Melanie Rosen A THESIS SUBMITTED TO MACQUARIE UNIVERSITY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF COGNITIVE SCIENCE, FACULTY OF HUMAN SCIENCE MACQUARIE UNIVERSITY, NSW 2109, AUSTRALIA JULY 2012 Table of Contents Abstract 9 Declaration 11 Acknowledgements 13 Introduction 15 Part 1: Dream Pluralism 25 Chapter 1: The Empirical Study of Dreams: Discoveries and Disputes 27 1.1 Stages of sleep 29 1.1.1 NREM Sleep 30 1.1.2 REM Sleep 32 1.1.3 The Scanning Hypothesis: an attempt to correlate eye movements with dream reports 33 1.2 Dream reports 35 1.2.1 The benefits of lab-based research 36 1.2.2 The benefits of home-based research 38 1.3 Measuring the physiology of the sleeping brain and body 41 1.3.1 Physiological measures: pros and cons 42 1.4 Cognitive and neural features of sleep 48 1.5 Lucid dreamers in the dream lab 55 Conclusion 59 1 Chapter 2: Bizarreness and Metacognition in Dreams: the Pluralist View of Content and Cognition 61 2.1 A pluralistic account of dream content 62 2.1.1 Bizarre and incoherent dreams 63 2.1.2 Dreams are not particularly bizarre 66 2.1.3 Explanations of the conflicting results 69 2.1.4 Dreams vs. fantasy reports 72 2.2 Cognition in dreams: deficient or equivalent? 80 2.2.1 What is metacognition? 80 2.2.2 Metacognition in dreams 83 Conclusion 97 Chapter 3: Rethinking the Received View: Anti-Experience and Narrative Fabrication 99 3.1 Malcolm on dreaming 101 3.1.1 Dreams and verification 102 3.1.2 Evidence against Malcolm 109 3.2 Metaphysical anti-experience theses 115 3.2.1 The cassette view 115 3.2.2 Arguments against the cassette view 118 3.2.3 Consciousness requires recognition or clout 120 3.3 Narrative fabrication in dream reports 122 3.3.1 Rationalisation of strange content 123 3.3.2 Confabulation and memory loss 127 3.3.3 Altered states of consciousness and what it’s like to be a bat. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Body Dreamwork Using Focusing to Find the Life Force Inherent in Dreams Leslie A
Body Dreamwork Using Focusing to Find the Life Force Inherent in Dreams Leslie A. Ellis Received: 16.11.2018; Revised: 17.09.2019; Accepted: 23.09.2019 ABSTRACT Finding and embodying the life force or “help” in a dream is the central practice of focusing-oriented dreamwork. This article briefly introducesfocusing (Gendlin, 1978/1981) and its application to dreamwork, and provides a case example with a transcript of how to guide a dreamer to find the life force in a distressing dream. The practice of embodying the dream’s life force provides the dreamer with an embodied resource that can be an end in itself, and can also facilitate working with the more challenging aspects of dreams and nightmares. Research and clinical examples support the use of this technique in clinical practice, and demonstrate how it can provide clinically significant relief from nightmare distress and other symptoms of PTSD. Keywords: dreamwork, focusing, nightmares, embodiment, psychotherapy International Body Psychotherapy Journal The Art and Science of Somatic Praxis Volume 18, Number 2, Fall/Winter 2019/20 pp. 75-85 ISSN 2169-4745 Printing, ISSN 2168-1279 Online © Author and USABP/EABP. Reprints and permissions [email protected] “A dream is alive,” according to Gendlin (2012), a philosopher and psychologist who developed the gentle somatic inquiry practice called focusing (1978/1981). He said that every dream contains life force—sometimes obvious and sometimes hidden— and that the main objective of working with dreams is to locate and embody this life force. This article describes how to do so, first by providing a brief introduction to focusing theory and practice and how it applies to dreamwork, then by grounding the theory through a clinical example of a dream that came to life. -
Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Paul Bowles’ Aesthetics of Containment Surrealism, Music, the Short Story Sam V. H. Reese A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts The University of Sydney 2014 Acknowledgments 3 Introduction 5 Chapter 1: Bowles, Freedom and America Bowles and the Critics 13 Freedom and Liberal Criticism 26 Patterns -
The Tangle of It
Reid MacDonald 109,300 words 553 Valim Way Author’s personal draft Sacramento, CA 95831 Printed on 11/5/14 (626) 354-0679 [email protected] THE TANGLE OF IT by Reid McFarland THE TANGLE of IT by Reid McFarland ⁂ For Vickie We’ve been apart for some time now I don’t know how to navigate these waters I love you and hope we can find some calm harbor ⁂ Herein tells a story where not all times and places match Forgive me those who are in the know So goes the way of memory and invention ⁂ McFarland / The Tangle of It Chapter 1. FRANNY'S CANDIES “I roll the Kettledrum candy in my mouth.” Franny pictures herself chewing on Boston Fruit Slices and her jaw flexes automatically. “Chewy wedges taste lemon and lime and go BOOM-bah-BOOM when I bite into one.” She adds, “When I unwrap a second Kettledrum out of its tight parchment, I examine the sour and sugar-copper rind. They are better enjoyed in pairs. Tomás, why aren’t Kettledrum candies hard? Like Lifesavers or Butterscotches? When they clink against your teeth, they could sound like a snare or a top hat. I can hear a soft bass rumble a tympani symphony deep within me. I swear, the Kettledrums make my voice go baritone when I sing BOOM-bah-BOOM after eating one. It’s true: I’ve tried it!” Franny confesses this to me under her gummy-bear breath and I agree unconditionally the way a best friend must. We come here because most of her schoolmates do not make their way down the block to Doña Dolce. -
TWILIGHT By:Stephenie Meyer ======Contents
TWILIGHT By:Stephenie Meyer ========================================================== Contents PREFACE 1. FIRST SIGHT 2. OPEN BOOK 3. PHENOMENON 4. INVITATIONS 5. BLOOD TYPE 6. SCARY STORIES 7. NIGHTMARE 8. PORT ANGELES 9. THEORY 10. INTERROGATIONS 11. COMPLICATIONS 12. BALANCING 13. CONFESSIONS 14. MIND OVER MATTER 15. THE CULLENS 16. CARLISLE 17. THE GAME 18. THE HUNT 19. GOODBYES 20. IMPATIENCE 21. PHONE CALL 22. HIDE-AND-SEEK 23. THE ANGEL 24. AN IMPASSE EPILOGUE: AN OCCASION ========================================================== Text copyright © 2005 by Stephenie Meyer All rights reserved. Little, Brown and Company Time Warner Book Group 1271 Avenue of the Americas, New York, NY 10020 Visit our Web site at www.lb-teens.com First Edition: September 2005 The characters and events portrayed in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the author. Library of Congress Cataloging-in-Publication Data Meyer, Stephanie, 1973— Twilight : a novel / by Stephanie Meyer. — 1st ed. Summary: Grade 9 Up–Headstrong, sun-loving, 17-year-old Bella declines her mom's invitation to move to Florida, and instead reluctantly opts to move to her dad's cabin in the dreary, rainy town of Forks, WA. She becomes intrigued with Edward Cullen, a distant, stylish, and disarmingly handsome senior, who is also a vampire. When he reveals that his specific clan hunts wildlife instead of humans, Bella deduces that she is safe from his blood-sucking instincts and therefore free to fall hopelessly in love with him. The feeling is mutual, and the resulting volatile romance smolders as they attempt to hide Edward's identity from her family and the rest of the school. -
Triton Food Pantry Finishes Construction UCSD to Host UC
VOLUME 50, ISSUE 27 TUESDAY, FEBRUARY 21, 2017 WWW.UCSDGUARDIAN.ORG UCAB PHOTOOSCAR TEASE UCAB Grants PREDICTIONSGOES HERE Round Table Pizza One-Year Lease Renewal The advisory board factored the unfinished Porter’s Pub space into their decision. BY MATTHEW ZAMUDIO NEWS EDITOR Last Tuesday, the University THE OSCARS ARE AROUND THE Centers Advisory Board decided to CORNER. THE UCSD GUARDIAN renew Round Table Pizza’s lease for one A&E STAFF HAS YOU COVERED year, reversing a May 2016 decision not to renew the lease. Board members WITH THEIR PICKS FOR BEST Photo by Christian Duarte// UCSD Guardian voted unanimously to keep the pizza DIERECTOR, BEST ANIMATED parlor in Price Center, citing concerns FILM, BEST LEAD ACTRESS that, due to delays in the leasing of AND ACTOR, BEST ADAPTED the Porter’s Pub space, students SCREENPLAY AND BEST UCSD would be without two alcohol-serving PICTURE, AS WELL AS WHO restaurants for a “significant” amount of time, according to UCAB Chair THEY THINK WILL WIN THIS Triton Food Pantry Finishes Construction Luke Wang. YEAR. The renewed lease is set to expire A&E, PAGE 8 By ARMONIE MENDEZ CONTRIBUTING WRITER June 30, 2018. The earlier decision to let Round AROUND THE GLOBE he Triton Food Pantry, which is heading is utilized in different ways. The pantry receives Table Pizza’s lease expire in June 2017 into its two-year anniversary, completed money from other sources as well, ranging from was based on the presumption that Immigrants are not the enemy construction last Thursday and is college councils to individual donations. -
Proquest Dissertations
READING DIALOGUES: EXPLORING INTERAGDONS BETWEEN TEXT AND IDENTITY IN THE FICTION OF CHRISTIANE BAROCHE, HELENE CIXOIJS AND PAULE CONSTANT Thesis presented by Gillian Rye for the degree of Ph.D. University College London ProQuest Number: U641924 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U641924 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT This thesis is an exploratory study of the transformative potential o f reading, taking as its specific focus the interaction between fictional texts and the identity o f the reader. Based on close readings of post-1980 fiction by the three writers, Christiane Baroche, Hélène Cixous and Paule Constant, the textual analyses are situated largely within a framework o f feminist theory, although they are not restricted to gender issues. The first chapter sets out my conceptual framework, positing a dialogic model of reading and formulating a dynamic, mobile concept of identity. The remaining chapters are speculative explorations o f interactions between text and reader, each chapter considering examples fi^om each of the three writers. -
The Reading of Silence in the Novels of Virginia Woolf
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1989 Escaping the Alphabet: The Reading of Silence in the Novels of Virginia Woolf Patricia Laurence The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3896 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
LAUGHTER: an ESSAY on the MEANING of the COMIC Henri Bergson
LAUGHTER: AN ESSAY ON THE MEANING OF THE COMIC Henri Bergson Bergson's thinking typifies a peculiarly Gallic tendency to rationalize the apparently ephemeral and subjective (in this case, humor), discussing it in exquisitely rarefied language in order to assert that which defies common sense (a funny hat is not funny, laughter expresses no emotion, no one laughs alone) but partakes nonetheless of a logical inevitability. Laughter, first published in 1911, clearly draws upon the early years of European modernism, yet also prefigures the movement in some ways. In recognizing the comic as it embodies itself in a "rigid," absentminded person, locked into repetitious, socially awkward behavior, Bergson--even as he looks backward, primarily to Molière--seems to be spawning the sophisticated visual and physical comedy of Chaplin, Keaton, and Lloyd. While Laughter won't quite explain why the French love Jerry Lewis, or keep you in stitches, it's a bracing read that will make you think twice about laughing the next time someone stumbles into a lamppost. — Robert Burns Neveldine LAUGHTER · Henri Bergson p. 2a LAUGHTER · Henri Bergson p. 2b TRANSLATORS' PREFACE This work, by Professor Bergson, has been revised in detail by the author himself, and the present translation is the only authorised one. For this ungrudging labour of revision, for the thoroughness LAUGHTER with which it has been carried out, and for personal sympathy in many a difficulty of word and phrase, we desire to offer our grateful acknowledgment to Professor Bergson. It may be pointed AN ESSAY ON out that the essay on Laughter originally appeared in a series of THE MEANING OF THE COMIC three articles in one of the leading magazines in France, the Revue de Paris. -
Thousands of Lies.PDF
THOUSANDS OF LIES MANUEL MARRERO A Novel EXPAT PRESS NEW YORK PART ONE I. INTRO UTERINE CATASTROPHE 9 9 9 9 © 2015 by Manuel Marrero II. BEFORE YOU GOT SCARED OF ME 16 16 16 16 16 16 All rights reserved. Printed in the United States of America III. BLOWS 27 27272727272727272727276 IV. HOW MAL CHANGED HER IDENTITY 41 41 No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information V. LOST IN THE FUCKHOUSE OR SOULSICK FAT GIRL storage and retrieval system, without permission in writing from the copyright owner. TORNADO 51 51 51 This is a work of fiction. Names, characters, places, and incidents either are the product VI. THE HISTORY OF SEIZURES 6060606060606060606060 of the author’s imagination or are used fictitiously, and any resemblance to any actual persons, living or dead, events, or locales is entirely coincidental. VII. LUTZ/HEMPEL 1108081108081108110808180 Thanks Susanna, Tony, Wylie, Thomas, Mallory and Alanah. Book Design and Artwork by Arturo Herman Medrano. PART TWO VIII. PHONE HOME 119 119 119 119 119 IX. THOUSANDS OF LIES 181 X. MILES OF HURT ()*228228228228228228228228228228 XI. LAST REFUGE OF THE SPEED EATERS AND SNIZZ HEADS 236 236 236 XII. SEVEN LONG AVENUES OF LOVE 272 272 XIII. CATHEXIS 300 For so and so . PART ONE “L’homme est cible sur terre pour des tireurs secrets.” -- Antoine de Saint-Exupéry. Terre des Hommes, 1939. “Misery is wasted on the miserable.” -- Louie 9 I. INTRO UTERINE CATASTROPHE . Agent Rx -- musician, outlaw, and fugitive at large -- speaks .