University of Richmond
Patients with category-specific visual agnosia (CSVA) often exhibit a disproportionate
difficulty recognizing objects from biological categories due (in part) to the fact that
exemplars from biological categories tend to be visually and conceptually more similar.
Similarity is often conceived of as a pairwise property (i.e., in terms of distance in a
psychological space matrix), but may be more accurately conceived of as a setwise
property (i.e., in terms of shared features).
The goal of this study was to examine right hemisphere specialization for faces at the neuronal level. Research has shown that facial recognition relies on the right anterior temporal lobe and involves integrating multiple features (Bukach, Gauthier, & Tarr, 2006). Evidence from rat studies confirms that the anterior temporal lobe is involved in integrating multiple object features (Eacott, Machin, & Gaffan, 2001). However, these studies did not examine differences between the brain's right and left hemispheres.
This thesis analyzes the Revolutionary-era plays of Robert Munford and Mercy Otis Warren. Munford's two comedies, The Candidates and The Patriots, are compared to Warren's three earliest satires, The Adulateur, The Defeat, and The Group, in an effort to explain some of the differences between these two authors. The original printings of these plays from the Early American Imprints series, as well as more recent scholarship on Munford and Warren, are used to investigate the plays and lives of these playwrights.
After the Napoleonic Wars, British leaders increasingly objected to large burdensome formal annexations. Hence, when South American markets opened in the 1820s British leaders considered using nearby island bases to ward off regional rivals. Britain therefore occupied the Falkland Islands in 1833. Despite governing the world's strongest industrial and naval power however, British leaders neglected the Falklands' progress as a colony from 1833 to 1851.
The Unity School of Christianity’s theology shares key characteristics with Aristotle’s
philosophical worldview, which have enabled it to meet the challenges of twentieth
Seventy-seven men were asked to serve as Generals during the Revolutionary War by the Continental Congress. These men came from such disparate backgrounds that it may seem surprising that they could unite in such a dangerous venture as a rebellion against Great Britain. This thesis explores the military history of the Revolutionary War through the framework of these seventy-seven men by providing biographical sketches of each and drawing from these sketches to create a list of factors which affected their service in the war.
This work was sponsored by the University of Richmond, School of Arts & Sciences, Department of Music.
This thesis covers the involvement and influence of the Methodist Episcopal
Church, South in Virginia during the Civil War. Because the Methodists were the largest
religious denomination in the South at the onset of the war, the Church was in a position
to offer support and to shape the opinions of the Confederate people. Using sermons,
religious tracts, newspapers, and letters, this study demonstrates that the majority of the
Church supported the Confederacy and its aims.
William Shakespeare reinvents the speaker of his Dark Lady sonnets as Antony of
Antony and Cleopatra, with the former’s hesitant appreciation of the benefits of a
“lying,” lustful relationship reconfigured into the latter’s total embrace of an edifying,
creative mutuality. This represents an important philosophical shift in Shakespeare’s
view of aesthetics: where in the Dark Lady sonnets, the speaker chastises himself for
feeding his desire with lies and self delusions, Antony, his parallel, believes that the love
he and his queen have created is somehow noble, even ideal.
The present study attempts to offer an overview of the Post-Soul aesthetic and its role in re-writing African-American identity and focuses explicitly on three authors: Spike Lee, Touré, and Suzan-Lori Parks. My premise is that Post-Soul art is a direct result of the sweeping changes brought by the post-Civil Rights era in the African-American mentality, which inaugurated a new age in African-American art. Thus, the Post-Soul generation represents blackness as diverse, free to define itself in its own terms; they promote a critical take on black nationalism, and new perspectives on slavery.