Dissertations / Theses on the topic 'Art and Literature Institute of Science'

Transcending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. A critical approach to these writers that ignores the epistemic dimension in their works opens itself to the charge of misunderstanding their artistic goals and aspirations. In my dissertation I thus define, justify, and conduct an interdisciplinary study of Poe and Lem's works.
My project is underwritten by the epistemological assumption that literary works, and notably works of fiction, can make a contribution to knowledge that can be assessed in terms of interdisciplinary criteria. In the first chapter, where I discuss literature and knowledge within the interdisciplinary context, I examine various epistemological arguments in light of my central assertion. Next I examine the concepts involved in the discussion of literary works. Following the pragmatic re-orientation in literary and philosophical aesthetics, many fundamental concepts we take for granted--artworks, fictions, and texts among them--require exact re-examination and definition. Consequently, in Chapters Two and Three I review and refine the recent theories concerning the nature of works of art, the specificity of literary fictions, and the problem of literary interpretations.
My subsequent discussion of Poe and Lem is built on the theoretical base of (literary) epistemology and analytical aesthetics. I study Poe and Lem's literary fictions and theoretical essays, and the contributions they make to various fields of inquiry. In the process I critique, and sometimes refine, the explicit and implicit hypotheses articulated in their works. Specifically In Chapters Four and Five I discuss strategic and game theoretic models in the interpretation of fiction, including the concepts of communication and rationality. In Chapter Six, completing the epistemological circle inaugurated in Chapter One, I discuss the epistemological and cosmological theories proposed in Poe's "Eureka".

This thesis asks three main questions: within the context of the UK film and television industry what is the relationship between the film pitch and the final script? What skills do screenwriters need to sell their work? And, does the culture of the industry in which screenplays are bought and sold influence their content and meaning? Based around the art and science of pitching, this thesis uses the author's own screenplay, 'Being Kennedy', as a case study.

Contemporary cultural practices sometimes appear dispassionate, distant and clinical—committed to conceptualism or formalism. Yet works by Jacques Roubaud and Jacques Jouet (both members of the Oulipo, a group of experimental writers in France that use formal and mathematical constraints to generate new literary forms) suggest a complex relationship between epistemology and affect. This thesis argues that contemporary literary and artistic projects that appropriate the tropes of clinical procedure and experimental constraint, suggest alternative forms of knowledge that implicate the body and emotions of the experiencing subject. In these projects, affect and emotion travel through reason, logic, system and constraint and are transformed in the process. Therefore any analysis of forms of affect in these works must also consider the procedural and scientific aspect, that which makes them "projects". My research, drawing on recent work that places emphasis on affect, considers these projects as test cases often mediating between a series of dichotomies such as reason/emotion and mathematics/poetry. Curiously it is in the encounter with epistemological systems that the value of affect, embodiment and subjectivity is underscored, and this thesis interrogates the various ways that contemporary projects articulate affect almost despite themselves. By passing through a scientific impulse to inquire about and test the validity of epistemological systems, these projects underscore the role of affect in producing knowledge. This thesis insists on the continued importance of the Oulipo in contemporary culture and seeks to provide a larger, interdisciplinary context for oulipian experimentation by analysing similar works in the visual arts. This thesis has four chapters, each based on the materials that the projects themselves investigate: 1) numbers and mathematics, 2) lists, collection, and census-data, 3) itineraries and travel, 4) weather and meteorology. Projects bear witness to what the poet Lyn Hejinian has called the romance of science: its rigor, patience, thoroughness and speculative imagination (Mirage, 1983, 24) In so doing, these projects reveal forms of affect that only emerge through this 'weird science' as literary and artistic experiments.

'The Art of War' studies the transition of the soldier from fighter to settler as it is reflected in the texts he produces. Drawing on texts written by soldiers, in English, between c. 1624 and 1685, it focuses on representations of events in Ireland from 1641-1655, that is to say, during the Catholic Confederation and the Cromwellian campaigns and settlement. The focus and methodology of the thesis seek to restore a more literary reading of seventeenth century texts from, and about, Ireland to the current vibrant historical debate on the period. It argues that the writings of the Old Irish, Old English, New English, and Cromwellian soldiers in Ireland draw on a variety of literary influences – the traces of Guicciardini and Machiavelli, Sidney and Spenser are clear. It also charts shifts in the genres of military writing from professional handbooks, to documents of civil policy, to romance, poetry, and the theatre. In doing so, it addresses the literary tools which the soldier-writer uses to define the self within a complex network of political, national, religious, and personal allegiances. The thesis is divided into three parts. The first, chapter one, explores the trafficking of military images between military handbook and literary text. It pays particular attention to Ireland as a borderland for the European Wars and the English colonial enterprise. The second part, comprising three chapters, examines three different perspectives on the Irish Wars. The first, that of the Old English writer Richard Sellings; the second, that of the anonymous Aphorismical Discovery; the third begins with a view of the 'Irish enemy' from England, as it is constructed and enforced in the pamphlet literature of the Civil War period, and ends with the perspective of Richard Lawrence, a Cromwellian soldier-turned-settler in the early 1680s. The third part, the fifth and final chapter, explores the controversies surrounding recent Irish history as they are played out in the wake of the Exclusion Crisis. This is followed by a brief conclusion.

The thesis takes the French revue Lignes (1987-present) as its object of study to provide a new account of French intellectual culture over the last twenty-five years. Whilst there are now many studies covering the role of such revues throughout the twentieth-century, the majority of such monographs extend no further than the mid-1980s: the major novelty of this thesis is extending these accounts up until the present moment. It is largely assumed that a reaction against the Marxist and structuralist theories of the 1960s and 1970s led to embrace of liberalism and an intellectual drift to the right in France from the 1980s onwards: whilst largely supporting this account, the thesis attempts to nuance this narrative of the fate of the intellectual left in the following years by showing the persistence of what can be called a politicised 'French theory' in Lignes, and a returning left-wing militancy in recent years. In doing so, it will both reveal under-studied aspects of well-known thinkers, such as Jean-Luc Nancy, Jacques Rancière and Alain Badiou, as their thought develops through their participation in a collaborative, periodical publication, and introduce lesser known thinkers who have not received an extended readership in Anglophone spheres. Lignes also argues for the continued persistence and relevance of the thought of a previous generation of thinkers, notably Georges Bataille, Maurice Blanchot and Dionys Mascolo, and the thesis concludes by examining the potential role 'French Theory' could still have in France. Furthermore, as revues provide a unique nexus of intellectual, cultural, social and political concerns, the thesis also provides a unique history of France from the fall of the Berlin Wall to the 2007 financial crisis and the Arab Spring. Much of the thesis is concerned with contextualising intellectual debates within a period characterised by the moralisation of discourses, a return of religion, the global installation of neo-liberalism and the eruption of immigration as a controversial European issue. From a relatively theoretical and politically stable position to the left of the Parti socialiste, Lignes therefore provides a privileged vantage point for the mutations in French social and cultural life throughout the period.

This dissertation asks how the heightening of artistic and scientific mediation has affected the representation of the environment in modernist and contemporary American poetry. In chapters on Marianne Moore, A.R. Ammons, and Jorie Graham, I contend that the twentieth century sees a crucial shift in the representation of the environment, as poets become increasingly attentive to the self-reflexive non-transparency of their own medium and incorporate the mediating discourse of science into their work. While science has served as a source for poetic imagery for centuries, suddenly in the twentieth century, mathematical equations--expressed entirely in symbols--appear in the middle of poems, and qualitative scientific language, remarkable for its opacity to the non-specialist, is woven into the texture of verse. Writing at the height of High Modernism, Moore is fascinated by natural history's fusion of art and science. For Moore, the mimetic copies displayed in natural history museums (for instance, glass flowers) reveal things about real creatures that an unmediated encounter could not. Her incorporation of replicas of natural creatures into her poems about real environments enables her to evoke what I term the "synthetic" super-real. In the early 1960s, Ammons is intrigued by the latest scientific discoveries, especially the mathematical modeling of nonlinear dynamical systems. While philosophers have argued that the poet and the scientist occupy separate spheres, Ammons fuses mathematical modeling and sensuous description. His hybrid poetic style enables him to represent the temporal evolution of nonlinear dynamical systems and the operation of forces within a field. In Sea Change, Graham, writing in the imagined wake of future climate change, fundamentally transforms poetic representational techniques, as she creates a frame-shattering poetic form that is uncomfortably poised on the threshold between a climate model and a sensuously embodied environment. By exemplifying recourse to the mediating discourse of science, these poets extend the representational limits of their own aesthetic medium, as they pave the way for twenty-first-century poets who, with greater urgency than ever before, attempt to represent the environment in an era marked by man-made climate change.

Thesis (MBA)--Stellenbosch University, 2005.
ENGLISH ABSTRACT: OTB, a Division of Denel, is a multi purpose test range specialising in the in-flight testing of guided missile systems and aircraft. Originally established as a launch facility for an ambitious low earth orbit satellite programme, and with a secondary function to support the South African military industry, its raison d'etre stemmed from strategic military considerations. Changes in the political and economical scene, which started in the early nineties, led to the cancellation of the satellite programme and a dramatic downswing in the production of arms in South Africa. This rendered much of the capability of OTB redundant. Although the government signalled its desire to maintain access to the services of a test range in order to support an indigenous arms industry, OTB was structured as a division of Denel at its formation as a company operated for profit. This left OTB faced with the challenge to replace government grant funding with revenues earned in the market place. Furthermore, the drastically lower domestic military spending provided insufficient business to support a test range at the technological level required to serve the demands of modern weapons testing. In order to survive, OTB had to be successful in broadening its client base in a highly competitive commercial environment, a feat only possible with the implementation of an effective marketing strategy. The objective of this study is to formulate a marketing strategy for OTB based on a market orientated approach, bearing in mind that the task at hand is the marketing of a service. The study covers the relevant marketing theory in some depth and employs it as a basis to conduct a situational review followed by the development of an appropriate marketing mix and implementation plan. Even though the development of a marketing strategy for the test range produces some unique issues to address, the applicability and extent of coverage afforded by existing marketing theory suggest that OTB's circumstances show significant commonality with those encountered in other situations and therefore may find broader application. Some of the notable findings are: (1) the integrated marketing effort demanded by the market orientated approach; (2) the distinctive elements contained in the marketing mix of a service organisation; and (3) the possibility and need to retain a strategically founded market while developing a commercially driven market requiring particularly sharp market segmentation and distinctive strategies respectively.
AFRIKAANSE OPSOMMING: OTB, In Divisie van Denel, is 'n multi-aanwendbare toetsbaan wat spesialiseer in die in-vlug toetsing van geleide missiele en vliegtuie. Die toetsbaan is oorspronklik ontwikkel as 'n fasiliteit vir die lansering van lae aardbaan satelliete met, as sekondere funksie, die ondersteuning van die Suid-Afrikaanse militere industrie. Die aanvanklike bestaansreg van die fasiliteit was dus gesetel in militer-strategiese oorwegings. In die vroee neentigs het politieke en ekonomiese veranderinge wat aan die ontwikkel was gelei tot die kansellering van die satellietprogram en 'n drastiese afname in die produksie van krygstuig in Suid-Afrika. Die gevolg was 'n onaanvaarbare onderbenutting van die toetsbaanvermoens en -kapasiteit. Alhoewel die regering aangedui het dat dit van voornemens was om toegang tot 'n funksionerende toetsbaan te verseker ten einde die plaaslike militere industrie te ondersteun, is OTB met die stigting van Denel as 'n divisie daarvan gestruktureer met die doel om winsgewend te opereer. Dit het OTB gelaat met die uitdaging om 'n staatsbefondste begroting met 'n inkomste uit die kommersiele markte te vervang. Voorts het die dramatiese afname in die plaaslike militere spandering tot sodanige verlaging van inkomste uit hierdie bron gelei dat dit nie meer voldoende was om die toetsbaan op die verlangde tegnologiese vlak te onderhou nie. Ten einde te oorleef moes OTB sy klientebasis verbreed in 'n hoogs kompeterende kommersiele omgewing, 'n doelwit wat slegs haalbaar is met die implementering van 'n effektiewe bemarkingstrategie. Die doel van hierdie studie is die formulering van 'n bemarkingstrategie vir OTB gebaseer op 'n markgeorienteerde benadering met inagneming dat die taak voor hande die bemarking van 'n diens is. Die studie dek die relevante bemarkingsteorie tot 'n redelike mate en steun voorts daarop om 'n situasie analise, gevolg deur die ontwikkeling van 'n gepaste bemarkingsamesteliing (marketing mix) en implementeringsplan te ontwikkel. Selfs al lewer die ontwikkeling van 'n bemarkingsplan vir die toetsbaan sommige unieke aspekte op, dui die toepaslikheid van, en die mate waartoe die bestaande teorie die probleme aanspreek daarop dat OTB se omstandighede duidelike ooreenkomste toon met die wat reeds in ander situasies ondervind is. Die bevindinge hier mag dus wyer toepassing hê. Sommige van die noemenswaardige waarnemings is: (1) die geintegreerde bemarkingpoging wat deur die markgeorienteerde benadering vereis word; (2) die onderskeidende elemente wat in die bemarkingsamestelling (marketing mix) vir dienste voorkom; en (3) die moontlikheid en belangrikheid om 'n strategies gefundeerde mark te behou terwyl 'n kommersiele mark ontwikkel word met die skerp marksegmentering en spesifiek gerigte strategie wat per marksegment onderskeidelik nodig is.

Abstract INTERDISCIPLINARY CONNECTIONS BETWEEN SCIENCE & THEATRE Jessica Nicole Dotson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Virginia Commonwealth University, 2015. Major Director: Dr. Noreen C. Barnes, Director of Graduate Studies, Associate Professor of Theatre In the 1990s, astronomer Peter Usher was searching for new ways to teach his introductory astronomy class at Pennsylvania State University. He began to engage his students by searching for astronomical connections from other disciplines. His focus was turned to the arts, especially the works of William Shakespeare. Usher found, while searching through the canon of Shakespeare's work, astronomical references that explored the “new astronomy” of the Elizabethan age (Falk 171). This thesis will explore the writings of Usher, in regard to the astronomy of Hamlet, along with the interdisciplinary connections between art and science in and outside the classroom and museum theatre. From interdisciplinary classroom methods, to arts and scientists collaborating together for the betterment of man-kind, the use of theatre is a way of rediscovering the humanity of human history. The collaboration between the disciplines serves as one of theatre's greatest purposes, to educate and represent a living history of man.

Global competition is growing for companies everywhere and the demand for new and improved products are rising for each day that passes. The globalization brings new opportunities as well as new challenges since companies need to stay up to date and implement new technologies to stay competitive. Not only do customers want up to date products, they also want high quality, low price and individualized products, customized for their needs. This puts high demand on manufacturing companies to adapt their businesses, increase product diversity and to being able to introduce new variations and new products quickly.  Since the drastic evolution of technology has increased the competitiveness of industrial companies, and the mass customization demands have increased, the necessity to investigate potential system alternatives towards improving production processes, with the help from the new technology, is required. One way of doing this is to revaluate one's assembly layouts since the layout design decision is highly connected to the product portfolio and the production volumes. The specific objective of this thesis is to broaden the case company’s, ABB, knowledge on ways their assembly of large robots can be improved with the focus on potential future assembly solutions. The overall aim of this thesis work is to identify state-of-the-art possible layout design alternatives, evaluate their performances and finding a method of choosing the final layout approach. This is answered by research questions connected to plant layout selection methodology, plant layout options and finally recommendations for the case company. The methodology chosen for deciding the recommended layout is the fuzzy Analytical Hierarchy Process which is a multi-criteria decision-making tool suitable for decision problems with a hierarchical structure, having main attributes and sub attributes connected to each main attribute. Twenty-four attributes were created and ten layouts based on company observations and a literature study. The layout with the highest score was a layout based on a modernized version of the common fixed position layout. The overall recommendation for the case company was to focus on having a layout in the future with focus on a high technology level as well as high flexibility, for also receiving high performance.

The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer to conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects ofBrazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies.

This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated

Orientador: Márcio Orlando Seligmann Silva
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O elemento técnico e a carne se unem para formar o corpo. De acordo com os conceitos de ciborgue e de híbrido, pensados aqui como facetas do pós-humano, pretendo mapear as manifestações desse corpo em algumas obras da literatura de ficção científica publicada a partir do início dos anos 90. O recorte temporal se deve à finalização do auge do movimento conhecido como cyberpunk que, por um lado, deixou resquícios na literatura de ficção científica e, por outro, ainda não pode ser dado como terminado. Utilizo para estas reflexões principalmente as ideias de desterritorialização e reterritorialização (Deleuze e Guattari), de antropodescentrismo (Roberto Marchesini), e de hospitalidade (Jacques Derrida), além do conceito de ciborgue (Donna Haraway) e de híbrido (Bernard Andrieu). O método rizomático e alguns princípios da Teoria do Caos permitem a problematização das manifestações corporais nas obras escolhidas para o corpus. Os conceitos de "corpo", "carne" e "elemento técnico" são esboçados com a finalidade de tornar esse híbrido possível no campo conceitual e, assim, na prática de análise
Abstract: The technical element and the meat/flesh join to built the body. According to the concepts of cyborg and hybrid, here conceived as aspects of the posthuman, I intend to map the manifestations of that body in some works of literary Science Fiction (SF) published since the early 90¿s. Such a choice of the date is due to the down of the cyberpunk movement which, on one hand, left marks and residues in SF literature and, on the other, cannot be declared dead. For these thoughts I use mainly the ideas of deterritorialization and reterritorialization (Deleuze e Guattari), anthropo-decentrism (Roberto Marchesini), and hospitality (Jacques Derrida), as well as the concept of cyborg (Donna Haraway) and hybrid (Bernard Andrieu). The rhizome method and somen of the Caos Theory allow to question the bodily manifestations in the chosen corpus. The concepts of "body", "meat/flesh" and "technical element" are sketched aiming to make possible this hybrid on the conceptual field and, therefore, the analytical practice
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

O exemplar da FE é acompanhado de 1 CD-R, com vídeo
Orientador: Maria Teresa Egler Mantoan
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este estudo teve como objetivo conhecer e analisar o cotidiano dos trabalhos desenvolvidos por uma importante e conhecida ONG (organização não-governamental) de São Paulo, a Associação Meninos do Morumbi, para retirar possíveis implicações de sua metodologia de trabalho para a educação formal, de modo que os êxitos por ela obtidos em termos educacionais apontassem caminhos e/ ou alternativas para a melhora da qualidade do ensino nas nossas escolas. Para a escrita desta dissertação recorri a diferentes linguagens, dentre as quais destaco a linguagem literária, através de crônicas sobre minha vivência na Associação, e a linguagem plástica, através de códigos ilustrativos. Além disso, em anexo há um CD Rom que ilustra o ambiente acadêmico em que este trabalho foi defendido. Trata-se de uma mostra artística que se concretizou a partir da interpretação do conteúdo do trabalho por uma artista plástica. A intenção de apresentar este estudo rompendo as formas usuais adotadas pela Universidade, tem a ver com a pesquisa no/ do cotidiano e com a confluência que quis fazer entre várias linguagens para abordar um mesmo assunto, no caso a educação, através de outra escrita que ¿não seja o seja o aprisionamento e a morte das significações¿ (AMORIM, 2004, p). A vivência no cotidiano desta ONG mostrou que mesmo que se parta do pressuposto de que a educação não-formal é complementar à educação formal, que seus objetivos são diferentes, ambas devem buscar a construção de um fazer próprio, local, atrelado a uma visão de ensino inovadora
Abstract:This study aimed at knowing and analyzing the day-to-day work developed by an important and well known NGO (non-governmental organization) from São Paulo, the Associação de Meninos do Morumbi - Boys Association of Morumbi, in order to withdraw possible implications from its working methodology for the formal education, so that the success they have reached in educational terms could indicate ways and/or alternatives to improving the quality of teaching in our schools. For the writing of this dissertation different kinds of language were used, among which the literary language, through narratives of my experience in the Association, and the plastic language, through illustrative codes . Besides that, there is an attached CD Rom which illustrates the academic environment in which this work was carried out. It regards an art exhibition that was made real from the interpretation of this work¿s content made by a fine artist. The intention of presenting this study by breaking with the usual forms adopted by the University, has to do with the research in / of the day-t0-day life and with the confluence of several kinds of language to approach the same subject, in this case education, through a different kind of writing that ¿ is not the imprisonment and death of the significations¿ (AMORIM, 2004) The experience in the day-to-day life of this NGO showed that even when one assumes that the non formal education is complementary to the formal education, and that their objectives are different, both must aim at building their own, local way of doing things, coupled with an innovative vision of teaching
Mestrado
Mestre em Educação

Le roman de César Aira, l'un des plus grands écrivains argentins actuels, Un episodio en la vida del pintor viajero (Un épisode dans la vie du peintre voyageur), publié en 2000 en Argentine et traduit en français en 2001, constitue le fil conducteur de notre recherche. Dans cette fiction inspirée d'un fait réel, Aira raconte le premier voyage en Argentine de Johann Moritz Rugendas, peintre romantique allemand de la première partie du XIXe siècle, qui sillonna l'Amérique latine durant vingt ans et rapporta de ses voyages des milliers de dessins et de peintures. Inspiré par les théories du savant Alexandre de Humboldt, et en particulier par la pensée de la " physionomie de la nature ", Rugendas fit également partie de ces artistes naturalistes dont l'art servit la science. En 1838, accompagné du peintre Robert Krause, il traversa les Andes puis la pampa argentine, mais il fut victime d'une grave chute de cheval avant d'arriver à San Luis. Durant le trajet de retour vers le Chili, il aurait approché les Indiens de la région du sud de Mendoza. C'est cet épisode de la vie de Rugendas que Aira relate, à sa façon. La première partie de cette thèse consiste en l'analyse littéraire approfondie du roman, à travers ses différentes thématiques. Parmi celles-ci, figurent l'art en voyage, les liens entre écriture et peinture, art et science, la perception de la beauté et de la laideur. Ce périple fait d'épreuves et de découvertes se révèle être finalement un véritable voyage initiatique pour l'artiste. Dans la deuxième partie, nous adoptons un point de vue historique pour confronter le roman aux faits vécus, tels qu'ils sont racontés dans les biographies de Rugendas ou dans les témoignages de ses contemporains, et réfléchissons à la dialectique entre fiction et réalité. Tout cela nous amène à réfléchir, dans une troisième partie, à l'activité de peintre voyageur. Nous retraçons l'itinéraire des deux artistes en mettant en parallèle les peintures de Rugendas et le récit de Krause, puis nous nous intéressons à chacune des caractéristiques de la pratique de l'art en voyage à travers les expériences de ces deux peintres mais aussi à travers celles d'autres artistes ayant voyagé en Amérique latine au XIXe siècle, tels Léon Pallière, Auguste Borget ou Raymond Monvoisin par exemple, et les peintres de l'école artistique humboldtienne. Cette thèse, qui allie littérature, histoire de l'art et esthétique, est à vocation pluridisciplinaire.

François de La Noue (1531-1591), gentilhomme français et protestant, compose, alors qu'il est incarcéré, les Discours politiques et militaires, publiés en 1587 : nous en proposons ici une édition commentée, précédée d'une introduction. Celle-ci comporte sept chapitres dont le premier relate la vie de l'auteur, étroitement liée aux guerres de religion. Nous nous sommes ensuite intéressés à la genèse des Discours, avant d'établir un catalogue complet des éditions et émissions de l'œuvre. Un bilan des études consacrées à La Noue et à ses écrits termine ce chapitre. Puis, l'univers culturel de ce gentilhomme qui a manié l'épée et la plume est examiné : par l'identification des sources des Discours, nous avons reconstitué sa bibliothèque. Voulant restaurer l'État, il dénonce, en moraliste, la corruption des valeurs, et propose, en réformateur, un programme éducatif. Sa vision politique tirée des Saintes Écritures et son rôle politique joué durant les guerres font l'objet du chapitre IV. Le cinquième traite de la guerre tant du point de vue de sa légitimité que de celui des institutions militaires que La Noue cherche à améliorer. Le XXVIe discours, qui porte sur l'histoire des guerres civiles, nous a poussé à nous interroger, dans la sixième partie, sur sa conception et son écriture de l'histoire. Une approche rhétorique pose, pour finir, la question du genre Discours. Plusieurs documents annexes viennent ensuite apporter des éclaircissements. Suit le texte des Discours politiques et militaires, présenté avec des notes critiques, historiques et lexicales. Enfin, un glossaire, un index et une bibliographie terminent cette thèse.

The purpose of this work is to detect a pattern: the concordance of Ethics and Aesthetics, Poetics and Politics in the most influential American thinker of the nineteenth century. It is an attempt to trace a basic concept of the Emersonian transcendentalist doctrine, its development, its philosophical meaning and practical implications. Emerson’s thought is analyzed genetically in search of the generating paradigm, or the set of axioms from which his aesthetic ideas as well as his political reasoning are derived. Such a basic structure, or point of convergence, is sought in the emergence of Emerson’s idea of universal laws that repeat themselves on all levels of reality. A general introduction is given in Part One, where the crisis in Emerson’s life is seen as representing and foreshadowing the deeper existential crisis of modern man. In Part 2 we follow the increasingly skeptical theologian’s turn to science, where he tries to secure a safe secular foundation for ethical good and right and to solve the problem of evil. Part 3 shows how Emerson’s conception of the laws of nature and ethics is applied in his political philosophy. In Part 4, Emerson’s ideas of the arts are seen as corresponding to his views of nature, morality, and individuality. Finally, in Part 5, the ancient and classical nature of Concord philosophy is brought into focus. The book concludes with a short summary.

La thèse comprend trois parties dont la première vise à définir le contexte historique et culturel dans lequel se développa la production littéraire prise en considération. Nous y décrivons la position d'infériorité relative qui était, depuis l'Antiquité, celle des praticiens (mechanici) par rapports aux lettrés et, plus généralement, aux représentants des arts libéraux. Nous décrivons ensuite le milieu dans lequel évoluèrent les auteurs des dialogues étudiés, c'est-à-dire la cour, centre névralgique et décisionnel de la société à cette époque et qui, passage obligé de l'ascension sociale, était aussi un milieu hostile et très fortement concurrentiel. Le prince occupait le sommet de sa hiérarchie et se situait au cœur des dynamiques internes qui l'animaient. Les techniciens tels que certains des auteurs des ouvrages étudiés devaient se confronter à ce milieu s'ils espéraient faire carrière. Les possibilités d'évolution professionnelle et sociale qui s'ouvraient à eux étaient réelles : les États italiens montrèrent en effet au XVIème siècle un intérêt certain pour les disciplines techniques et proto-scientifiques. Dans ce contexte, la production textuelle représentait un moyen d'action de première importance. Le livre pouvait en effet être conçu comme une monnaie d'échange dans les relations courtisanes, mais aussi comme un succédané à l'action militaire ou comme un moyen efficace pour la promotion des compétences de l'auteur.La deuxième partie de la thèse nous rapproche des textes qui forment le corpus de recherche. Le fait que ces ouvrages traitaient d'affaires militaires représentait un atout dans les cours de la péninsule au XVIème siècle et pouvait leur assurer une réception favorable tout en ouvrant des perspectives de carrière à leurs auteurs. Le premier chapitre de cette partie vise donc à montrer comment était perçue l'utilité de l'art militaire à cette époque. Si la rhétorique faisait de son exaltation un véritable lieu commun, la réalité historique conduisait à un constat unanime : celui de la nécessité urgente pour les États de la Péninsule, qui subirent des échecs cuisants dans la première partie du siècle notamment, d'améliorer l'efficacité de leurs armées. La production d'ouvrages militaires aux finalités didactiques s'encadre, en partie tout du moins, dans ce contexte et répond à la volonté de proposer une instruction militaire plus avancée. La manière dont les auteurs des dialogues étudiés cherchèrent à répondre à ce besoin vital dépendait substantiellement de leur conception de l'art militaire. On en distingue trois principales à cette époque mais toutes préconisent, dans des proportions et selon des modalités différentes, l'union des connaissances théoriques et pratiques. Les hommes de métiers – des membres de l'aristocratie ayant souvent reçu une certaine formation culturelle – revendiquaient la supériorité des savoirs pratiques et critiquaient ceux que l'on appellera les théoriciens purs. Dans leurs ouvrages, ils arrivaient parfois à remettre en cause la pertinence d'une transmission des savoirs militaires par l'écrit. Le paradoxe n'est cependant qu'apparent : la notion clé de l'experimentum – qui peut s'accommoder du support écrit – permet de le résoudre. L'approche de type humaniste, de son côté, relève d'une perspective générale et aristocratique de l'art. Le recours aux auctoritates antiques y est fréquent et les vertus classiques occupent une place de premier ordre. Enfin, les techniciens de la guerre faisaient des mathématiques le fondement essentiel de leur conception de l'art militaire moderne
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More than 2.6 million troops have deployed in support of the wars in Iraq and Afghanistan. Still, surveys reveal that more than half feel “disconnected” from their civilian counterparts, and this feeling persists despite ongoing efforts, in the academy and elsewhere, to help returning veterans overcome physical and mental wounds, seek an education, and find meaningful ways to contribute to society after taking off the uniform. This dissertation argues that Iraq and Afghanistan War veterans struggle with reassimilation because they lack healthy, complete models of veteran identity to draw upon in their postwar lives, a problem they’re working through collectively in literature and artwork. The war veteran—returning home transformed by the harsh realities of military training and service, having seen humanity at its extremes, and interacting with a society apathetic toward his or her experiences—should engage in the act of storytelling. This act of sharing experiences and crafting-self subverts stereotypes. Storytelling, whether in a book read by millions, or in a single conversation with a close family member, should instruct civilians on the topic of human resiliency; it should instruct veterans on the topic of homecoming. But typically, veterans do not tell stories. Civilians create barriers to storytelling in the form of hollow platitudes—“thank you for your service” or “I can never understand what you’ve been through”—disconnected from the meaning of wartime service itself. The dissonance between veteran and civilian only becomes more complicated when one considers the implicit demands and expectations attached to patriotism. These often well-intentioned gestures and government programs fail to convey a message of appreciation because they refuse to convey a message of acceptance; the exceptional treatment of veterans by larger society implies also that they are insufficient, broken, or incomplete. So, many veterans chose conformity and silence, adopting one of two identities available to them: the forever pitied “Wounded Warrior” or the superficially praised “Hero.” These identities are not complete. They’re not even identities as much as they are collections of rumors, misrepresentations, and expectations of conformity. Once an individual veteran begins unconsciously performing the “Wounded Warrior” or “Hero” character, the number of potential outcomes available in that individual’s life is severely diminished. Society reinforces a feeling among veterans that they are “different.” This shared experience has resulted in commiseration, camaraderie, and also the proliferation of veterans’ creative communities. As storytellers, the members of these communities are restoring meaning to veteran-civilian discourse by privileging the nuanced experiences of the individual over stereotypes and emotionless rhetoric. They are instructing on the topics of war and homecoming, producing fictional and nonfictional representations of the veteran capable of competing with stereotypes, capable of reassimilation. The Introduction establishes the existence of veteran culture, deconstructs notions of there being a single or binary set of veteran identities, and critiques the social and cultural rhetoric used to maintain symbolic boundaries between veterans and civilians. It begins by establishing an approach rooted in interdisciplinary literary theory, taking veteran identity as its topic of consideration and the American unconscious as the text it seeks to examine, asking readers to suspend belief in patriotic rhetoric long enough to critically examine veteran identity as an apparatus used to sell war to each generation of new recruits. Patriotism, beyond the well-meaning gestures and entitlements afforded to veterans, also results in feelings of “difference,” in the veteran feeling apart from larger society. The inescapability of veteran “difference” is a trait which sets it apart from other cultures, and it is one bolstered by inaccurate and, at times, offensive portrayals of veterans in mass media and Hollywood films such as The Manchurian Candidate (1962), First Blood (1982), or Taxi Driver (1976). To understand this inescapability the chapter engages with theories of race, discussing the Korean War veteran in Home (2012) and other works by Toni Morrison to directly and indirectly explore descriptions of “difference” by African Americans and “others” not in positions of power. From there, the chapter traces veteran identity back to the Italian renaissance, arguing that modern notions of veteran identity are founded upon fears of returning veterans causing chaos and disorder. At the same time, writers such as Sebastian Junger, who are intimately familiar with veteran culture, repeatedly emphasize the camaraderie and “tribal” bonds found among members of the military, and instead of creating symbolic categories in which veterans might exist exceptionally as “Heroes,” or pitied as “Wounded Warriors,” the chapter argues that the altruistic nature which leads recruits to war, their capabilities as leaders and educators, and the need of larger society for examples of human resiliency are more appropriate starting points for establishing veteran identity. The Introduction is followed by an independent “Example” section, a brief examination of a student veteran named “Bingo,” one who demonstrates an ability to challenge, even employ veteran stereotypes to maintain his right to self-definition. Bingo’s story, as told in a “spotlight” article meant to attract student veterans to a college campus, portrays the veteran as a “Wounded Warrior” who overcomes mental illness and the scars of war through education, emerging as an exceptional example—a “Hero”—that other student veterans can model by enrolling at the school. Bingo’s story sets the stage for close examinations of the “Hero” and the “Wounded Warrior” in the first and second chapters. Chapter One deconstructs notions of heroism, primarily the belief that all veterans are “Heroes.” The chapter examines military training and indoctrination, Medal of Honor award citations, and film examples such as All Quiet on the Western Front (1930), Heroes for Sale (1933), Sergeant York (1941), and Top Gun (1986) to distinguish between actual feats of heroism and “Heroes” as they are presented in patriotic rhetoric. The chapter provides the Medal of Honor citations attached to awards presented to Donald Cook, Dakota Meyer, and Kyle Carpenter, examining the postwar lives of Meyer and Carpenter, identifying attempts by media and government officials to appropriate heroism—to steal the right to self-definition possessed by these men. Among these Medal of Honor recipients one finds two types of heroism: Sacrificing Heroes give something of themselves to protect others; Attacking Heroes make a difference during battle offensively. Enduring Heroes, the third type of heroism discussed in the chapter, are a new construct. Colloquially, and for all intents and purposes, an Enduring Hero is simply a veteran who enjoys praise and few questions. Importantly, veterans enjoy the “Hero Treatment” in exchange for silence and conforming to larger narratives which obfuscate past wars and pave the way for new ones. This chapter engages with theorists of gender—such as Jack Judith Halberstam, whose Female Masculinities (1998) anticipates the agency increasingly available to women through military service; like Leo Braudy, whose From Chivalry to Terrorism (2003) traces the historical relationship between war and gender before commenting on the evolution of military masculinity—to discuss the relationship between heroism and agency, begging a question: What do veterans have to lose from the perpetuation of stereotypes? This question frames a detailed examination of William A. Wellman’s film, Heroes for Sale (1933), in the chapter’s final section. This story of stolen valor and the Great Depression depicts the homecoming of a WWI veteran separated from his heroism. The example, when combined with a deeper understanding of the intersection between veteran identity and gender, illustrates not only the impact of stolen valor in the life of a legitimate hero, but it also comments on the destructive nature of appropriation, revealing the ways in which a veteran stereotypes rob service men and women of the right to draw upon memories of military service which complete with those stereotypes. The military “Hero” occupies a moral high ground, but most conceptions of military “Heroes” are socially constructed advertisements for war. Real heroes are much rarer. And, as the Medal of Honor recipients discussed in the chapter reveal, they, too, struggle with lifelong disabilities as well as constant attempts by society to appropriate their narratives. Chapter Two traces the evolution of the modern “Wounded Warrior” from depictions of cowardice in Stephen Crane’s The Red Badge of Courage (1895), to the denigration of World War I veterans afflicted with Shell Shock, to Kevin Powers’s Iraq War novel, The Yellow Birds (2012). As with “Heroes,” “Wounded Warriors” perform a stereotype in place of an authentic, individualized identity, and the chapter uses Walt Kowalski, the protagonist of Clint Eastwood’s film, Gran Torino (2008), as its major example. The chapter discusses “therapeutic culture,” Judith Butler’s work on identity-formation, and Eva Illouz’s examination of a culture obsessed with trauma to comment on veteran performances of victimhood. Butler’s attempts to conceive of new identities absent the influence of systems of definition rooted in the state, in particular, reveal power in the opposite of silence, begging another question: What do civilians have to gain from the perpetuation of veteran stereotypes? Largely, the chapter finds, the “Wounded Warrior” persists in the minds of civilians who fear the veteran’s capacity for violence. A broken, damaged veteran is less of a threat. The story of the “Wounded Warrior” is not one of sacrifice. The “Wounded Warrior” exists after sacrifice, beyond any measure of “honor” achieved in uniform. “Wounded Warriors” are not expected to find a cure because the wound itself is an apparatus of the state that is commodified and injected into the currency of emotional capitalism. This chapter argues that military service and a damaged psyche need not always occur together. Following the second chapter, a close examination of “The Bear That Stands,” a short story by Suzanne S. Rancourt which confronts the author’s sexual assault while serving in the Marines, offers an alternative to both the “Hero” and the “Wounded Warrior” stereotypes. Rancourt, a veteran “Storyteller,” gives testimony of that crime, intervening in social conceptions of veteran identity to include a female perspective. As with the example of Bingo, the author demonstrates an innate ability to recognize and challenge the stereotypes discussed in the first and second chapters. This “Example” sets the stage for a more detailed examination of “Veteran Storytellers” and their communities in the final chapter. Chapter Three looks for examples of veteran “difference,” patriotism, the “Wounded Warrior,” and the “Hero” in nonfiction, fiction, and artwork emerging from the creative arts community, Military Experience and the Arts, an organization which provides workshops, writing consultation, and publishing venues to veterans and their families. The chapter examines veteran “difference” in a short story by Bradley Johnson, “My Life as a Soldier in the ‘War on Terror.’” In “Cold Day in Bridgewater,” a work of short fiction by Jerad W. Alexander, a veteran must confront the inescapability of that difference as well as expectations of conformity from his bigoted, civilian bartender. The final section analyzes artwork by Tif Holmes and Giuseppe Pellicano, which deal with the problems of military sexual assault and the effects of war on the family, respectively. Together, Johnson, Alexander, Holmes, and Pellicano demonstrate skills in recognizing stereotypes, crafting postwar identities, and producing alternative representations of veteran identity which other veterans can then draw upon in their own homecomings. Presently, no unified theory of veteran identity exists. This dissertation begins that discussion, treating individual performances of veteran identity, existing historical, sociological, and psychological scholarship about veterans, and cultural representations of the wars they fight as equal parts of a single text. Further, it invites future considerations of veteran identity which build upon, challenge, or refute its claims. Conversations about veteran identity are the opposite of silence; they force awareness of war’s uncomfortable truths and homecoming’s eventual triumphs. Complicating veteran identity subverts conformity; it provides a steady stream of traits, qualities, and motivations that veterans use to craft postwar selves. The serious considerations of war and homecoming presented in this text will be useful for Iraq and Afghanistan War veterans attempting to piece together postwar identities; they will be useful to scholars hoping to facilitate homecoming for future generations of war veterans. Finally, the Afterword to the dissertation proposes a program for reassimilation capable of harnessing the veteran’s symbolic and moral authority in such a way that self-definition and homecoming might become two parts of a single act.

This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.

This dissertation addresses the problem of raising consciousness in Walter Benjamin's writings, which focuses on the problem in his major early works, and in his later writings on photography, film, and mimesis generally. It is a closely-read interpretation, following Benjamin in his attempt to present a historical-philosophical treatment of the literature he was examining. However, it moves away from Benjamin's methodology at critical moments, presenting its own reading of the raising of consciousness as a problem not only for political theorists, but for those interested in the philosophy of history as well. The chapters focus on Benjamin's key major early works, the untranslated "Concept of Art Criticism in German Romanticism," his dissertation, and the essay on Goethe's Elective Affinities. It contains a lengthy chapter on Benjamin's famous Trauerspiel book, and two on mimesis and the essay on the work of art in the age of its technical reproducibility. The dissertation casts these works in a different light, one under which they have not been examined previously: this light bears the shadow of Kant. Although this is not a dissertation on Benjamin and Kant, the place of the subject and its historicity is considered when contemplating the raising of consciousness at stake in each individual chapter. The question of temporality is present in each case, and marks the presence of Kant as the figure who attempted so articulately to bridge reason and history. Benjamin realized this, and so his attention to consciousness and its temporality is so keen in all of his writings. Conclusions are always difficult to enumerate, especially when a work sees itself as necessarily unfinished. It is the opinion of this author that it is evident, in each chapter, both how Benjamin wrote about raising consciousness, what that meant in each case examined, and how this author interjected to highlight, stress, and invent new ways to read what is often so terribly obscure.

The purpose of this study as been to contribute to the emerging interdisciplinary field of historical sleep studies, which spans the biological and social sciences, legal studies, and the humanities. As an interdisciplinary scholar based primarily in the humanities, my goals have been twofold: to develop a critical archive for the use of scholars in this emerging field; and to demonstrate how that archive might be used to productive effect in literary studies. To that end, this project begins with a critical introduction to the field of sleep studies and its relationship to eighteenth- and nineteenth-century thought and follows with two distinct but connected sections: the archive itself and a short series of literary case-studies drawn from across the eighteenth and nineteenth centuries. My hope is that these case studies will show how the materials in the archive allow literary scholars to produce new insights about familiar, canonical texts.

“Doubtful Gains” argues that the concept of economic risk emerged in the early modern theater through performances of maritime peril staged at a moment of unprecedented growth for English venturing. Even as the hazards of global commerce became increasingly apparent, there existed no expression in English for risk, nor the inchoate logic by which early modern merchants attempted to manage their voyages’ losses. Yet my study shows that oceanic hazards are repeatedly worked over in “maritime drama,” an under-recognized cross-section of plays concerned with the sea, staged between the founding of the Levant Company in 1592 and the end of the Jacobean era in 1625. While the prevailing scholarly narrative has limited early modern uncertainty to inscrutable forms of “chance,” “accident,” and religious “providence,” my study shows how otherwise fragmentary knowledge was ordered in performance, implicating theater audiences in the management of new forms of uncertainty. Recovering the emergence of risk on the early modern stage has demanded not only the analysis of a new corpus of maritime drama, but a sophisticated account of economic history constructed from the archives of English joint-stock companies and attentive to the anachronism of modern risk theory. Shakespeare’s plays, at the center of my study, are complemented by the work of Christopher Marlowe, Ben Jonson, John Fletcher, Phillip Massinger, William Haughton, and Robert Daborne, as well as a diverse collection of prose texts. I draw on pamphlets of mercantile policy, voyage journals, and charters, and a specialized archive of financial and navigational records. Constructing an archive of plays and prose that engage with an increasingly commercial global ocean, I argue that theatrical representations of maritime hazard precipitated a new discourse of risk in early modern England. Each of my four chapters shows how the theater helped shape one of those forms, which I term “maritime risks.” Scenes of shipwreck, piracy, enslavement, and news connected English venturing to economic vulnerability in increasingly systematic ways, helping to develop the logic of uncertainty which would come to be codified as economic risk. Shipwreck scenes in The Comedy of Errors, Eastward Ho, and The Tempest exemplify the period’s most typical hazard, demonstrating how spectators of shipwreck are central to reproducing the risk of disaster at sea. Encounters with pirates in 2 Henry VI, Hamlet, and Daborne’s A Christian Turn’d Turke establish risk within the many forms of negotiation demanded by early modern ventures, and the enslavement of Ithamore in Marlowe’s Jew of Malta launches my analysis of the risk to human agency posed by the sex trade in Shakespeare’s Pericles, Prince of Tyre. Finally, I address news of financial loss in Merchant of Venice and Haughton’s Englishmen for My Money, showing how risk manifests through the unreliability of staged merchant correspondence. The notion of maritime risk that emerges from these plays builds on contemporary oceanic studies while also recovering the inter-determination of oceanic space and economic reasoning everywhere evident on the early modern stage.

The study aims to assess performance of Technical Reports as a channel of information for development in the Lesotho context. It concurrently evaluates how a specialized information unit of the Institute of Southern African Studies (lSAS) has performed in its obligation to devise adequate mechanisms for managing the report literature and meeting the development-related needs of users. In order to achieve that aim, the study contextualized development as a process, state, and condition and highlighted some development indicators for Lesotho. Agriculture and gender were selected as sectors of development. Global conferences, as one of the many development strategies that generate technical reports heavily, were used as a benchmark. In the performance and impact assessment methodologies, case study techniques were applied with ISAS as a site and one unit ofanalysis. Technical Reports (TRs) on Lesotho were studied. Triangulation approaches were applied in sourcing data. The academics, information workers, government officials, non-governmental organizations (NGOs) and aid agencies based in Lesotho were surveyed. Research questions that guided the study centred on the productivity, distribution of technical reports, their management by intermediaries, use, non-use and the effects thereon. Seven types ofTechnical Reports feature in the development process, namely Academic, Project, Conference, Survey, Enquiry, Official and Special Committee Reports. Technical Reports are produced at varying levels depending on needs and approaches to development by producers or commissioning bodies. Academic Reports are authored mostly by the academics. The Government, Aid agencies and NGOs produce widely through external consultants/experts, who utilize centres such as ISAS where commissioning bodies do not have information services. TRs productivity is high and diverse in Lesotho, but capacity to manage the output is seemingly low, and hence under-utilization results; ISAS's out-dated mission, lack of, or limited resources and dejure national support in the form of acts and statutes affect the Institute's Technical Reports' services. Production is gender biased, thus making for imbalance in reporting on development. Agriculture as a sector is heavily researched and reported about, but the benefits to the populace are either few or non-existent. Restricted materials are estimated at 30%, but most ofthe TRs are unaccounted for. Hoarding and poor records or information management leave a vacuum that leads to a duplication of previous studies and production. The study confirmed that technical reports are required by all the surveyed groups. Technical Reports are not ofa transient nature even though they reach a peak oftopicality and use at certain periods. Where the channel conveys factual data timeously, there are developmental benefits. Low or non-use is common where there are no specialized information services especially within the civil service. Such negative factors cause delays and infrequent currency, inadequate reporting and erroneous budgetary allocations, for example. Seeminglythere is no clarity on what restricted, secret and limited materials mean. Major recommendations were made. One concerned an integrated approach to managing the channel. This would involve preparing a Manual for the production of Technical Reports which would clarify how to prepare them; for instance, the caliber of personneVexperts who should author reports, the conditions to be observed, the timeliness production, reliability of data used, and centres that would be acknowledged to then qualify for commensurate financial and other support. The other proposes that the envisaged National Research Council be given the powers to enforce the guidelines ofthe manual and related functions. The last recommends assigning to the documentalistsfor classified Technical Reports, the role of managing classified items. Consideration should also be given to important issues raised in the study, being the role of Information, Communication and Technologies (lCTs), sectors of development to be attended to, training and networking in technical report\s. Further studies are also recommended mainly for the causes and effects of the closures of information services that managed technical reports' in southern Africa; longitudinal studies on the impact of non-use oftechnical reports in major sectors ofdevelopment like Agriculture; comparative studies on the impact of specialized centres in the developed and developing countries. Further action is urged under the aegis ofbodies like the Standing Conference ofEastem, Central and Southern African Librarians (SCECSAL), Standing Conference of National and University Librarians.
Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 2002.