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1
Stepnisky, Jeffrey N. "Kenneth Gergen's social constructionism." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/MQ34323.pdf.
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2
Leipzig, Universität, and University of Miami. "Advisory Board: Kenneth Tung." Compliance Elliance Journal (2017), 3:1, S. 11-17, 2017. https://ul.qucosa.de/id/qucosa%3A15599.
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3
Swim, Jeffrey. "Idle Worship: Kenneth Grahame's Literary Paganism." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35158.
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In this thesis, I explore the works of Kenneth Grahame in light of what some critics have deemed “literary paganism”. I argue that Grahame employs certain “pagan” tropes in order to launch a critique of modern culture. Grahame upholds a classical vision of leisure that rejects the ideology inherent to urbanization. His critique of modernity relies on a literary persona indicative of an alternative attitude to that of the middle class fin de siècle urban culture. His short stories add to this critique in their presentation of childhood as a pre-converted pagan existence which en-kindles a sense of disappointment with routinized adult life in the modern city. The Wind in the Willows embodies Grahame's vision of true leisure which is depicted in both the River Bank animals and their wetland ecosystem itself. By paying close attention to the pagan themes in Grahame’s writing, we gain a comprehensive view of his often misunderstood body of work.
4
Grant, Roderick. "Kenneth Slessor at Smith's Weekly, 1927-1939." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24918.
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The thesis investigates divisions and contradictions in Kenneth Slessor’s writing between 1927 and 1939. During this period Slessor worked as a journalist for Smith’s Weekly and wrote his most mature poems. Contrary to recent scholarly opinion, I argue that the relationship between his journalism and poetry is marked by discord rather than congruence. The thesis explores Slessor’s work for Smith’s Weekly – most of it previously overlooked by scholars - in terms of its adherence to the populist ethos of the newspaper and to the broader conformist culture reflected and fostered by the paper. Poems in Cuckooz Contrey (1932) and Five Bells (1939) are interpreted as expressions of the divided self that allowed Slessor to function simultaneously as a popular journalist and serious artist during the 1920s and 1930s. He subscribed, with increasing disillusionment, to a romantic dualism broadly consonant with the distinction made by Norman Lindsay between ‘Life’ and ‘Existence’; for Slessor, poetry fell into the former category, journalism into the latter. Throughout his life, Slessor continued to describe poetry as a ‘pure’ and ‘magical’ art form that transcends the material conditions of the society in which it is written. Slessor’s overall career as a writer during this period was characterized by a lack of integration which I argue reflects suppressions, divisions and uncertainties in the broader Australian culture. I offer readings of the poems to demonstrate how Slessor turned those tensions into a subject of his art.
5
Gorini, F. M. "SHAKESPEARE AL CINEMA: HAMLET SECONDO KENNETH BRANAGH." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/173515.
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This thesis focuses on the popularization on film of William Shakespeare’s plays. If the Shakespearean pictures shot in the silent era were more similar to filmed theatre performances than to adaptations, in the 1920s the Bard’s works start to be adapted for the cinema in order to reach a new and wider audience, thus triggering the phenomenon of the popularization of his plays. This process achieves a significant phase in the 1990s thanks to Kenneth Branagh’s adaptations, which cause a revival of the genre. Branagh’s experience is crucial in that he begins his artistic career in the theatre and afterwards takes on the role of actor and film director.
I present two case-studies: In the Bleak Midwinter, directed by Branagh in 1995, and William Shakespeare’s Hamlet, directed and interpreted by Branagh in 1996. They both rework the tragedy of Hamlet but from different perspectives: the former appropriates the anxieties of the Shakespearean characters and transfers them to the members of an eccentric, contemporary theatre company, while the latter adapts the integral version of Shakespeare’s play for the screen. That is why In the Bleak Midwinter is defined as an “appropriation” of Hamlet whereas William Shakespeare’s Hamlet is defined as an “adaptation”.
The relationship between the two screen versions is investigated. The analysis is based on the exploration of their intertextual connections and on the factors which in the two films contribute to the popularization of the source text. Not only does Branagh interpret the popularization of Shakespeare’s Hamlet as a compromise with Hollywood commercial values but he also includes a deep political awareness epitomized by the persistent presence of the Norwegian prince Fortinbras.
6
Winterton, John Bradley. "Some aspects of Bohemianism and literature 1830-1975 with special reference to John Addington Symonds, Kenneth Grahame and Kenneth Rexroth /." Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17592100.
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Simakole, Brutus Mulilo. "Political autobiography, nationalist history and national heritage: the case of Kenneth Kaunda and Zambia." Thesis, University of the Western Cape, 2012. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5572_1375971963.
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The research for this thesis started off as a long academic essay that sought to review a 1970s biography of Kenneth Kaunda.1 In its original focus, the study aimed at evaluating the work on the narrations of Kenneth Kaunda&rsquo
s life from a theoretical and critical perspective. Specifically it sought to evaluate the biography for its theoretical and methodological approaches, its attention to issues of sources, archives, narrative and history. In addition, it aimed at locating the biography in relation to debates over biography and history in South Africa. As I began my research for the long essay, it soon became apparent that the biography of Kenneth Kaunda ended its narration in 1964 and yet it was published ten years later in 1974. By ending its &lsquo
coverage&rsquo
of the narrations of Kenneth Kaunda&rsquo
s life in 1964, it seemed obvious that its coverage was in many ways similar to his autobiography that was published in 1962.2 The ending of the biography&rsquo
s coverage in 1964 thus seemed rather abrupt as it precluded any representations of the subject in the post 1964 period in which he had become President of Zambia. Kenneth Kaunda was
resident of Zambia for nearly three decades (1964-1991) having led the &lsquo
final&rsquo
phase of the nationalist struggle for Independence through the United National Independence Party (UNIP). Surely, I surmised, the meanings of Kenneth Kaunda&rsquo
s life as nationalist leader, as presented in most of his biography, would differ from those of him as
President? Upon evaluating the biography, it seemed to be a largely chronological and descriptive rather analytical account of the subject&rsquo
s life. However, what made it profound to me was the ways in which it entwined the narratives of Kenneth Kaunda&rsquo
s life with the events, dates 1 The biography of Kenneth Kaunda by Fergus Macpherson was the subject of the long essay. See Fergus Macpherson, Kenneth Kaunda of Zambia: The Times and the Man (Lusaka: Oxford University Press, 1974). 2 Kenneth D. Kaunda, Zambia Shall Be Free: An Autobiography (London: Heinemann Educational Books
td, 1962). and activities of the history of the Zambian nation. Some accounts inadvertently referred to this interconnection by referring to Kenneth Kaunda as the &lsquo
founder of Zambia&rsquo
. My
exposure to various other debates around the production of history in the public domain such as through museums and national heritage sites or monuments prompted me to consider undertaking a study of the post-1964 historiography of Kenneth Kaunda. Rather than attempting to fill Kenneth Kaunda&rsquo
s post-1964 historiographical gap with a chronological account of his political life, I wanted to trace the narratives of Kenneth Kaunda&rsquo
s life in connection with the production of history in different domains in Zambia. This thesis thus aims at examining the political auto/biographical narrations of Kenneth Kaunda in relation to the production of nationalist history and national heritage in Zambia in the years following the country&rsquo
s Independence in 1964.4 One of the key questions that this study sought to engage with was: how did the &lsquo
representations&rsquo
of Kenneth Kaunda influence the ways in which Zambia&rsquo
s post-independence nationalist history and national heritage were produced? In seeking to provide an answer to the question, the study evaluated the auto/biography of Kenneth Kaunda itself, as well as how it reflects in the history texts utilised in Zambian schools and in history in the public domain through national heritage sites or monuments and museum exhibitions. The thesis will show that in Zambia, the auto/biography of Kenneth Kaunda has acquired significance through history as school lesson and as history in the public domain, through the production of national heritage sites and museum exhibitions.
8
Farías, Joann. "A Burkean logological analysis of Doctrine and Covenants section 88 /." Diss., CLICK HERE for online access, 1986. http://contentdm.lib.byu.edu/u?/MTAF,37119.
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9
Thomas, Susanne L. "Kenneth I. Bray, his contribution to music education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ32518.pdf.
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Guthrie, Nichole Hurley. "Necessary Contradictions: Critical Pedagogy and Kenneth Burke's Pentad." NCSU, 2003. http://www.lib.ncsu.edu/theses/available/etd-05202003-131348/.
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Critical pedagogy, a teaching philosophy that encourages critical reflection in students so that they may expose and change oppressive societal structures, has been plagued by criticisms from a variety of sources. Critics charge that critical pedagogy is marred by irreconcilable contradictions such as its inappropriateness for non-oppressed students, its neglect of students? needs, and its unsuitability for most instructors privileged by the dominant ideology. Examining the internal consistency of Kenneth Burke?s pentadic ratios can be a useful tool for analyzing these contradictions, specifically those related to scene-act, agent-purpose, and act-agent. However, these contradictions, inherent in the very nature of critical pedagogy, seem to defy Burke?s pentad. Without inconsistencies between critical pedagogy, its purpose, its agents, and the broader scene in which it operates, the impetus for the enactment of critical pedagogy would not be present. Therefore, instead of seeking to deny or eradicate contradiction, critical theorists and educators need to make use of it in their own philosophies and practices. Because both critical educators and their students should confront and grapple with these contradictions in critical practice, the apparent flaws in critical pedagogy can actually encourage the critical consciousness that is the goal of the enterprise.
11
Petermann, Waldemar. "Attitudes toward Attitude : Kenneth Burke's views on Attitude." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-27558.
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In this thesis, a review of Kenneth Burke's use of the term attitude in his published works as well as in some unpublished notes, drafts and letters, is performed. Three periods of different usage are found. Early works feature a pervasive attitude with elements of both body and mind. This attitude is then subsumed into the pentad and the physiological connection is diminished, but attitude is given an important function as a connective between action and motion. The later Burke reinstates attitude as central to his theory of symbolic action, reconnects it to the physiological and includes it in the Pentad with parsimony-inducing effect. The attitude is then found to aid rhetorical analysis and show promise in being able to help analyse expressions not wholly in the realm of the conscious, be they in the form of a Bourdieu social practice or barely conscious rhetorical markers in conversation.
12
de, Lucas Olmos Maria Cristina. "Narrative aspects of Kenneth MacMillan's ballet 'The Invitation'." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/narrative-aspects-of-kenneth-macmillans-ballet-the-invitation(25354e3f-9b96-414e-a485-cf725bcb0a84).html.
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The British choreographer Kenneth MacMillan (1929-1992) has a prominent place in the narrative tradition of the Royal Ballet. As a major storyteller in the history of the company, his ballets with intense, dramatic stories are an important part of the dance heritage of British ballet. This thesis focuses on one of MacMillan’s first narrative achievements, the one-act ballet The Invitation (1960), and studies the main thematic concerns and stylistic strategies that it deploys. The methodology that shapes the investigation is dance narratology, an underexplored discipline with roots in narratology and dance studies. The first extensive methodological approach proposed here blends the main tenets and principles of narrative theory (and transmedial narratology, in particular) with dance, multimedia and choreomusical analysis. The argumentation is thus structured around six central narrative categories (story, plot, narration, time, space and characters) and interwoven with analytical and theoretical practices from dance research. It also includes notions from other academic fields, such as discourse analysis, semantics, drama and film theory, and is illustrated with frequent dance examples. The discussion framed by those concepts exposes MacMillan’s most significant narrative strategies in The Invitation, suggests the artistic influences behind them, highlights the role of choreography, music (by Mátyás Seiber) and design (by Nicholas Georgiadis) in the narrative, and proposes some narrative solutions to the main flaw in the ballet, the widely contested Carnival interlude. The thesis closes with a contextualization of the ballet, placing MacMillan’s narrative choices in their most immediate artistic contexts, namely those of the Royal Ballet and British post-war drama.
13
Archias, Susan Dana 1953. "Kenneth Burke's approach to language and theory construction." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276653.
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This thesis explains the "systematic" refinement of Kenneth Burke's theoretical process through his development of a theological paradigm for the dramatistic vocabulary. It describes the merging metaphysical and dialectical issues in Burke's critical thought and locates a theoretical shift in A Grammar of Motives, where Burke posits the prototype for his key term, "act." The study then interprets the formal treatment of the prototype in The Rhetoric of Religion: Studies in Logology, and demonstrates how the derived paradigm maintains and advances the convergence of metaphysics and dialectics, and how it reestablishes the interaction between language structure and usage in two types of definition or explanation (temporal-logical, narrative-tautological). This thesis also describes the purpose and functional range of Logology.
14
Isaksen, David Erland. "Indexing and Dialectical Transcendence: Kenneth Burke's Critical Method." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3091.
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Kenneth Burke has been described as arguably the most important rhetorician and critical theorist of the twentieth century, and yet an important part of his scholarship has been generally overlooked by the academic community. The pentad has become the most prominent "Burkean" framework for analyzing texts, yet Kenneth Burke himself preferred "a more direct" way of approaching texts which he named "indexing." This thesis recreates this method from the pieces found in his scholarly writing, personal correspondence, and the papers his students produced for the class he taught at Bennington College. Kenneth Burke believed indexing could uncover the "pattern of experience" or "motivational structures" a text embodies, and thereby help people become aware of the persuasive power different texts have. The method of indexing has two parts: 1. Finding the implicit equations in a text, and 2. Tracking the hierarchies of terms and God-terms in those equations. Identifying equations in a text starts with finding "key terms" in a text, meaning terms which carry special significance as indicated by their intensity and frequency of usage. One then tracks the context of these terms throughout a text to find which other words frequently occur together with these words. The second step, tracking hierarchies of terms, is done by finding how the terms in the equations relate to each other in a hierarchy. We start with specific and move upward to more general terms. On the top of the pyramid we find the God-term, which is the driving motivation and ground of all possibility in the text. Kenneth Burke hoped his method of indexing could help us understand the power language and motivational structures have to drive human action, and that we could question our own motivational structure as well as that of others and of the communities we operate in.
15
Duclos, Fauchart Michele. "Kenneth White : les chemins de la pensée poétique." Université Stendhal (Grenoble ; 1970-2015), 1993. http://www.theses.fr/1993GRE39046.
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Poete et penseur ecossais etabli en france, kenneth white s'inscrit dans la tradition de scot erigene, duns scot et george buchanan. Loin de tout nationalisme etroit, il insiste sur la nature "extravagante" du temperament celte, et montre une predilection pour les esprits largement ouverts sur le monde. Influence au depart par la poesie de whitman et la pensee de nietzsche, il interroge l'evolution de la science et de la pensee du vingtieme siecle et explore, la aussi sans esprit de systeme, les espaces les plus extremes de la pensee orientale, cherchant non seulement a redefinir une culture, mais a susciter de nouvelles energies culturelles. Dans la lignee de yeats, eliot, pound et mac diarmid, son oeuvre, majeure, qui se caracterise par la coherence et la clarte de la pensee, propose une sortie de la problematique du waste land. La premiere partie de la these s'efforce de situer kenneth white dans le champ epistemologique contemporain, en analysant les interactions entre science, pensee et poesie; on y etudie particulierement le travail du poete sur le langage. La seconde partie retrace l'itineraire planetaire du poete, dans sa dimension geographique et mentaleThis thesis considers kenneth white, a scottish poet and intellectual working in france, as continuing the tradition of john scot erigena, duns scot, and george buchanan. He has insisted frequently on the "extravagant" nature of the celtic mind, as against all parochial or national definitions, and has a predilection for the polymathic intelligences working on a wide spectrum of research. In poetry, he begins alongside whitman, in thought alongside nietzsche. Delving, from there, into the twentieth century development in science and philosophy, exploring (outside all "gurification") the remotest a5reas of eastern thought, trying to get, not only at a definition of culture, but at new cultural energies, he has evolved a body of work that stands beside that of, say, yeats, eliot, pound and macdiarmid, and can be seen as presenting a coherence and a clarity those others did not always achieve, as well as offering ways out of the waste land. In the first part, the thesis situates kenneth white in to-day's epistemological field, examining the interactions between science, thought and poetry, and studies white's experiments in expression. A second part follows white's path (physical and mental) round the world
16
Karrasch, Daniel [Verfasser], Stefan [Akademischer Betreuer] Siegmund, and Kenneth J. [Akademischer Betreuer] Palmer. "Hyperbolicity & Invariant Manifolds for Finite-Time Processes / Daniel Karrasch. Gutachter: Stefan Siegmund ; Kenneth J. Palmer. Betreuer: Stefan Siegmund ; Kenneth J. Palmer." Dresden : Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://d-nb.info/1068443405/34.
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Veach, Grace. "What the Spirit Knows : Charles Williams and Kenneth Burke." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001877.
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Behr, Martin. "Continuity and change in the thought of Kenneth Burke." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61124.
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This thesis analyzes Kenneth Burke's rhetoric of identification. I will examine the extent to which Burke's earliest critical writings, which focus on the suasive nature of literary forms, affected the writing of his later critical works, which deal with how language functions as a type of symbolic action. In his later texts, Burke breaks with his earlier concern with literary discourse by attempting to expound a critical theory that accounts for historical change, human motivation and the role of language in collective communities. He argues that language motivates people to identify with a certain sets of beliefs by transcending an opposing set of beliefs. Section One is an account of Burke's earlier conception of ideology in relation to his view of literary discourse. In Section Two the emphasis shifts toward a study of how Burke integrates his notion of ideology with his theory of a rhetoric of identification.
19
Laguérodie, Stéphanie. "John Kenneth Galbraith, acteur et libre interprète du keynésianisme." Université de Marne-la-Vallée, 2007. http://www.theses.fr/2007MARN0355.
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Cette thèse s’intéresse à la place de John Kenneth Galbraith dans l’histoire de la pensée économique, avec le souci de comprendre son éclipse mais aussi la persistance et l’actualité de certains de ses thèmes et analyses. Nous montrons que la place particulière que Galbraith y a occupé tient à sa conversion et son adhésion, contrairement à d’autres institutionnalistes américains, à la théorie keynésienne, tout en ayant eu de cesse de la « dépasser ». Nous présentons Galbraith comme une figure (acteur) du keynésianisme américain du 20ème siècle mais une figure en marge de celui-ci (interprète) et dont le projet économique ne s’est pas réalisé. La problématique se situe donc dans une tension entre deux propositions : Galbraith est un acteur du keynésianisme américain car il s’est converti à la théorie de Keynes dans ce qu’elle présentait de nouveau par rapport à l’analyse néoclassique et Galbraith a agi dans la sphère politique en faveur de l’adoption de politiques d’inspiration keynésienne ; mais il a sans cesse, dans le même temps, contesté les hypothèses du bon fonctionnement microéconomique des marchés de la théorie néoclassique, qu’il reprochait à Keynes d’avoir implicitement acceptées, ce qui l’a placé en marge du courant dominant du keynésianisme américain de l’après-guerre (le keynésianisme de la synthèse). Cette problématique est développée dans le cadre du contexte historique de l’influence du keynésianisme sur la politique économique américaine entre les années 1930 et 1980. Il s’agit ici de situer la pensée de l’auteur dans la perspective plus large de l’histoire des idées et de l’histoire des faits économiques de son pays. Trois périodes ont été distinguées : celle de la faible influence sur la politique économique (décennie 1930 et la guerre) malgré une influence académique croissante, celle de l’acceptation croissante du principe de soutien de la demande même par des gouvernements dits conservateurs (années 1950-Eisenhower) et de l’influence maximale avec les présidences de John F. Kennedy et de Lyndon B. Johnson, celle enfin du recul de l’influence devant la montée des difficultés macroéconomiques (inflation, faible croissance). Les positions de Galbraith sont présentées pour chacune de ces périodes et situées par rapport aux autres keynésiens, notamment le « consensus keynésien » représenté par les keynésiens de la synthèse (Paul Samuelson, James Tobin, Robert Solow). Nous montrons comment les positions de Galbraith en matière de choix de politique économique sont expliquées par sa grille d’analyse théorique du fonctionnement des marchés et ses choix éthiques. Nous posons alors la question de la portée actuelle des analyses critiques et normatives galbraithiennes dans le contexte d’une théorie keynésienne éclatée, mais qui met en son cœur l’étude des défaillances du marché. Nous montrons que si l’héritage académique de Galbraith est faible dans les courants de la théorie économique actuelle, les thèmes qu’il met en avant pour expliquer le fonctionnement des économies et qu’il juge insuffisamment pris en compte (voire pas du tout) par la théorie économique récente présentent une grande actualité
20
Friedrich, Ulrike Juliane. "Once more unto the breach Kenneth Branaghs Shakespeare Adaptionen /." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11513810.
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Reed, Meridith. "Kenneth Burke, John Dewey, and the Rhetoric of Aesthetics." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2721.
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Kenneth Burke and John Dewey each published books on aesthetics in the 1930s. These texts present parallel conceptions of aesthetics as holding a distinctly rhetorical role in society. My project is to line up these theories, focusing particularly on two key terms in each theory: Burke's eloquence and Dewey's expression. Together, these two terms explain what constitutes an aesthetic experience and explain how an aesthetic experience can open up individuals in a society to a variety of perspectives and identifications. As individuals are allowed to inhabit the experiences of others through their interactions with art, they are poised to become more cooperative and compassionate members of a democratic society.
22
Bineau, Anne. "Kenneth White : théorie et pratique de la poésie intégrale." Paris 10, 2001. http://www.theses.fr/2001PA100108.
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Depuis près de quarante ans, Kenneth White travaille à travers l'essai, le récit et le poème à l'élaboration d'une oeuvre poétique et théorique qui ouvre sur un projet culturel d'envergure : l'Institut international de géopoétique. Par une approche qui se veut résolument interne, se situant au-dedans de son paysage physique et mental, on cherche ici à retracer le parcours suivi par ce scoto-français, depuis son enfance sur le rivage écossais jusqu'à l'élaboration du concept de géopoétique. Consacrée à l'espace premier, la première partie met en lumière l'archéologie de la vocation du poète. Il est question de cette expérience fondamentale et fondatrice du dehors qui conduit à une première tentative de synthèse : l'élaboration du monde blanc, entendu comme le plus haut degré que puisse atteindre un individu dans son rapport au monde et un possible mythe moderne capable de fournir un nouveau fondement culturel. La deuxième partie se concentre sur l'un des enjeux majeurs de l'oeuvre : comment sortir de la poésie du moi et de la poésie du mot pour entrer dans une poétique du monde? En suivant les chemins de recherche et la méthode de travail de White, on aborde le surnihilisme et le nomadisme intellectuel, deux de ses concepts fertiles, qui ouvrent, après une culturanalyse radicale et la recherche de foyers culturels inspirants (le champ celte, le monde primitif et l'Orient) sur un nouvel espace mental et culturel. La troisième partie la grande cohérence- explore les champs de réalisation : l'oeuvre organique et le projet géopolotique, mouvement culturel majeur qui concerne les fondements mêmes de l'existence de l'homme sur la Terre. A l'issue de cette étude, il s'avère que la trajectoire de White est l'une des plus significatives, en tout cas, des plus stimulantes du XXe siècle apporte une réponse à notre questionnement de départ : comment obtenir le plus de vie possible?For about forty years, Kenneth White has been working out and working at - via prose, poetry and essays - not only a poetical but a theoretical « opus » which is opening on a wide-ranging cultural movement : the International Institute of Geopoetics. As what is counting in a poet is what lie gets back to, and what lie goes out to, we will explore, the complex field generated between those two poles. In our first part entitled the primal space, we will put forward the initial premises on the Scottish ground,that experience of the earth which leads to the concept of white world. Then we will explore, on our second part called ways of research and method of working, the new mental and cultural space Kenneth White, as a cosmographer, is maping out, bringing old mental landscape to life again (celtic field, hamanism, Easter thought and practice) and sheding new light on them. New concepts such as supernihilism and intellectual nomadism will be fully explained as being partsof the integral poetics way. In the third part, entitled the great coherence, we will study the whole organic work, seen as an opus cosmopoeticum, and the concept and cultural movement of geopoetics which is concerned by the fundamental question : the earth, how to live on it, how to life along with it ? The idea is to augment both sensation of life and sense of world, which a way to answer Thoreau's question : « how to get the most life ?». These thesis provides the real opportunity to see, from inside, the whole White picture : his thought-path, his teaching, his poetics, his way of being in the world. It looks as if not only a new poetic field, a new literary space, but the beginning of a new culture, at least, a new cultural context is emerging on the horizon
23
Selis, Lara Martim Rodrigues. "Deslimites da razão : um estudo sobre a teoria neorrealista de Kenneth Waltz." reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/9751.
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A presente dissertação dedica-se ao estudo do corpo teórico neorrealista formulado por Kenneth Waltz. Como objetivo geral, define-se o intuito de apresentar e interpretar aquela teoria, discutindo seus direcionamentos centrais nos planos teórico-metodológico, e sociológico, relacionados com uma perspectiva crítica. Entende-se, pois, que revisitar os conceitos do neorrealismo de Kenneth Waltz integra várias exigências metódicas: a histórica, orientada pela necessidade de repensar as perspectivas originais que envolveram sua produção; a ontológica, pela qual se contesta as definições do ser e dos seus sentidos; e, finalmente, a epistêmica, cujo desenvolvimento busca rever os fundamentos da ciência neorrealista, interpretando seus desdobramentos e aplicação. Tais caminhos são apreciados por meio do suporte teórico oferecido pelos argumentos da Teoria Crítica, vinculados ao olhar sociológico sobre as origens do conhecimento, e, sobretudo, à problematização da epistemologia cartesiana. Por meio dessas lentes, o estudo preocupa-se especialmente com os conceitos relacionados ao sujeito político internacional e suas práticas, que abrem espaço para uma reflexão acerca da imaginação política dispota no neorrealismo. Nesse sentido, desenvolve-se o argumento central de que a produção científica de Waltz contribui para construção de uma ideia “empobrecida” de política, visto que se apoia em elaborações tecnicistas despojadas das considerações normativas e intersubjetivas na apreensão intelectual do cenário internacional. Tais formulações tornam-se problemáticas, na medida em que prescrevem subjetividades conservadoras, associadas às condutas políticas desprovidas do elemento transformador. _______________________________________________________________________________ ABSTRACT
This masters research focuses on the study of the neorealist theory formulated by Kenneth Waltz. The central purpose is related to the presentation and critical interpretation of neorealism in its theoretical, methodological and sociological levels. Accordingly, the intent to revisit the neorealist concepts involve some methodical paths: first, the historical one, oriented by the need of rethink the origins of neorealist ideas; second, the ontological path, grounded in the reflection about the basic categories of being and their relations; and, finally, the epistemological study which investigates the nature and limitations of neorealist knowledge. To reach this goals, at least in the minimal sense, this dissertation uses the theoretical arguments developed by the Critical Theory, associates with the sociology of knowledge, and, especially, with the critiques about the cartesian epistemology. In this sense, the study focuses on the concepts related to international political actors and its practices, in order to, in a broadened scope, analyse the neorealist political imagination. So, this master thesis is based on the central argument that the scientific production of Waltz contributes to the construction of an 'impoverished' idea of politics, since it relies on a technical meaning about knowledge, problematized by the tendency in produce a conservative subject, that is incapable of contest the given order.
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Lamb, Christopher A. "The call to retrieval : Kenneth Cragg's Christian vocation to Islam." Thesis, University of Birmingham, 1987. http://etheses.bham.ac.uk//id/eprint/5623/.
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The career of the Anglican scholar and bishop, Kenneth Cragg, focusses attention on the Christian understanding of other faiths in general and of Islam in particular. Cragg has been a leading exponent of a particular missionary approach to Islam, emphasizing that there is a 'mission to Islam' as much as a mission to Muslims. To this end he interprets Islam as pointing in its deepest meaning towards Christianity, a course which has aroused both admiration and opposition among Christians and Muslims alike. I attempt to show that his theology is strongly influenced by distinctive Anglican traditions, and nourished by one particular Arab Christian source. Cragg, however, resists any easy classification, and faces the accusation of theological evasiveness as well as hermeneutic sleight of hand. His writings show a remarkable consistency over thirty years and point to possibilities for reconciliation between deeply rooted religious antagonisms. A further significance of Cragg is his awareness of contemporary secularity in its interaction with and impact upon religious belief. Here again his conviction that the deepest convictions of unbelief are at heart religious needs to be tested. The central question is whether he illegitimately 'christianises' Islam, and by extension, other faiths and ideologies. His keyword is 'retrieval', but there are attitudes and beliefs that cannot be retrieved, only abandoned. Few would quarrel with the ethics he advocates, but the question remains whether his theological method can be accepted as valid.
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Uren, Kenneth Richard. "State space model extraction of thermohydraulic systems / Kenneth R. Uren." Thesis, North-West University, 2009. http://hdl.handle.net/10394/3838.
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Many hours are spent by systemand control engineers deriving reduced order dynamicmodels
portraying the dominant systemdynamics of thermohydraulic systems. A need therefore exists
to develop a method that will automate the model derivation process. The model format
preferred for control system design and analysis during preliminary system design is the state
space format. The aim of this study is therefore to develop an automated and generic state
space model extraction method that can be applied to thermohydraulic systems.
Well developed system identification methods exist for obtaining state space models from
input-output data, but these models are not transparent, meaning the parameters do not
have any physical meaning. For example one cannot identify system parameters such
as heat or mass transfer coefficients. Another approach is needed to derive state space
models automatically. Many commercial thermohydraulic simulation codes follow a network
approach towards the representation of thermohydraulic systems. This approach is probably
one of the most advanced approaches in terms of technical development. It would therefore be
useful to develop a state space extraction algorithm that would be able to derive reduced order
state space models from network representations of thermohydraulic systems. In this regard a
network approach is followed in the development of the state space extraction algorithm. The
advantage of using a network-based extraction method is that the extracted state space model
is transparent and the algorithm can be embedded in existing simulation software that follow
a network approach.
In this study an existing state space extraction algorithm, used for electrical network analysis, is
modified and applied in a new way to extract state space models of thermohydraulic systems.
A thermohydraulic system is partitioned into its respective physical domains which, unlike
electrical systems, have multiple variables. Network representations are derived for each
domain. The state space algorithm is applied to these network representations to extract
symbolic state spacemodels. The symbolic parametersmay then be substitutedwith numerical
values. The state space extraction algorithm is applied to small scale thermohydraulic systems
such as a U-tube and a heat exchanger, but also to a larger, more complex system such
as the Pebble Bed Modular Reactor Power Conversion Unit (PBMR PCU). It is also shown
that the algorithm can extract linear, nonlinear, time-varying and time-invariant state space
models. The extracted state space models are validated by solving the state space models
and comparing the solutions with Flownex results. Flownex is an advanced and extensively
validated thermo-fluid simulation code. The state space models compared well with Flownex
results.
The usefulness of the state space model extraction algorithm in model-based control system
design is illustrated by extracting a linear time-invariant state space model of the PBMR PCU.
This model is embedded in an optimal model-based control scheme called Model-Predictive
Control (MPC). The controller is compared with standard optimised control schemes such as
PID and Fuzzy PID control. The MPC controller shows superior performance compared to
these control schemes.
This study succeeded in developing an automated state space model extraction method that
can be applied to thermohydraulic networks. Hours spent on writing down equations from
first principles to derive reduced order models for control purposes can now be replaced
with a click of a button. The need for an automated state space model extraction method for
thermohydraulic systems has therefore been resolvedThesis (Ph.D. (Computer and Electronical Engineering)--North-West University, Potchefstroom Campus, 2009.
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Roncato, Christophe. "Kenneth White : et la poétique de l'énergie : épure, écriture, monde." Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL034/document.
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Le poète, essayiste et prosateur franco-écossais Kenneth White élabore depuis le début des années 1960 une œuvre singulière qui est aujourd'hui reconnue comme l'une des plus cohérentes de la post-modernité. Parce qu'il considère que la culture occidentale est prise dans une impasse, il cherche dans un contact rapproché avec la terre l'issue au malaise dans la civilisation. Selon une approche résolument nietzschéenne, il congédie toute forme d'arrière-monde pour embrasser l'ici-bas, s'attache à démanteler l'axe vertical sur lequel l'Occident s'est construit et tente de redynamiser le séjour de l'homme sur terre. Conjointement à ce travail d'épure l'auteur mène une réflexion sur le verbe et s'efforce de « trouver le langage inconnu auquel l'esprit aspire ». En marge de tout lettrisme, en rupture avec une littérature purement littéraire, l'écriture whitienne se veut à la fois simple et souple, puissante et vivifiante. Pour ce faire l'auteur ne puise pas son inspiration dans la mythologie mais il se met à l'écoute de la terre, de ses « pulsions telluriques », de ses « enveloppes thermodynamiques » et autres « vibrations » et « longueurs d'onde », en somme avec ce que Caillois, avant lui, avait nommé « l'écriture permanente du monde ». Bien qu'il mène un travail de sape, White ne fait pas table rase et salue sur son chemin un grand nombre de compagnons. Il pousse d'ailleurs cette logique jusqu'à son comble et insiste sur le fait que l'œuvre personnelle a fait son temps et qu'elle se doit d'ouvrir sur une œuvre collective. En fondant l'Institut international de géopoétique en 1989 puis en l'archipélisant en 1994, il a mis l'accent sur la vocation sociale de la littérature, sur le rôle qu'elle peut et doit jouer au sein de nos sociétés. Entre avant-garde et arrière-garde, politique et esthétique, la géopoétique emprunte la voie du milieu et ouvre de nouvelles perspectives, elle trace les lignes d'un monde en émergence que son fondateur a résolument placé sous le signe de l'énergieSince the 1960's Scotto-French poet, essayist and prose-writer Kenneth White has been elaborating an idiosyncratic work which is today recognised as one of the most coherent of post-modernity. Because he believes that western culture has reached a point of no return, he sees the earth as the only solution to our civilization's discontents. Resolutely nietzschean in his approach, he dismisses transcendence to embrace immanence, deconstructs the vertical axis on which the western world had built itself and endeavours to revitalize the journey of man on earth. Together with this process of purge he reflects on the Word and tries to find the unknown language our mind longs to master. Against literature that is too literary, White's writing is simple and supple, powerful and vivifying. The author does not draw his inspiration from mythology but gets in tune with the earth, with its telluric forces, its thermodynamic envelopes, its vibrations and wavelengths, with what Caillois, before him, called the “permanent writing of the world”. Despite this undermining White does not wipe the slate clean and meets a large number of fellow writers and thinkers on his way. As a matter of fact he pushes this logic to its end and insists on the fact that one should no longer think in terms of personal work and should strive to create a collective one. By founding the International Institute for Geopoetics in 1989 and by “archipelising” it in 1994, he clearly stressed the social vocation of literature. Between avant-garde and rearguard, politics and aesthetics, geopoetics opens new perspectives and traces the outline of a highly energetic world
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Rita, Patricia [Verfasser], Baets Kenneth [Akademischer Betreuer] De, Baets Kenneth [Gutachter] De, and Christian [Gutachter] Klug. "Diversity and body size dynamics of marine invertebrate assemblages across the Pliensbachian-Toarcian crisis / Patricia Rita ; Gutachter: Kenneth De Baets, Christian Klug ; Betreuer: Kenneth De Baets." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2019. http://d-nb.info/1202146031/34.
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Masala, Carlo. "Niemals geht man so ganz : ein Nachruf auf Kenneth N. Waltz." Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6789/.
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Durch den Tod von Kenneth N. Waltz hat die akademische Disziplin der Internationalen Beziehungen ihren gegenwärtig größten und einflussreichsten Denker verloren. In verschiedenen Nachrufen von Schülern und Kollegen wurde zu Recht darauf hingewiesen, dass Kenneth Waltz, egal wie man zu seiner Theorie des strukturellen Realismus (der Begriff, den er dem des Neorealismus vorzog) steht, wie kein anderer die Disziplin der Internationalen Beziehungen nach dem Ende des Zweiten Weltkrieges geprägt hat.
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Humphreys, Adam Richard Copeland. "Kenneth Waltz and the limits of explanatory theory in international relations." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d21f41ff-ba18-453f-ba70-ecb7bf8ec3db.
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Kenneth Waltz's seminal work Theory of international politics (1979) conceptualizes international relations as a complex system in which the structure of the system and the interacting units (sovereign states) that comprise it are mutually affecting. Nevertheless, Waltz seeks to develop a nomothetic theory in which the structure of the international political system is isolated as an independent variable, state behaviour being the dependent variable. Waltz's explanatory strategy is therefore characterized by a deep tension: he treats structure as an independent variable whilst also arguing that structure and units are mutually affecting. Consequently, his systemic theory only generates partial explanations: it indicates how structure affects behaviour, but not how structure interacts with other variables to produce specific behavioural outcomes. This thesis draws on Waltz's theoretical writings, on Waltz's applications of his theory to empirical subjects in international relations (superpower relations during the Cold War, Soviet socialization into international society, and NATO's role after the Cold War), and on a wide range of theoretical literature. It explores the implications of the tension in Waltz's approach for explanatory theory in International Relations. It shows that Waltz's theory cannot ground many of his substantive arguments, that realists who attempt to improve Waltz's theory misunderstand the problems Waltz encounters, and that constructivists are unable to offer causal generalizations about complex systems. It concludes that explanatory theory in International Relations is currently poorly equipped to address complex systems in which structure and units are mutually affecting.
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Tebbe, James Allen. "Christian scriptures in Muslim culture in the work of Kenneth Cragg." Thesis, Open University, 1997. http://oro.open.ac.uk/57716/.
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Much of Kenneth Cragg's writing is devoted to finding common ground between Christianity and Islam. A conservative Christian upbringing and a liberalising education based on the Enlightenment's values have contributed to this approach. Although Cragg often quotes the Bible, he has not written on Christian Scriptures to the same extent that he has on the Qur'an. His theology of Christian Scriptures has been affected by his engagement with the Qur'an. Cragg's traditional approach to the Bible has been reinforced by Muslims' view of their Scripture. To handle problems his traditional approach creates, Cragg filters Scriptures through a single model of revelation. Thus Scriptures are valued only for their contribution to this revelation. The result is that he unconsciously develops a canon within the canon. He solves problems with the Old Testament by handling it in a way similar to the Qur'an: both become a type of old testament to the New. In connection with the New Testament, 'hospitality' is key to Cragg's interpretation. Those parts which communicate his understanding of hospitality are one major, though often unarticulated, criterion for his canon within the canon. Cragg was one of the earliest to propose comparing Christ rather than the Bible to the Qur'an. His understanding of different scriptural issues between the Bible and the Qur'än has led him to see the comparison as one of revelation to revelation rather than Scripture to Scripture. Some of the difficulties that Cragg has had with the Bible as Scripture could be helped within the framework of his theology if he were to consider a variety of models, rather than a single one, for understanding Scriptures. His exegesis tends to be intuitive and at crucial points vulnerable to a more historical approach which is concerned to work with the meaning the author would have had for the text.
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Gabrielli, Michelle Aparecida. "Romeu e Julieta: do texto shakesperiano ao balé de Kenneth Macmillan." Universidade Federal de Viçosa, 2012. http://locus.ufv.br/handle/123456789/4848.
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Previous issue date: 2012-03-30William Shakespeare s Romeo and Juliet can be considered the ultimate tragic love story. That is why it has generated the most varied artistic adaptations. In dance, Romeo and Juliet has been translated mainly into the language of classical ballet. Within this context, this work aims to analyze the play s process of transmutation into the language of classical dance. The object of this work, was produced by The Royal Ballet in 1965, and choreographed by Kenneth MacMillan. The theoreticians who guided our work in the field of adaptation studies are Gérard Genette (2010), Julie Sanders (2006; 2007) and Linda Hutcheon (2011); in the field of the performing arts, Patrice Pavis (2008a; 2008b; 2010); and, for the purpose of analysis, in the field of semiotic studies, the intersemiotic translation theory proposed by Roman Jakobson (2010). Thus, the aim of this work is to understand the transformations the play has undergone in the process of becoming a choreographic production, focusing on the following elements: costumes, scenery, props, lighting, movement and gestures.
Romeu e Julieta, de William Shakespeare, pode ser considerada como a maior história de amor de todos os tempos e, por este motivo, foi adaptada para diversas linguagens artísticas. Na área da dança, Romeu e Julieta foi traduzida principalmente para a linguagem do balé clássico. Neste contexto, este trabalho visa a analisar o processo de transmutação do texto teatral Romeu e Julieta para a linguagem da dança clássica. O objeto de estudo desta pesquisa é a versão que foi produzida pela The Royal Ballet, em 1965, com coreografia de Kenneth MacMillan. Os teóricos norteadores deste trabalho no campo dos estudos de adaptação são Gérard Genette (2010), Julie Sanders (2006; 2007) e Linda Hutcheon (2011); nas artes cênicas, Patrice Pavis (2008a; 2008b; 2010); e, no campo dos estudos semióticos, para efeito de análise, utilizou-se a teoria de tradução intersemiótica proposta por Roman Jakobson (2010). Portanto, pretende-se compreender os aspectos e as transformações da peça teatral para a obra coreográfica a partir dos seguintes elementos: figurino, cenário, objetos cênicos, iluminação, movimento e gesto.
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Poupon, Frédéric. "Trois poètes du sauvage : Robinson Jeffers, Gary Snyder et Kenneth White." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30012.
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La poésie et l’écologie entretiennent des relations étroites que le discours scientifique écrase. Pourtant la poésie étoffe nos imaginaires. Aux États-Unis, Robinson Jeffers (1887-1962) célèbre dans des poèmes courts la beauté sauvage de la côte californienne. Après lui, un autre californien, Gary Snyder (1930-), installé dans les montagnes de la Sierra, poursuit une œuvre littéraire initiée aux débuts de la Beat Generation. Parce qu’il est un vrai montagnard, ses poèmes et ses essais interrogent ensemble les enjeux d’une écologie poétique. Pour Robinson Jeffers et Gary Snyder, le wild est une notion clef. Ils l’empruntent à H. D. Thoreau. Leurs œuvres littéraires sont tournées vers la vie « sauvage », la vie au grand air au contact des bêtes, des pierres, des hommes. Existe-t-il en France et en Europe une telle tradition poétique ? L’écrivain Kenneth White (1936-), né en Écosse, est un poète français de langue anglaise qui représente cette école littéraire. White la nomme « géopoétique ». Son entreprise littéraire est résolument tournée vers les espaces géographiques et naturels, et vers les livres qui les célèbrent. White est un chaînon pour articuler dans une approche comparatiste une poésie engagée dans le refus de l’envahissement total du Terrestre. En étudiant le rapport des poèmes à l’espace (première partie) nous avons observé qu’ils s’inscrivaient dans une histoire de la poésie américaine, où les figures d’Ezra Pound, de Charles Olson et de William Carlos Williams dominent. Cette inscription procède de choix esthétiques qu’il convient d’observer et de distinguer (deuxième partie). Or, les poèmes de Jeffers, Snyder et White révèlent qu’une poésie soucieuse d’écologie mène à une écologie de la poésie : celle-ci naît dans des lieux, se développe dans un climat, comme une plante sauvage, une bête, un Indien, un moine Japonais ou un vacher américain. L’oïkos de la poésie, c’est la Terre ; et la vocation de la poésie sauvage est de proposer une vie nouvelle, peut-être une paideia sauvage (troisième partie)Poetry and ecology enjoy a deep relation relationship with scientific discourse usually thwarts. Yet, poetry expands our imaginary powers. In the United States, Robinson Jeffers (1887-1962) sings of the wild beauty of the Californian coast in his short poems. Following in his steps, another Californian, Gary Snyder (1930-), settled in the Sierra mountains, pursues a literary oeuvre he started at the beginning of the Beat Generation. Being a true man of the mountains, his poems and essays question the issues raised by a poetical ecology. For Robinson Jeffers and Gary Snyder, “the wild” is a key notion, descending from H. D. Thoreau. Their literary works deal with life “in the wilderness”, life in the open air, in proximity with beasts, rocks, and men. Do France and Europe have such a poetical tradition? Writer Kenneth White (1936-), born in Scotland, is a French poet writing in English who is part of this literary school, which he calls “geopoetics”. His literary enterprise is most definitely oriented towards the natural, geographical spaces and the books that celebrate them. White is a link that allows the fitting of a poetry that refuses to be totally invaded by that which is entirely Terrestrial, in a comparatist approach. By studying the rapport between poems and space (Part I), we have found that they were in line with an American poetry history, where such figureheads as Ezra Pound, Charles Olson and William Carlos Williams are dominant. These three poets make aesthetic choices we must examine and distinguish between (Part II). As it happens, Jeffers’, Snyder’s and White’s poems reveal that a form of poetry that cares about ecology leads to an ecology of poetry, born in specific loci, developing in a specific climate, just as wild plant, a beast, an Indian, a Japanes monk or an American cowboy would. Poetry’s oïkos is the Earth ; the call of wild poetry is to offer new life – a wild paideia, perhaps (Part III)
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Hughes, Matthew. "The films of Kenneth Anger and the sixties politics of consciousness." Thesis, University of Westminster, 2011. https://westminsterresearch.westminster.ac.uk/item/8zy90/the-films-of-kenneth-anger-and-the-sixties-politics-of-consciousness.
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This thesis is an enquiry into avant-garde filmmaker Kenneth Anger’s stated impetus for aesthetic practice, in that his approach is characterised by a desire to elicit a ‘transformative’ response from the spectator: “I chose cinema as the mode of personal expression for its potential and capacity for disruption: it is the surest means to incite change.” This central animating principle of Anger’s practice has been fundamentally neglected in what little critical writing that already exists on his work. Whilst this intent is framed within an esoteric religious paradigm – the occult – my contention is that it must also be understood as part of a much wider socio-historical political process. I argue that as a personal friend of many within the Beat and psychedelic movements, Anger’s practice should be understood as part of the US countercultural drive to ‘revolutionise consciousness’. This aspiration was prompted by the widespread belief within the Sixties US counterculture that ‘normality’ was a state of implicit alienation, and that the undermining of standardised forms of subjectivity was necessary in order that a more authentic mode of existence be found; either as a prerequisite for wider structural change, or, as in the romantic psychedelic movement in which Anger was associated, as a qualifier for change in itself. This particular ‘politics of consciousness’ of the Sixties as propagated by a spiritually inflected, romantic anarchist strain in post-war US society was based upon the utopian belief that the transformation of individual consciousness was a method of facilitating widespread revolution. I see this aspiration as a utopian expression of the refrain ‘the personal is political’ that came to popular fruition in the Sixties, in which the consideration of one’s own life was a political concern in itself. In this politics of consciousness, the Sixties countercultural paradigm saw the idealised forms of subjectivity produced by post-war US capitalism as serial, standardised, and crucially, ‘inauthentic’; as something to be overcome, with aesthetic production playing a fundamental role in this process. I argue that Anger’s Sixties work must be read in much wider relation to the socio-political discourses of its time than has been previously afforded in what little critical writing on Anger’s work that exists to date.
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Whims, Joette Ilene. "Applying Kenneth Burke's dramatistic pentad for revision strategies for inexperienced writers." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2240.
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Seah, Kenneth. "The delivery of multimedia programmes through LMS: An Australian approach." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16154/2/Kenneth%20Seah%20Thesis.pdf.
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Australia's tertiary educational environment is changing; in the past decade, it has faced a new set of challenges and pressures (Cunningham et al., 1998) that are encroaching on the traditional definitions of what higher education is.
These challenges often dictate the directions in which the tertiary education environment evolves into. Within the framework of institutional reforms, the adopted policies are often the best indicators of that transition.
Flexible delivery or learning has been espoused as a means of meeting and mediating some of those challenges. With their emphasis on catering to the needs and expectations of the consumer in a consumerist society, flexible policies are becoming the norm in most institutes of higher learning. However, of interest within the structure of the flexible delivery approach is the development of learner management systems (LMS).
The question is what are learner management systems? What do they represent and what do they offer to the learner that differentiates it from the traditional forms of learning? In its basic form, a learner management system is essentially a series of processes that are developed and organised so as to efficiently provide the learner with the required access and interaction required to facilitate his or her learning. However, what are the benefits of being aware of the capabilities and limitations afforded by such approaches? How does it contribute to the process of teaching and learning in the context of higher education?
The effectiveness of how these learner management systems are used in context to its application in multimedia programmes is of importance. Institutions are progressively introducing similar learning systems into their delivery framework. The question as to whether a singular adaptive system or a customised option remains to be tested.
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Qvist, Susanne. "Den levande staden : En retorisk studie av motiv i Per Anders Fogelströms Mina drömmars stad." Thesis, Uppsala universitet, Avdelningen för retorik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-217321.
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Jag har i denna uppsats, med hjälp av Kenneth Burkes pentadmodell, undersökt motiv i Per Anders Fogelströms Mina drömmars stad. För att analysera framställningen av individens förhållande till samhället har jag även använt mig av Burkes identifikationsbegrepp och hans tanke om att syften bakom människors och karaktärers handlingar kan bottna i en strävan efter rening av en skuld vi bär inom oss.Genom att undersöka fem olika sekvenser, kronologiskt jämnt fördelade i romanen, har jag sökt formulera tänkbara motiv som ligger bakom textens budskap. För att undersöka hur scen och agent interagerar har jag använt mig av Burkes begrepp ratio, det vill säga förhållandet mellan dessa två komponenter i pentaden. Resultatet består i att Fogelström ämnar berätta historien om de människor som skapade grunden för dagens välfärdssamhälle, vars historia sällan belyses. Han beskriver ett förhållandevis obarmhärtigt samhälle, en agent, som tar beslut om sina invånares livsvillkor. Genom sin text fastslår Fogelström att det inte är människan som är ond, utan samhällets oförmåga att förse alla med materiell och ekonomisk trygghet som kan få människan att handla omoraliskt. Räddningen finns i medmänskligheten och solidariteten människor emellan. Det finns alltså, trots stundvis brutala skildringar av fattigdom, ett positivt budskap i romanen. Människan står inte totalt handlingsförlamad inför stadens hänsynslöshet, utan kan genom uppvisad medmänsklighet skapa bättre förutsättningar för varandra. Människorna är också likvärdiga inför samhället, oavsett klasstillhörighet.För att urskilja med hjälp av vilka grepp Fogelström gör detta har jag använt mig av Aristoteles klassiska begrepp ethos, pathos och logos. Fogelström blandar genomgående historisk fakta med fiktion i romanen vilket inger ett trovärdigt ethos. Han vinner mottagarens förtroende genom detta starka författarethos, med vilket han låter påvisa sina kunskaper om Stockholms historia, men framförallt genom att väcka pathos hos läsaren. Fogelström vädjar till mottagarens känslor genom ordval, retoriska stilfigurer och fokalisering genom flera av romanens karaktärer. Fokaliseringen tillåter läsaren att se händelseförlopp genom karaktärernas egna ögon vilket skapar en förståelse för individernas känsloliv och handlingar.
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Thomas, Eric Sanders. "An Examination of the Solo and Duet Vocal Repertoire of Kenneth Mahy." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/105.
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This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son of missionaries in China and the Philippines, among other influences, have affected and shaped his compositions. Resources include source material gathered from Mahy's personal archives, manuscripts and scores, and personal interviews with Mahy. This information provides comprehensive insight into a unique and deserving composer of modern American art song.
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Boemah, Kenneth Kingsley Kwasi. "Work wellness in a government organisation in South Africa / Kenneth K.K. Boemah." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1444.
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Gilbreath, William John Scott. "A Christian analysis of the ethics and economics of John Kenneth Galbraith." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
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Taylor, Andrew Wilfrid. "The social dimensions of Christian spirituality in the thought of Kenneth Leech /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65999.
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Wood, Nathan D. "Mystic Identifications: Reading Kenneth Burke and “Non-identification” through Asian American Rhetoric." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8482.
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Krista Ratcliffe’s term “non-identification” offers a version of identification that assumes identity is not always identifiable. As an attitude that fosters cross-cultural listening, non-identification asks us to listen to others from a place of “neutrality,” with “hesitancy,” “humility,” and “pause” in order to consider identity’s fluid nature (73). This thesis first argues that this term might also describe speaking strategies premised on non-identifiability. As I’ll show, an inventive non-identification would articulate some rhetorical strategies that neither “identification” nor “disidentification” currently articulate. However, rhetorical scholars need more theoretical and practical guidance for what this kind of speech looks like. So, this thesis also argues why, despite criticism to the contrary, the writing of Kenneth Burke offers an ideal account for inventive non-identification. Burke’s descriptions of the terms “synecdoche function,” the “mystic” and “poetic language” achieve the same effects as Ratcliffe’s non-identification, yet Burke describes these same effects from the perspective of the speaker. Following my re-reading of Burke, I ground the theory of inventive non-identification in a brief rhetorical analysis of Yan Phou Lee’s 1887 autobiography When I Was a Boy in China. By showing how this theory applies to Asian American rhetoric, I conclude that inventive non-identification has utility for the field of rhetoric more broadly.
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Butterworth, Alastair Gavin. "E.W. Kenyon's influence of the use of the Scriptures in the Word of Faith Movement through the teachings of Kenneth E. Hagin and Kenneth Copeland: a dogmatic study / A.G. Butterworth." Thesis, North-West University, 2012. http://hdl.handle.net/10394/8871.
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This study deals with how E.W. Kenyon’s use of the Bible was the foundation used by Kenneth Hagin and Kenneth Copeland to build the Word of Faith Movement. Kenyon could be considered the grandfather of this movement, while Hagin can be regarded as the father and Copeland, the one on whose shoulders Hagin’s mantle has fallen since his death. It includes brief biographies of Kenyon, Hagin and Copeland and their ministries. It looks into how influential Kenyon’s use of the Bible is in developing his doctrines, which have been copied by both Hagin and Copeland and the Word of Faith's pastors throughout the world. This study is not an exhaustive examination of Kenyon’s doctrines but enough is studied to show he does not conform to traditional reformed theological hermeneutics. Kenyon’s writings date back to the early twentieth century. Hagin’s writings are from the mid- and late twentieth century, while Copeland writes from the late twentieth century to the present day. It will be shown that Hagin and Copeland copied Kenyon’s use of the Bible almost verbatim, resulting in them promoting doctrines in the Word of Faith Movement similar to his doctrines. This study deals with Kenyon’s writings in Chapter 2, while Chapter 3 deals with Hagin’s and Copeland’s teachings. Chapter 4 compares the three’s teachings from a reformed theological perspective, using literature by fairly modern-day writers on reformed theology. Chapter 5 evaluates and concludes and offers recommendations for further study. Finally, Kenyon’s and his two followers’ teachings are summarised and evaluated. The study will also examine some of the effects these teachings have on the individual who attends Word of Faith Movement churches. Future research topics that could help in understanding the attraction these teachings have for people and the danger they pose to reformed churches today are suggested.Thesis (MA (Dogmatics))--North-West University, Potchefstroom Campus, 2013.
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Ritter, Kenneth C. "Implementing change : a guide for the DoD functional manager /\c Kenneth C. Ritter." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1993. http://handle.dtic.mil/100.2/ADA275030.
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Poettering, Bertram [Verfasser], Mark [Akademischer Betreuer] Manulis, and Kenneth G. [Akademischer Betreuer] Paterson. "Privacy Protection for Authentication Protocols / Bertram Poettering. Betreuer: Mark Manulis ; Kenneth G. Paterson." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2012. http://d-nb.info/110611373X/34.
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Leatherland, Douglas Peter. "Deconstructing anthropomorphism : the 'humanimal' narratives of Kenneth Grahame, Beatrix Potter, and Richard Adams." Thesis, Durham University, 2019. http://etheses.dur.ac.uk/12978/.
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This thesis proposes that popular narratives categorized as children's animal stories - Kenneth Grahame's 'The Wind in the Willows' (1908), Beatrix Potter's tales (1902-30), and Richard Adams' 'Watership Down' (1972) - feature characters which are rendered anthropomorphic in a diversity of overlapping and contradictory ways. Each of these narratives draws on a complex and varied tradition of anthropomorphic animals in literature. Due to their popularity, they have received various critical responses which pose different meanings implied by the author's use of anthropomorphic tropes. My study aims to amalgamate these readings into a meta-critical analysis of the anthropomorphisms in the work of the three authors. Beginning with a historical overview of anthropomorphism across the disciplines and the key debates surrounding this supposedly fixed concept, this study questions the implications made about the human condition which are inherent in assumptions that a text is representing a character in an anthropomorphic way. To be anthropomorphic, such modes of representation must necessarily attribute features which are exclusively human, but even when we deconstruct previously held assumptions of anthropomorphism in the work of popular writers of animal stories, we find that what does or does not constitute anthropomorphism is a multifarious and complex issue. While at times the anthropomorphisms in these narratives are explicit and draw on popular elements of fable and fantasy, at other times they merge with more naturalistic representations. The figure of the "humanimal", which constitutes a neither/both structure of relation between the human and the animal, emerges as the most relevant figure as we follow the trajectories of anthropomorphic tropes in the narratives of Grahame, Potter and Adams. While the humanimal figure is often identified in the animal narratives of authors such as Franz Kafka, I propose that by deconstructing anthropomorphic tropes, popular "children's" animal stories may also be considered humanimal narratives.
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JAMET, PIERRE. "Monachos et cosmos (le local et le global dans l'oeuvre de kenneth white)." Caen, 2000. http://www.theses.fr/2000CAEN1311.
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L'oeuvre de kenneth white se deployant depuis une quarantaine d'annees, on peut l'observer aujourd'hui avec un recul instructif. Le moine est un personnage qui la traverse de part en part, meme s'il semble tres eloigne de l'image traditionnelle que nous en avons peut-etre. On ne parle donc ici que de monachos, c'est-a-dire de white mais en tant qu'il refait un chemin, sinon archetypal, du moins constate ailleurs, sous certains aspects. Le terme de monachos revet par consequent des significations locales et globales permettant d'etudier l'uvre selon trois axes principaux: un mouvement de recul vis-a-vis du contexte originel; un souci de << sculpter sa propre statue >>, de travailler sa personne; un elan enfin vers la totalite cosmique et humaine. Nous retrouvons des traces tres nettes de ces mouvements dans la << divergence >> de l'ecriture de white, dans sa mythologie << blanche >> personnelle (et transpersonnelle), ou encore dans ce qu'il appelle une << geopoetique >>, pour ne donner que quelques exemples.
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Koukkula, J. (Jari). "Teknostruktuuri ja yhteiskuntasuunnittelun suuntaviivat:John Kenneth Galbraithin talous- ja yhteiskunta-ajattelu 1950–1970-luvuilla." Master's thesis, University of Oulu, 2018. http://urn.fi/URN:NBN:fi:oulu-201811183068.
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Tämä pro gradu -tutkielma käsittelee taloustieteilijä John Kenneth Galbraithin talous- ja yhteiskunta-ajattelua 1950–1970-lukujen Yhdysvalloissa. Galbraith tuli tunnetuksi kansanomaisesta tyylistään tuottaa tieteellistä tekstiä. Hänen tunnetuimmat teoksensa The Affluent Society ja The New Industrial State nousivat kirjakauppojen myyntilistojen kärkipaikoille. Tuotannossaan Galbraith tutki muun muassa kuluttamista ja yritysten vaikutusta yhteiskunnallisiin asenteisiin. Ehkä tunnetuin hänen esille tuomistaan taloustieteen konsepteista oli teknostruktuuri. Modernissa suuryrityksessä valtaa piti korkeakoulutettujen asiantuntijoiden ryhmittymä, joka omilla yrityksen toimia koskevilla päätöksillä vaikutti yhteiskuntaan. Teknostruktuurin vaikutus ulottui Galbraithin ajattelussa muun muassa kuluttamiseen, kansalaiskuvaan ja poliittiseen päätöksentekoon.
Tutkielma rakentuu seuraavien kolmen päätutkimuskysymyksen ympärille: Mitä olivat sovinnaisen viisauden teoria ja teknostruktuuri? Mitä vaikutuksia teknostruktuurilla oli yhteiskuntaan ja politiikkaan? Mitä vaikutuksia teknostruktuurilla oli kansalaisuuteen ja kuluttajuuteen? Lisäksi pääkysymysten ohella tutkin, mistä Galbraith oli saanut vaikutteita teoksissa esiintyvälle ajattelulleen. Tutkielman päälähteinä ovat Galbraithin teokset The Affluent Society, The New Industrial State ja Economics and the Public Purpose, jotka mainitaan yleisesti trilogiana. Teokset ovat selkeä kokonaisuus, jossa uusi julkaisu laajentaa tai selventää edellisessä esitettyjä näkökulmia. Lähdeaineiston luonteen takia tutkielmassa käytetyiksi metodeiksi valikoituivat lähiluku ja kontekstianalyysi. Lisäksi syvyyttä Galbraithin ajattelun tulkitsemiseen on saatu vaikutemallin avulla.
Tutkielmani osoittaa, että Galbraithin ajattelu sisälsi useita vaikutteita, joita hän peitteli muun muassa sen takia, että vaikutteiden lähteet eivät olleet yhdysvaltalaisten ajattelijoiden piirissä hyväksyttyjä tai muutoin ajan henkeen sopivia. Galbraithilla oli selkeä pyrkimys vaikuttaa yhteiskunnan kehitykseen omien töidensä kautta ja hän käytti vaikutteitaan aktiivisesti hyväkseen oman agendansa edistämiseksi.
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Carleton, Lee A. "Rhetorical Ripples: The Church of the SubGenius, Kenneth Burke & Comic, Symbolic Tinkering." VCU Scholars Compass, 2014. https://scholarscompass.vcu.edu/etd/3667.
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Humor has long been an effective way to engage difficult sociopolitical topics in a way that avoids polemical confrontation and provides opportunity for pleasure, catharsis and self-knowledge. In the context of today’s polarized politics and protest, creative satirical performance that deploys “symbolic tinkering” can provide a “comic frame of reference” that, according to Kenneth Burke, more effectively conveys its message while providing reflexive insight. The satirical Church of the SubGenius naturally practices this rhetorical frame in their multimedia creations. Using the lens of Burke’s Attitudes Toward History, this essay is an analysis of SubGenius rhetoric with a focus on their Hour of Slack live radio program and the book Revelation X to provide an informative example of Burke’s comic frame applied, and clarify the nature of its utility by exploring the rhetorical impact of the Church of the SubGenius and the relevance of its “comic corrective.” Politically cynical, SubGenii are nevertheless keen cultural critics whose sophisticated use of a complex comic rhetoric warrants more serious attention.
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Hatchuel, Sarah. "Shakespeare au cinéma : esthétique et interprétation : Henry V et Hamlet, de Kenneth Branagh." Paris 4, 2000. http://www.theses.fr/2000PA040160.
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Ce travail s'appuie sur la critique littéraire, l'histoire des mises en scène, la narratologie, la psychanalyse et la sémiologie, pour étudier la transformation des pièces shakespeariennes lorsqu'elles sont adaptées au cinéma par Kenneth Branagh. Celui-ci construit une trajectoire du regard par le montage et les mouvements de caméra, et compose un discours de mise en scène qui lève de nombreuses ambiguïtés. Par des images antérieures et intérieures, Branagh présente des personnages dotés d'un passé et de pensées. Ses adaptations oscillent entre l'exhibition forte d'interpolations et la création d'une diegese naturaliste, s'inscrivant dans une esthétique hollywoodienne qui privilégie les liens logiques et les rappels nostalgiques. Le caractère méta-dramatique du théâtre shakespearien tend alors à se dissiper au sein d'une fiction où la construction narrative prévaut sur la révélation de renonciation. Cette esthétique a des conséquences importantes sur l'interprétation de Henry V et de Hamlet. Les flash-backs, la musique, l'échelle des plans et les références à d'autres films s'ajoutent à la mise en scène et au jeu des acteurs pour opérer un brouillage générique. Chez Branagh, Henry V tend vers une tragédie du doute et Hamlet se transforme en épopée héroïque.
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Jost, Adriel. "Spieltheorie und Demokratie Anwendung der Theoreme von Arrow und Gibbard-Satterthwaite auf Abstimmungen im Nationalrat /." St. Gallen, 2007. http://www.biblio.unisg.ch/org/biblio/edoc.nsf/wwwDisplayIdentifier/04606893001/$FILE/04606893001.pdf.
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