Master of Science, Miami University, 2019, Geology and Environmental Earth Science

Induced seismicity has become a major issue with the increase in both hydraulic fracturing and disposal of leftover wastewater. Regulatory methods such as traffic light systems mitigate the impact of induced events, but do not predict when and where they will occur. Previous methods to identify induced seismicity (e.g. Caffagni et al., 2016; Yoon et al., 2015; Beauce et al. 2017) are effective, but require heavy computational requirements and/or multiple sensors to produce viable results. A computationally efficient Repeating Signal Detector (RSD) was recently developed to identify similar waveforms in continuous seismic data using a single seismometer. Instead of relying on a priori templates, RSD identifies repeating signals of interest (SoI) and then performs agglomerative clustering, resulting in a significantly faster processing time than other approaches. However, as RSD detects any repeating signal, not limited to earthquakes, the current study focuses on distinguishing repetitive seismicity from repetitive noise. In Central-eastern Ohio, the most effective approach has been to apply discriminants to resulting families post-cross-correlational routine, while in Southeastern Ohio, culling the SoI prior to clustering has been most effective. The successful methods for discrimination we constructed were based on signal characteristics such as relative amplitudes and correlation coefficients between components.

Committee: Michael Brudzinski (Advisor); Brian Currie (Committee Member); Carrie Tyler (Committee Member) Subjects: Geological; Geology; Geophysical; Geophysics

Doctor of Philosophy, The Ohio State University, 1982, Graduate School

Committee: Not Provided (Other) Subjects: Education

Doctor of Philosophy (Ph.D.), Bowling Green State University, 2016, American Culture Studies

While popular movies are often overlooked in film studies, the action-adventure genre in the 1980s has drawn considerable academic attention. The consensus among the literature is that a conservative backlash (spurred on by Ronald Reagan's two terms in office) against a resurgent equality movement gave rise to hypermasculine movies like First Blood and Predator and hypermasculine stars like Arnold Schwarzenegger and Sylvester Stallone. While this still holds true, a closer look at the movies and the era reveals a much more nuanced picture. A thorough examination of the culture, the movies, and the male bodies on-screen in the 1980s—through the lens of affect theory, cinematography, and spectacle, among others—uncovers a number of significant cultural phenomena that have the potential to shape future academic work. This study not only elucidates and reconstructs the conception of filmic spectacle to include the male body on-screen, it also identifies two types of male bodies on-screen in the 1980s—the muscle-bound, aesthetically spectacular body and the lithe, kinesthetically spectacular body. Additionally, this study argues that filmic spectacle (as experienced by viewers) is actually made up of two discrete dimensions, a physical dimension composed of massive scale and explosions and a physiological one composed of affect and emotion. Unpacking spectacle in this way ultimately produces a number of new tools for film scholars while reimagining, in a significant way, American culture in the 1980s, the action-adventure movies of the decade, and the greater cultural currents in the Reagan era.

Committee: Theodore F. Rippey Ph.D. (Advisor); Thomas A. Mascaro Ph.D. (Other); Andrew E. Hershberger Ph.D. (Committee Member); Jeffrey A. Brown Ph.D. (Committee Member) Subjects: Aesthetics; American Studies; Cinematography; Comparative; Ethnic Studies; Film Studies; Gender; Gender Studies; Mass Media; Motion Pictures

Master of Music (MM), Bowling Green State University, 2016, Music Performance/Instrumental Performance

Rebecca Clarke's Sonata for Viola and Piano (1919) is one of the few works by a female composer considered standard repertoire for violists. One of the first generation of women to study at the Royal College of Music, Clarke's gender clearly influenced her compositions. Feminist musicologist Susan McClary has written extensively about the gendered implications of the sonata form; she argues that the late 19th-century sonata form is in essence the story of a male protagonist defeating feminine threats to his masculinity. When the composer is a woman, like Clarke, the possibility that this formula is either consciously or unconsciously subverted by the composer must be considered. Several scholars have noted that Clarke's sonata in some ways appears to subvert the typical sonata narrative. Clarke's countrywoman Pamela Harrison also composed her own Sonata for Viola and Piano in 1946; this piece is examined through the lens of the previous scholarship on the Clarke sonata. Performance applications are also suggested.

Committee: Matthew McBride Daline (Advisor); Alan Smith (Committee Member) Subjects: Music

Master of Fine Arts (MFA), Bowling Green State University, 2015, Creative Writing/Poetry

Free Women: Fairytales From A Lumbertown Brothel is a historically-based novel-in-verse inspired by the lives of trafficked women in the lumber camps of 1880s mid-Michigan. The poetic work pulls on the narrative traditions of Dorothy Porter and Anne Carson as well as historical records and fairytale tropes to try and make sense of senseless murders, enslavement, and violence. These poems seek to define womanhood in a dangerous time and place, give body and voice to a forgotten segment of people, and show the great strides and enormous failures society has made in the time since.

Committee: Sharona Muir (Advisor); Larissa Szporluk (Committee Member) Subjects: American Literature; Fine Arts; Intellectual Property; Womens Studies

DMA, University of Cincinnati, 2015, College-Conservatory of Music: Flute

The works of Lou Harrison (1917-2003) defy simple classification. His pieces are a fusion of his personal style of compositional construction and other musical influences. The outside influences come from a variety of sources, including, but not limited to, his interest in non-Western cultures, history, and interactions with other composers. Harrison is most frequently categorized as an American Experimentalist. The composers associated with the Experimentalist School are often musical outsiders, working on the fringes. The sonorities and styles of the composers in this group are widely divergent. Though one is unlikely to confuse music of one composer with another, a common thread among the American Experimentalists—and more importantly, what shapes many of Harrison's compositions—is the notion of transethnicism. Transethnicism is the study and incorporation of sophisticated musical ideas outside of one's paradigm. Harrison's inspiration from cultures outside of his own is evident through the use of transethnic properties that figure prominently in his work. This DMA document focuses on transethnic influences found in selected flute works of Lou Harrison. My approach is in four parts. I provide a biographical sketch about Harrison, discussing the major life events and influences that led to his approach to composition. Second, I examine his place among the American Experimentalists, defining transethnicism and describing techniques used by Harrison as a means for creating his transethnic style of composition. Third, I discuss the First Concerto for Flute and Percussion (1939), Air in G (1947), and Ariadne (1987), demonstrating the specific overt and implicit transethnic compositional techniques unique to each work, detailing their place within his overall oeuvre, and examining performance practice concerns. For the fourth and final part, I conclude with a summary that underscores the similarities and differences among the three works in terms of transethnic i (open full item for complete abstract)

Committee: Bradley Garner D.M.A. (Committee Chair); Mark Ostoich D.M.A. (Committee Member); Sandra Rivers M.S. (Committee Member) Subjects: Music

Master of Arts (MA), Ohio University, 2014, History (Arts and Sciences)

This project looks at the political culture of Harrison County, Virginia, from the secession crisis until the constitutional convention at the end of 1861 that would help establish the new state of West Virginia. Harrison County, as well as the rest of northwestern Virginia, rejected the efforts of the authorities in Richmond to pull Virginia out of the Union. Once secession was finally realized, Harrison County, along with all of northwestern Virginia, sought to turn the tables and have their region secede from Virginia. What caused the people of Harrison County to become, within a few months, dedicated revolutionaries that would separate themselves from Richmond at all costs? What values drove the way Harrison County approached the road to separate statehood? There are three major themes that are evident in their political culture. First, they placed great importance on maintaining the authority of popular will. They also sought to uphold strict constructionist principles when interpreting the Constitution and the spirit of the law. But when the success of the new state movement was in jeopardy, they put aside their principles and made decisions based on expediency.

Committee: Ingo Trauschweizer (Advisor) Subjects: History

MCP, University of Cincinnati, 2010, Design, Architecture, Art and Planning : Community Planning

This study assesses the use of two fiscal impact analysis (FIA) approaches for estimating the fiscal impact of land use changes in the City of Harrison, Ohio. The objective of the study is to validate two average cost FIA methods, the Per capita multiplier method and the Service Standard method, as a basis for estimating the fiscal impact of land use changes in Harrison. Based on a comparison of the outcomes of the average cost FIA methods with actual fiscal changes from 2000 to 2006, the estimates of fiscal impacts were found to be different for each of the average cost method. Further, the estimates from each method differed from the fiscal changes actually experienced. Finally, this study suggests ways to improve the accuracy of the Per capita multiplier and Service Standard average cost methods if they are to be used to estimate the fiscal impact of proposal land use changes.

Committee: Christopher Auffrey PhD (Committee Chair); Charles Ellison PhD (Committee Member) Subjects: Urban Planning

Bachelor of Arts (BA), Ohio University, 2012, English

Jim Harrison's "Dalva" and its prequel/sequel "The Road Home" explore the intergenerational root system of his iconic Northridge family. Their history, crafted by Harrison through a series of family journals, is riddled with anger and hate, which first began as their homestead did, with the birth of a patriarch. However, the predominant struggle within this family is against death. The first Northridge struggled with his mortality—one of many obsessions which he passed down to his son, and then he to his grand-daughter, Dalva. Harrison marks Dalva as the savior of her family. She shares in both her forefathers' consciousness and shortcomings, but is able to overcome her own depression and release herself, and her family, from the ghosts of the past. In this essay, I argue that it is the combination of several interconnected factors through which Jim Harrison enables Dalva to redeem not only herself, but her entire family line. I argue that it is through her bloodline that she inherits not only a dead man's obsession with mortality, but also is ushered towards the natural world which eventually grants her inner-peace. Through writing, Dalva finds an outlet for her troubled soul, but Harrison, in crafting a series of family journals, creates a historic backdrop by which we can understand the full extent of Dalva's journey.

Committee: Robert DeMott (Advisor) Subjects: Literature

Master of Science, The Ohio State University, 1965, Agricultural Education

Committee: Willard Wolf (Advisor) Subjects:

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

The proposed study provides analysis and performance guidelines for two important solo piano works, Lou Harrisons Suite for Piano (1943) and Kenneth Leightons Six Studies: Study-Variations Op. 56 (1969) (which will be referred to as Six Study-Variations for the rest of this discussion). These two pieces are selected from a group of many rarely played and recorded twentieth century solo piano pieces. Both pieces are written with twelve tone serial technique and they are excellent examples of contemporary masterpieces neglected because of their difficulty. The first half of this document is dedicated to a performance analysis of Lou Harrisons Suite for Piano. Lou Harrison (1917-2003) is one of the most renowned American composers and the importance of his Suite for Piano lies both in its being the composers only piano solo work using twelve-tone serialism and its having been influenced by the Viennese master Arnold Schoenbergs Suite for Piano, Op. 25 (1921-23). The discussion explores the overall structure and form of Harrisons Suite with reference to Schoenbergs Suite, and provides performance guidelines for Harrisons Suite. The second half of this document is devoted to a performance analysis of the Six Study-Variations Op. 56 by British composer Kenneth Leighton (1929-1988). Also using twelve tone serialism, each of the six studies is in the form of a free variation and features virtuosic examples of the variation. Combined with the genre of the etude, they display a variety of technical difficulties and the harmonic and rhythmic vocabularies in each piece are extremely intense. The discussion includes Leightons biographical and stylistic background, as well as a formal analysis and performance guidelines of his Six Study-Variations. The pieces discussed in this document distinguish themselves as some of the most original works in the twentieth century piano repertoire. The live performances of both pieces were recorded in 2003 and they are available through a link (open full item for complete abstract)

Committee: Caroline Hong (Advisor) Subjects: Music

Master of Arts (MA), Ohio University, 2008, History (Arts and Sciences)

On December 24, 1966, Harrison Salisbury became the first mainstream American journalist to report from North Vietnam during the Vietnam War. From his position behind enemy lines, the New York Times reporter revealed that America's bombing campaign was causing many more civilian casualties than the Johnson administration had acknowledged. Additionally, he challenged how Americans perceived their enemy by portraying North Vietnam's culture and political ideology as legitimate. Evaluation of governmental and public responses to his stories reveals the significance of these reports. They sparked controversy that undermined American and international confidence in the Johnson administration's credibility, decreased support for U.S. policies towards North Vietnam, and put increased pressure on the Johnson administration to increase efforts towards peace. This thesis analyzes those effects, the Johnson administration's complicated relationship to the journalist, and the broad debate among journalists over the proper boundaries of wartime reporting.

Committee: Chester J. Pach Jr. Jr. (Advisor); Kevin Mattson (Committee Member); Patrick Washburn (Committee Member) Subjects: American History; Journalism; Mass Media; Military History