Master of Arts, The Ohio State University, 1971, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1966, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, The Ohio State University, 1965, Graduate School

Committee: Not Provided (Other) Subjects:

Master of Arts, University of Akron, 2009, Communication

This study contributes to the research on leadership style, power and its cross-cultural differences. The study was based on the Leadership Grid (Blake & McCanse, 1991) and the suggestion by its creators, Blake and Mouton (1964), in their seminal work, that each Grid leadership style was tied to specific bases of social power. This study explored the original suggestion to identify if indeed leaders with a particular leadership style are more inclined to use a certain source of power. Further, this study was conducted on cross-cultural level, assessing the differences in Grid leadership style and power between leaders in India and the United States. The cultural dimension of power distance was also explored. The study required subordinates to report on their leader's leadership style, power use and nature of power distance in their organization. The analysis of data revealed that while there is a propensity for some Grid style leaders to use certain specific power bases, overall leaders were found to have a high use of legitimate and coercive power, irrespective of their leadership style. Also, in line with the prediction made, the power distance between leaders and subordinates was higher in Indian organizations compared to US organizations. Despite this, US leaders were found to be significantly higher in their use of position power compared to Indian leaders.

Committee: Carolyn M. Anderson PhD (Advisor) Subjects: Communication; Management; Organizational Behavior

Master of Arts (MA), Bowling Green State University, 1959, English

Committee: Howard O. Brogan (Advisor) Subjects: British and Irish Literature

Master of Arts (MA), Bowling Green State University, 1959, English

Committee: Howard O. Brogan (Advisor) Subjects: British and Irish Literature

Doctor of Philosophy, The Ohio State University, 2019, English

Although the first balloon flights in 1783 created a sensation throughout Europe, human flight had long captured the imaginations of scientific and literary authors alike. Prior histories of flight begin with balloons, but earlier centuries boasted a strange and colorful aviary that shaped thinking about flight long before the first balloon ever left the ground. Taking a cultural materialist approach informed by a broad familiarity with the development of early flight machines and a deep familiarity with the literary conventions of the period, I analyze historical materials ranging from aeronautical treatises to stage pantomimes, from newspaper advertisements to philosophical poems, from mechanical diagrams to satirical cartoons. This earlier culture possessed high hopes and anxieties about human flight. I argue that early flight was lively and varied before the invention of a successful flying machine, and that these early flights were important because they established an aerial tradition astonishingly resistant to change. Rather than revolutionizing the culture, ballooning was quickly incorporated into it. Although ballooning came to be regarded as a failure by many onlookers, the aerial tradition had long become accustomed to failure and continued unabated. Human flight has always promised tremendous and yet debatable utility, a paradox that continues into the present age.

Committee: Roxann Wheeler (Advisor); David Brewer (Committee Member); Sandra Macpherson (Committee Member); Jacob Risinger (Committee Member) Subjects: Aeronomy; Aerospace Engineering; American Literature; Astronomy; British and Irish Literature; Comparative Literature; Engineering; European History; European Studies; Experiments; Folklore; Foreign Language; Germanic Literature; History; Language; Literature; Mechanical Engineering; Museums; Philosophy of Science; Physics; Science History; Technology; Theater; Theater History; World History

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1973, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1972, Graduate School

Committee: Not Provided (Other) Subjects: Literature

Doctor of Philosophy, The Ohio State University, 1971, Graduate School

Committee: Not Provided (Other) Subjects: Literature

BA, Oberlin College, 2000, English

The ideal of consilience - the inductive concurrence of seemingly disparate ways of thinking into a single, unified, all-encompassing intellectual system - or more simply put, "unified learning" - has been largely set aside since the rise of the industrial age and the championing of the industrious, better-be it individualized mind of the enlightenment. The Catholic Church was the last western world-dominant institution to actively perpetuate and work according to the rubric of a unified field of knowledge. Our thoughts and everything else were under God and indivisible: our ethics and our physics alike were the immaterial idea-stuff of the divine, benevolently nudging us towards some golden age. But, with grandiloquence and a hell-uv-a-lot of liberation rhetoric, reason found itself in a dominant position within the hegemony of intellectual and academic discourse. A preference for reasonability and individuation dictated that we divide up our disciplines, that we allow each scholar to pursue a particular field of interest without insisting that that field collapse into theology in its most fundamental stages. It was either that our humanist logics were not sophisticated enough to synthesize all of the natural or conceptual oppositions flourishing at that time, or that we had come to disregard the ironically rigorous project of righteousness and truth just enough to see a use and a truth of a differing quality in dividing up our conceptual schemes. The separation of church and state might be seen as a manifestation of this "divided front" approach. Perhaps it was with the same spirit that William Wordsworth and William Blake distinguished their subject matter - literature and poetry - from others with a sense of purpose, offering an aesthetics and an ethics to an increasingly scientific, humanistic intellectual community that seemed to them sorely lacking in emotionality and spirituality. These, perhaps, were steps in a process of genesis: genesis as religious begin (open full item for complete abstract)

Committee: William Patrick Day (Advisor) Subjects: Literature

BA, Oberlin College, 1990, English

The first significant evidence of Blake's influence on Yeats was the three volume edition of Blake's works published by Bernard Quarich and edited by Richard Ellis and W. B. Yeats in 1893. Within the history of Blakean criticism, the volume is unique. It is the product of Ellis and Yeats's occult viewpoints combined with enthusiastic but imperfect scholarship. The first two interpretative volumes of the edition, entitled "The System" and "The Meaning," include extreme restatements of other nineteenth-century interpretations, as well as several disposable ideas that reveal more about the editors' viewpoints than Blake's own. Among the most outlandish is their claim that Blake actually was Irish, an interpretation based more on Yeats' nationalism than external evidence. The third volume, entitled "The Works," takes great liberties with the Blakean text, rewriting and "improving" substantial sections of Blake's corpus. On the other hand, the Quarich edition was the first widely printed anthology that included exact reproductions of the entire plates to several longer poems in addition to the text, as they had originally been published.

Committee: (Advisor) Subjects: Literature

BA, Oberlin College, 1973, English

In The Four Zoas, Blake wages mental war against nature and mystery, reason and tyranny. As a dream in nine nights, the world of The Four Zoas illustrates an unreal world which nevertheless represents the real world to Albion, the dreamer. The dreamer is Blake's archetypal and eternal man; he has fallen asleep among the flowers of Beulah. The world he dreams of is a product of his own physical laziness and mental lassitude. In this world, his faculties vie with each other for power until the ascendance of Los, the imaginative shaper. Los heralds the apocalypse, Albion reawakes, and the world takes on once again its original eternal and infinite form.

Committee: Robert Longsworth (Advisor) Subjects: Literature

BA, Oberlin College, 1975, English

This thesis by no means exhausts the possible ways in which word and image combine to form Jerusalem. The discussions are intended to illuminate how parody is expressed in the designs although many other aspects of the plates could be examined. I have selected those plates which show most clearly that the recognition of the relationship between parody and vision, error and truth, is for Blake essential to man's renovation. Beginning with simple examples. I will conclude with a consideration of the five full plate designs which form a frame for Jerusalem. I will concentrate on the designs but the text will also be important. Design and text often combine to create meaning, and the relationships developed between images in the design often correspond to relationships between phenomena suggested in the text. However, a comprehensive and detailed reading of Jerusalem is beyond the scope of this paper.

Committee: Mollyanne Marks (Advisor) Subjects: Literature

Doctor of Musical Arts, The Ohio State University, 2004, Music

This document introduces Every Night and Every Morn, a song cycle by American composer Jeffrey Wood, from the poetry of William Blake. Emphasis is given to the poetic and theoretical analysis of the cycle and provides performance perspectives from two pianists and two vocalists. The first chapter contains biographical information about Jeffrey Wood the man and his music. The second chapter is a brief historical background of William Blake and a poetical analysis of his poem, “Auguries of Innocence”. The third chapter includes a critical commentary and theoretical analysis of Every Night and Every Morn. The fourth and fifth chapters present performance perspectives from two pianists and two vocalists. This study should help prepare any artist for a performance of this work. It provides insight into not only the music, but also the text, and how the composer has intertwined the two. The theoretical analysis elucidates the creative process of the composer. An addendum contains a complete list of Wood's oeuvre, which includes an opera, choral works, orchestral works, instrumental works, and liturgical music.

Committee: Charles Woliver (Advisor) Subjects:

Master of Arts (MA), Bowling Green State University, 2012, English/Literature

Constructions of children and constructions of cyborgs in literature and other textual representations are very similar; both identities are liminal since they exist outside the realm of adult human experience and both identities also serve as vehicles through which adults can experiment with their own conscious or unconscious fantasies or fears. Because of these similarities, the figure of the child and the figure of the cyborg frequently become linked in popular culture. Although the figure of the cyborg offers many liberating opportunities for alternative hybrid identity formations (as posthumanist Donna Haraway has pointed out), linking the figure of the child with regressive constructions of the cyborg can have many harmful consequences. Often, the figure of the cyborg becomes a site for the fears and phobias of adults afraid of the future. And since children are already sometimes marginalized in adult texts, or get used as adults experiment with their own anxieties about the present or the future, linking the figure of the child with the figure of the cyborg in some situations can theoretically create a doubly-differentiated “other.” Arguing that the merging of the figure of the cyborg and the figure of the child has become much more popular in recent decades, this project will attempt to analyze the evolution of the child-cyborg from Romanticism to Modernism by discussing representations of the “child-animal cyborg,” the “preternatural child-cyborg,” and the “mechanized (or robotic) child-cyborg.” It will then conclude by interrogating from a sociological perspective how regressive representations of child-cyborgs may affect real child bodies, positing that more progressive constructions of child-cyborgs are both possible and desirable.

Committee: Erin Labbie (Committee Chair); Piya Pal Lapinski (Committee Member) Subjects: American History; American Literature; Animals; Art History; British and Irish Literature; Early Childhood Education; Ethics; European History; Evolution and Development; Families and Family Life; Film Studies; Gender Studies; History; In; Individual and Family Studies

Master of Arts (M.A.), University of Dayton, 2013, English

William Blake displays a spiritual vision in his poetry, or an awareness of a significant arena of reality that most of us are blind to. It is this tremendous spiritual vision that makes Blake so exciting and spiritually nourishing to read. The main objective of the project will be to investigate this spiritual vision through the work of philosopher Richard Kearney. Kearney posits in his book Anatheism that human beings must undergo a period of atheism in order to come to a more genuine faith in God. I aim to synthesize the poetry of Blake's The Marriage of Heaven and Hell with the philosophy of Richard Kearney. I intend to investigate the relation between despair and exultation as an anatheistic moment. By using each text to come to a better understanding of the other, I will show that The Marriage of Heaven and Hell is decidedly anatheistic.

Committee: Andrew Slade Ph.D. (Advisor) Subjects: Literature; Philosophy