This investigation is concerned with determining whether a carbon substituent or a silicon substituent on the carbon terminus of a silicon-carbon double bond has a more stabilizing effect. Two different 2-substituted silaethylenes were generated at the same time by pyrolyzing 1, 1-dimethyl-2-neopentyl-4- (dimethylalkoxysilyl) silacyclobutanes in a nitrogen flow system. The results of these pyrolyses, both neat and in the presence of a trapping reagent, show that the silaethylene with a silicon substituent on the carbon terminus was favored approximately two to one over the silaethylene with a carbon substituent. This datum, along with other observations and hypotheses discussed, leads to the suggestion that the silicon substituenton the carbon terminus of the silaethylene bond has a more stabilizing effect than the carbon substituent.

This study investigates the effects of frequency variance on duration perception, using musically trained subjects. In the experiment three silent duration intervals were examined (4.75, 5.00, and 5.25 seconds); each interval was preceded and followed by tone markers. The onset marker was preceded by seven discrete tones one second apart, on the frequency 174.968 Hertz. This established a pulse or an external standard time measure. The subjects made judgments as to whether the offset marker fell "before," "on," or "after," the pulse. The offset marker had a variable frequency. In the study, the direction of the frequency change, the distance of frequency change, and the mathematical intervallic relationships of the two frequencies show possible influence on duration perception.

This investigation of twentieth century trends in mathematics education includes the survey of existing literature and questionnaires conducted with retired and active Texas teachers. Historical events, trends in curriculum, instruction, learning theories, and contradictions of twenty-year periods are delineated. Questionnaire responses are tabulated along the same periods and vignettes of typical classrooms are drawn from the data. Results of the survey show the impact of societal forces on mathematics curricula, a continued downward expansion of content into lower grades and expanding knowledge of learning processes. A unified mathematics curriculum, classroom-related learning theory research, and further development of team-teaching are postulated as future trends. Recommendations include further examination of trends through isolation of other variables such as region and ethnicity.

Wawrzyniec Goslicki's De optimo Senatore was published in Venice in 1568. Subsequent translations of the work had an impact on political thought in England in the seventeenth and eighteenth centuries. Goslicki's work has received little attention since, and this paper is an effort to restore to Goslicki his place of importance in Polish history and western political thought. The paper provides a brief biography of Goslicki; an account of the English translations and historiography surrounding De optimo Senatore; an analysis of Goslicki' s political thought; and, an explanation of his influence on William Shakespeare.

Slides of TAT cards 1 and 2 were shown to 87 college students asked to write stories about them. Subjects also ranked the importance of 5 attributes in understanding their personalities. Attribute scores from projections and centrality scores from rankings, for achievement and autonomy, were regressed onto college GPA, trail-making, and autonomy by life history. Predictions failed to reach suitably low significance levels. Subscaling the life history questionnaire by factor analysis and subsequently regressing toward subscales resulted in multiple correlation significant at p < .01. Important to the model was the significant (p < .02) improvement in using the attribute by centrality interaction over either variable alone. Results were discussed in terms of a cognitive model for projectives.

Arnold Schoenberg viewed himself as an extension of the German Romantic tradition. Schoenberg's early unpublished songs prove his indebtedness to nineteenth century music, but they also show a great deal that is strictly Schoenbergian. This paper investigates the musical elements that Schoenberg assimilated from tradition, especially from the great Lied tradition of the nineteenth century. lements that may be associated with his later works are also investigated, namely the 2rundgestalt principle, and his use of the "primal cell," a trichord set that appears in works of all his periods. This paper shows how these elements are manifested in seven early songs. These songs are from the Nachod collection, an assemblage of correspondence and early unpublished music manuscripts by Schoenberg. This collection is owned by North Texas State University.

There have been various approaches to the treatment of nonorgasmic women, including psychoanalysis, desensitization, relaxation, masturbation, and group therapy. The present study was conducted to examine the efficacy of group therapy combined with home-based training in the treatment of primary nonorgasmic women. A no-treatment control group was also employed. Treatment consisted of two weekly 1- hour group sessions for 5 weeks. Educative processes were employed, such as detailed information on physiology of female sexual response. Structured homework exercises were also utilized, such as mastubatory techniques, role-playing orgasm, strengthening vaginal muscles, and assertiveness training in sexual and nonsexual situations. Results indicated an 88% success rate in the treatment group and no change in the control group.

Two aspects of the biological activity of N-nitrosamines were studied. First, the effect of ascorbate on the mutagenicity of N-nitrosopiperidines was studied in the Ames Salmanella/ mammalian microsome mutagenicity test. The addition of ascorbate significantly enhanced the mutagenicity of these compounds. This enhancement was selective for N-nitrosamines suggesting a possible role of ascorbate in N-nitrosamine induced carcinogenicity. Second, the technique of velocity sedimentation in alkaline sucrose density gradients was applied to the detection of N-nitrosamine induced DNA damage in Balb/c 3T3 cells. This technique detected N-nitrosamine induced DNA damage when the cells were made permeable before treatment. This technique compares favorably with other test systems used to evaluate N-nitrosamines and should be useful in further studies of N-nitrosamines.

The purpose of this study was to determine if there was any difference between beginning high school art students at Calhoun High School, Port Lavaca, Texas, who had had a junior high art experience and those who had no such experience in regard to their art information, art attitudes, and ability to produce quality art work. The Eisner Art Information and Art Attitude Inventories and three art performance tasks were administered to the population. Those with junior high art experience scored significantly higher on the art information inventory and art performance tasks than those without. The data support the positive effect of a junior high art experience on beginning high school art students.

This study was concerned with determining how the Algerian dailies, El Moudjahid, and El Djomhouria, and the United States dailies, The New York Times and The Christian Science Monitor, which function in two different press systems, compare in reporting international news in terms of type and tension. This study concludes that the four dailies are similar in type of news; they report more news than editorials, more straight news than in-depth reports, more news of elites than common people, and more news from the Third World than from the Western World or the socialist bloc, and they differ in tension in that the tension within international news was higher in the two United States dailies than in the two Algerian dailies.

This research is the result of an effort to provide real-time machine recognition of hand-send Morse code through the use of the M6800 microcomputer. While the capability to recognize hand-send Morse code messages by machine has been demonstrated before on large scale special purpose computers, on minicomputers, and even on the M6800 microcomputer, the main contribution of this paper is to demonstrate it with relatively understandable hardware and software.

The purpose of this project is to explore the alternate data structures for a disk file which is currently a preorder binary tree. specifically, the file is the key directory for an implementation of Keyed Sequential Access Method (KSAM) in a mini-computer operating system. A new data structure will be chosen, with the reasons for that choice given, and it will be incorporated into the existing system.

This is a brief survey of some of the popular computer systems. As many features as possible have been covered in order to get an overview of the systems under consideration.

In this investigation I use the term perception as Arthur Comb and Donald Snygg do when they state that perception is any differentiation the individual is capable of making in his personal field. Perception has to do with the organization one gives to his world. Behavior and learning are products of perceiving. Immanuel Kant said: "We see things not as they are but as we are." During this effort to organize my world I realized that I was concerned with myself as an experiencing individual. I felt that one is built out of his experiences and that the best vantage point for understanding behavior is from the internal frame of reference of the individual himself. I was taking a somewhat phenomenological approach to my problem.

As my creative project, I decided to explore the possibilities for expression of rhythmic life-growth patterns in a variety of abstracted multiple forms. The work was planned to investigate the following questions: 1. What forms can be used to communicate the idea of repetitive, rhythmic or seasonal life or growth patterns? 2. What size/scale is effective in communicating the universal, infinite character of these patterns? 3. What formats or types of presentation are the most effective? 4. How is the overall impact of the work affected by changes in size and form? 5. How do changes in the work affect my responses to it, and what subsequent directions result in the work?

The purpose of this project was to investigate the use of non-traditional painting techniques on the images of my work. The following questions were specifically considered. 1. When and why in the process do decisions occur concerning the following: A. Subject or idea or motivation? B. Materials? C. Shaping? D. Color? E. Texture or embellishment? 2. Does the motivation change at any point in the process? 3. With the emergence of the final form is there an awareness of content (or intrinsic meaning) which was absent or completely nebulous at the inception?

The problem being dealt with concerns the investigation of the conceptual and expressive potential of mold-formed units in combination with other media and processes. The questions under consideration are as follows: 1. Do the concepts of pieces vary with the materials and process being used? How? 2. What alterations occur in the visual image as a result of the change in media and processes? 3. What mechanical and technical problems are involved in the mold-formed process?

My problem was to combine warp ikat woven in crowfoot satin weave with supplementary weft techniques, in order to increase visual depth and maintain visual unity.

In the history of ceramics my interest centers around times in particular cultures when ceramic containers were an essential part of life. I am most interested in functional pottery produced in nineteenth century North America between the years 1800-1870. This was a period in which some of the finest pots used for containing things were produced.

My interest in pictorial representationalism began when I started painting and drawing as a child, and my concern for working realistically continued and developed through my undergraduate years in college. In this investigation i explored the working processes used in a representational approach to contemporary woven tapestries. A brief discussion of the origins of representational woven tapestries with concentration upon Twentieth Century textiles was followed by an analysis of the influences upon my work by artists and stylistic trends.

The intent of this problem was twofold: (1) to demonstrate the adaptability of woven tubular forms in an exhibition space and (2) to demonstrate how support structures could be successfully combined with woven fabric forms as part of the overall design. The problem was executed to alleviate some of the limitations imposed by exhibition spaces. Specifically, the more versatile the piece, the greater the potential for aesthetic and structural effect.

For my problem, I proposed to document and analyze the relationships of the spontaneous and premeditated approaches in my work. The pieces that I began during the Spring and Summer 1979 were to be my primary sources of data. Two means were used to document these works and my approaches to them. I photographed the pieces as they progressed up to and including the finished product, and a sketchbook-diary was used to compile ideas and responses.

The idea for this creative project evolved as the result of communication between myself and Cathie Bernhardt during the first half of 1977. Both of us had been dealing with similar concepts such as reliquary-like containers and the objects contained within them. We also had a congruent approach concerning the use of materials and the manner in which they can be fabricated. These two things resulted in a mutual respect for each other's forms and imagery. We, therefore, decided to explore and combine specific aspects of our talent and, in collaboration, produce a series of pieces. Our project became one of collaborative art, and we defined that as follows: One, the process of discussing ideas for pieces; Two, the act of working on pieces together, Three, the completion of pieces wherein both artists have contributed significantly to the final products.

In order to more fully explore this problem and to uncover important aspects of my work and work processes, I posed these questions to be answered after the completion of the five books: 1. In what ways am I able to synthesize the traditional concerns of the literary and visual image into an Artbook format? 2. To what extent am I able to develop this synthesis into an aesthetically valid and personally satisfying expression of my own artistic philosophy? 3. In what ways does this development represent and/or reflect what appears to be another major shift in my art, toward a more conceptual, two-dimensional or cognitive expression? 4. What does this attempt and the resultant image symbolize for me?