Dissertations / Theses on the topic 'William David'

Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitions est ici pensée en fonction de leur rapport à l’œuvre écrite de Burroughs et à son versant biographique, l'écrivain déconstruisant les personnages qu'il joue de la même manière qu'il déconstruisait le cinéma. Un ensemble de films, répondant plus ou moins fidèlement à l’appellation d'adaptations, constituent un aspect important de notre corpus. Ces œuvres, qu'elles travaillent les écrits dans un rapport fondé sur la reproduction, le décalage, ou l'éclatement, produisent des formes inédites. Cette étude est complétée par un retour sur l'influence de Burroughs sur trois auteurs majeurs du cinéma nord-américain contemporain, Cronenberg, Van Sant et Lynch. Tous trois réinvestissent l’œuvre et la pensée de Burroughs dans le cadre de leur propre production, que ce retour se concentre sur l'apparition de la voix, le lien entre signature visuelle et présence ou la fragmentation de la narration classique. En mettant en relation expérimentations, présences et contaminations de l'écrivain au cinéma, ce travail vise la réhabilitation de ce versant de l’œuvre de William S. Burroughs
This work is an exhaustive study of William S. Burroughs' interest in cinema. Burroughs, in collaboration with Antony Balch, produced between 1961 and 1972 a series of experimental short films with radical editing and visual styles. These widely ignored films are an essential part of experimental cinema. Their study highlights the evolution of the author's political and aesthetic vision, close to those of Guy Debord or Gilles Deleuze. Burroughs also worked as an actor. The analysis of his cinematographic apparitions is linked to their relation to Burroughs' written work and its biographical aspects: the writer deconstructs the characters he plays in the same way as he deconstructs the mise-en-scène.A set of films, which can loosely be said to be adaptations, are another important part of the corpus of this study. These works, in a relation to the written word based on reproduction, shift or blow-out, produce original cinematographic images.This study is completed with a flash-forward to Burroughs' influence on three important north-american filmmakers: David Cronenberg, Gus Van Sant and David Lynch. These three authors reinvest Burroughs' work within the framework of their own production, focusing on the apparition of the voice, the link between visual signature and the notion of presence or the shattering of a conventional narrative.Linking experimentations, presences and contaminations of the writer in the cinematographic art, this thesis aims to rehabilitate this part of Burroughs' work

The object of this research is human in Henry David Thoreau’s, William Faulkner’s, John Barth’s novels (in philosophical, modernistic, postmodernistic novels). The aim of the research is to analyse the novels of the mentioned authors by identifying and comparing different aspects of human and its reflections in the works of art. The objectives are the following: 1) to present a theoretical background of the comparative method and Hannah Arendt’s human conception; 2) to provide and interpret various aspects of human presented by the mentioned authors; 3) to compare the revealed aspects of human shapes identified in those three novels. The methodology of the research includes Steven Tötösy de Zepetnek’s theory of Comparative Literature as a method and Hannah Arendt’s human conception, presented in her book The Human Condition (1958). Her ideas enriched this Bachelor thesis from an interdisciplinary point of view. Besides, her division of men’s activities into labor, work and action was crucial in this research. All three novels exposed different human shapes. The aspect of labor in Thoreau’s novel revealed human as a survivor, whose needs were based on necessities. Faulkner’s novel reminded us that humans are only mortals under constraints of society, requiring not only necessities, but superfluities as well. Barth’s novel showed an instinctive side which exists in every human, but which is not always demonstrated. Work, linked with man’s treatment of things, helped to expose... [to full text]
Tyrimo objektas – žmogus Henrio Davido Thoreau filosofiniame romane Voldenas, arba Gyvenimas miške (1854), Williamo Faulknerio modernistiniame romane Kai aš gulėjau mirties patale (1930) ir Johno Bartho postmodernistiniame romane Kelio pabaiga (1958). Darbo tikslas – išanalizuoti minėtų autorių romanus, nustatant ir palyginant įvarius žmogaus aspektus bei jo vaizdavimą šiuose meno kūriniuose. Uždaviniai: 1) pateikti teorinius lyginamojo metodo ir Hannos Arendt žmogaus koncepcijos pagrindus; 2) nagrinėti ir interpretuoti įvairius žmogaus aspektus; 3) palyginti atskleistus žmogaus formų aspektus, nustatytus trijuose romanuose. Šio tyrimo metodologiją sudaro Steveno Tötösy de Zepetneko komparatyvistikos kaip metodo teorija ir Hannos Arendt žmogaus koncepcija, pristatyta Žmogaus būklėje (1958). Arendt idėja skirstyti žmonių veiklą į darbą, darymą ir veiksmą leido konceptualiai ir tarpdiscipliniškai nagrinėti žmogų. Visi trys romanai parodė skirtingas žmogaus formas ir vis kitokį žmogaus traktavimą. Darbas Thoreau romane atskleidė žmogų kaip besistengiantį išgyventi individą, kurio poreikiai apsiriboja būtiniausiais dalykais. Faulknerio romanas priminė, kad žmonės tėra mirtingieji, veikiami visuomenės ir siekiantys ne tik būtiniausių, bet ir gausybės nebūtinų daiktų. Bartho romanas parodė instinktyviąją žmogaus pusę, kuri glūdi kiekviename iš mūsų, tačiau ne visada yra demonstruojama. Darbas, susijęs su daiktų traktavimu, parodė, kad Thoreau žmogus atvirai smerkia turtus dėl... [toliau žr. visą tekstą]

The Prelude and David Copperfield reveal strikingly similar patterns of their heroes' development from boyhood to manhood; the idiosyncrasy of their growth can be found in its retrogressive rather than progressive aspect.

"Longer works of fiction," a character in William Gaddis's JR complains of the current literary scene, are now "dismissed as classics and remain . . . largely unread due to the effort involved in reading and turning any more than two hundred pages" (527). This study argues that despite most literary critics constructing American postmodernism as a movement that privileges short works, in contrast to the encyclopedic masterworks of modernism, there are in fact a large number of artistically sophisticated contemporary novels of encyclopedic scope that demonstrate often ignored lines of continuity from works like James Joyce's Ulysses. In arguing this, I attempt not just to draw attention to a neglected strain in contemporary American fiction, but also to provide a more accurate context in which those few recent encyclopedic novels that have assumed centrality, like Gravity's Rainbow, might be evaluated. In doing so, this thesis also seeks to demonstrate the pivotal position of William Gaddis who, despite publishing four impressive novels that engage with the legacy of modernism and pre-empt elements of postmodernism, has been excluded from most studies dealing with the transition between the two movements. Through detailed readings of four encyclopedic novels - Gaddis's The Recognitions, Don DeLillo's Underworld, Richard Powers's The Gold Bug Variations, and David Foster Wallace’s Infinite Jest - I show Gaddis's continuation of encyclopedic modernism, the importance of his example to later writers, and the continuing vitality of the encyclopedic novel beyond the defined limits of modernism. However, as these novels try to encompass the full circle of knowledge, in order to do justice to their diverse learning I have adopted a different approach in each chapter. Very broadly, they attempt to encircle art, psychology, science, and literature, which, taken together, attempt to synthesise a defence of the contemporary encyclopedic novel. While minimalist writers from Raymond Carver to Ann Beattie have affirmed that less is more, this thesis argues that, in some cases, more really is more.

Si c’est la nouvelle américaine minimaliste qui a le plus souvent retenu l’attention, cette thèse s’intéresse à travers les nouvelles de William Gass, Steven Millhauser et David Foster Wallace à une écriture de l’expansion et de l’excès, qui fait pourtant de la réticence – à révéler et à conclure – sa pierre angulaire. Alors que la critique a souvent placé la nouvelle sous le signe de la restriction, comme un objet à l’économie poétique fondamentalement brève, notre corpus se départit nettement de cette vision. Les méandres de la voix, qui disent les introspections tortueuses du sujet au gré de boucles réflexives, les jeux de déclinaisons métaphoriques ainsi que la grammaire du détail, véritable tentative de maîtrise du monde par son atomisation, inscrivent ainsi l’esthétique de ces auteurs aux antipodes de l’écriture blanche. Se tisse alors une trame du ressassement, qui aspire à l’infini textuel et déjoue véritablement le telos. Cette renégociation singulière de la brièveté nourrit par ailleurs un régime philosophique de l’aporie, qui fait de la lecture une véritable expérience heuristique de l’indéterminé. C’est ainsi que les auteurs étudiés jouent constamment de la tendance du texte court à se dérober, tout en se refusant à une esthétique de la concision : l’examen de ce paradoxe apparent permettra dès lors de recontextualiser la notion de brièveté dans le champ de la nouvelle, tout en éclairant l’esthétique de ces trois auteurs. Ce faisant, cette thèse ambitionne de montrer comment l’assouplissement de la brièveté à l’œuvre informe une certaine épistémologie littéraire contemporaine dans les lettres américaines
While the minimalist short story has often been explored by contemporary criticism, this study wishes to focus on the resolutely more expansive and excessive style to be found in the shorter works of William Gass, Steven Millhauser and David Foster Wallace. Nonetheless, their stories guide the reader through an experience of reticence as they withhold the promise of revelation or resolution. Given that theoretical approaches to the short story are wont to emphasize its supposedly inherent concision, the stories of these three writers seem to deliberately transgress this preconception by consistently pushing their structural and metaphorical boundaries. Indeed, the texture of their narrative voices, depicting the tortuous introspections of characters prone to highly reflexive discourses, the constant weaving of poetic leitmotive as well as an omnipresent thirst for detail shape a prose which asserts itself as a firm counterpoint to minimalism. This constant renegotiation of what brevity means also fuels the philosophical tenets of their prose, often characterized by various aporetic patterns and considerations which confront the reader with a heuristic approach to indeterminacy. Gass, Millhauser and Wallace therefore constantly play with the implications of brevity in their stories, which are neither short nor concise, thereby contributing to the definition of a new literary epistemology in the context of contemporary American literature

This thesis is an analysis of the ways in which images of bodily disgust function in social conflicts. It considers the necessary embodiment of political struggle: that is, the ways in which inequalities are sustained and contested through the material forms taken by human bodies and the meanings attached to bodily states. In chapter one I map out the theoretical grounding for an inquiry into embodiment, by showing how the physical forms taken by bodies are produced by social practices. I argue that ‘the body’ should be seen as a biological product, a ‘body project’, regulated and transformed by its environment. This in turn leads me to a consideration of how such body-shapings sustain regimes of power through constructing for subjects physical forms which are designed to maintain existing systems of inequality. Through a reading of Michel Foucault’s work, I show how such bodies are also able to resist power by making use of the material and discursive structures which seek, but fail, to render them wholly submissive. In chapter two I look at the ways in which the body acts as a map of the psyche, producing a subject which understands itself in terms of its experience of its body parts. I also consider how the body acts as a social symbol, encoding anxieties about the society that it inhabits. By considering both psychoanalytic accounts, and the work of Mary Douglas, I interrogate how concepts of order, form, and integrity become central to embodied subjectivity. In chapter three I consider how, in the Naked Lunch Quartet, William Burroughs represents the body as under threat from repulsive external substances, and how his depiction of such substances in fact relies on a notion of body matter itself as repulsive. I will show how this results from his conceptualization of bodily materiality as antithetical to freedom, and I argue that by demonstrating the impossibility of escaping from acts of invasion and possession, Burroughs's texts in fact undermine the libertarian position that he adopts. In chapter four I develop this argument through a comparison with Julia Kristeva's concept of abjection. I suggest that his representation of abject bodies enables Burroughs to critique the invasive mechanisms of authority, but requires that he collude with the stigmatizing discourses of authority in order to adopt such a position. In particular I consider how this affects his representation of gender. In chapter five I show how David Cronenberg's Shivers may be read as a film that both sustains and critiques the notion of innate bodily disorder. I argue that this is derived from his reliance upon notions of a hierarchy of bodies derived from inequalities of race and class. In chapter six I develop this critique with a reading of Cronenberg's The Fly. I suggest that this film is much more explicit about the fact that bodily chaos is in fact a state experienced by the socially excluded. It offers a critique of the processes by which we are made to feel disgust at our bodies, suggesting that disgust inaugurates a logic of paranoid purification, which in fact impedes the possibilities of the acceptance of those bodies which fall outside certain social limits. Finally, in my conclusion, I look at how Cronenberg's Rabid might be seen as a compendium of the issues of embodied politics, and use this to suggest possible directions in which the work of this thesis might be extended.

The thesis is that contrary to the received popular wisdom, the combination of David Hume's sceptical enquiry and Charles Darwin's provision of an alternative theoretical framework to the then current paradigm of natural theology did not succeed in defeating the design argument. I argue that William Paley's work best represented the status quo in the philosophy of biology circa 1800 and that with the logical mechanisms provided us by William Dembski in his seminal work on probability, there is a strong argument for thr work of Michael Behe to stand in a similar position today to that of Paley two centuries ago. The argument runs as follows: In Sections 1 and 2 of Chapter 1 I introduce the issues. In Section 3 I argue that William Paley's exposition of the design argument was archetypical of the natural theology school and that given Hume's already published criticism of the argument, Paley for one did not feel the design argument to be done for. I further argue in Section 4 that Hume in fact did no such thing and that neither did he see himself as having done so, but that the design argument was weak rather than fallacious. In Section 5 I outline the demise of natural theology as the dominant school of thought in the philosophy of biology, ascribing this to the rise of Darwinism and subsequently neo-Darwinism. I argue that design arguments were again not defeated but went into abeyance with the rise of a new paradigm associated with Darwinism, namely methodological naturalism. In Chapter 2 I advance the project by a discussion of William Dembski's formulation of design inferences, demonstrating their value in both everyday and technical usage. This is stated in Section 1. In Sections 2 and 3 I discuss Dembski's treatment of probability, whilst in Section 4 I examine Dembski's tying of different levels of probability to different mechanisms of explanation used in explicating the world. Section 5 is my analysis of the logic of the formal statement of the design argument according to Dembski. In Section 6 I encapsulate objections to Dembski. I conclude the chapter (with Section 7) by claiming that Dembski forwards a coherent model of design inferences that can be used in demonstrating that there is little difference between the way that Paley came to his conclusions two centuries ago and how modem philosophers of biology (such as I take Michael Behe to be, albeit that by profession he is a scientist) come to theirs when offering design explanations. Inference to the best explanation is demonstrated as lying at the crux of design arguments. In Chapter 3 I draw together the work of Michael Behe and Paley, showing through the mechanism of Dembski's work that they are closely related in many respects and that neither position is to be lightly dismissed. Section 1 introduces this. In Section 2 I introduce Behe's concept of irreducible complexity in the light of (functional) explanation. Section 3 is a detailed analysis of irreducible complexity. Section 4 raises and covers objections to Behe with the general theme being that (neo-) Darwinians beg the question against him. In Section 4 I apply the Dembskian mechanic directly to Behe's work. I argue that Behe does not quite meet the Dembskian criteria he needs to in order for his argument to stand as anything other than defeasible. However, in Section 5 I conclude by arguing that this is exactly what we are to expect from Behe's and similar theories, even within competing paradigms, in the philosophy of biology, given that inference to the best explanation is the logical lever therein at work.
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Reading David Jones’s The Anathemata, William Carlos Williams’s Paterson, and Charles Olson’s The Maximus Poems as epics, this doctoral dissertation challenges the old but persistent notion that epic poetry ceased being written at a particular point in the past and instead examines the particular formal, philosophical and political difficulties writers of this genre had to confront in the second half of the twentieth century. Twentieth-century epic poetry will primarily be defined in terms of its purpose or function, which is the representation of the identity of a ‘community’, while the literary period beginning with the end of the Second World War will be defined as late modernism. Chiefly inspired by Anthony Mellors’s Late Modernist Poetics: From Pound to Prynne, late modernism will be discussed as an aesthetico-political challenge with which writers had to come to terms in the wake of twentieth-century European totalitarianism. Georges Bataille’s philosophy of community, it will be argued, paradigmatically illustrates these aesthetico-political difficulties in philosophical terms, and the discussions of the three epic poems are therefore preceded by an analysis of Bataille’s Summa Atheologica, which constitutes the core of his philosophy of community.

Following Russell Re Manning, I acknowledge the diversity and persistence of natural theology. Going further than Re Manning, however, I propose a 5-type taxonomy stretching from natural theology as natural religion to natural theology as theology of nature. Having met this descriptive responsibility, I then turn in a second chapter to prescriptive possibility in dialogue with the Anglican theologian Howard E. Root (1926–2007). An early advocate of natural theology and the arts, Root called in his 1962 essay, “Beginning All Over Again,” for awareness (i.e., of the arts) rather than formal argument. Critiqued by E.L. Mascall and others, Root responded in his 1972 Bampton Lectures, “The Limits of Radicalism.” Never published, I discovered these lectures in an uncatalogued box at Lambeth Palace Library, London. Drawing upon these lectures, as well as other archival materials, I consider Root's contribution to a natural theology of the arts. That said, Root's work requires further development, and so in an effort to recover Root I have supplemented his contribution with the more recent work of David Brown, his unacknowledged theological heir. In an effort to recover Root more fully I turn in a third chapter to consider the philosopher William Desmond, the result of which is a metaxologically reformulated Root-Brown hybrid. In a fourth and final chapter, I consider the American contemporary artist Jonathan Borofsky and several others in order to see how this theoretical frame might be applied in practice as a metaxological natural theology of the arts.

Eine belangvolle Transformation ist das zwölfte Buch (Lambda) der „Metaphysik“ des Aristoteles durch verschiedene Interpretationen im Laufe der Jahrhunderte widerfahren, sodass es als eine theologische Schrift bis heute überliefert ist (1. Kapitel). Dabei waren sowohl der ursprüngliche Sinn des Autors als auch die Struktur des Textes kaum erkennbar geworden. Die vorliegende Arbeit ist eine historische Rekonstruktion der verschiedenen Interpretationen des Textes seit den ersten peripatetischen Denkern bis zur Gegenwart, insbesondere die von Michael Frede (2. Kapitel), Lindsay Judson (3. Kapitel) und Stephen Menn (4. Kapitel). Frede behauptet, das Buch Lambda sei eine Untersuchung der Substanz (Ousiologie); Judson denkt, dass es die erste Philosophie vorlegt; Menn argumentiert, es sei eher eine Forschung der ersten Prinzipien (Archäologie). Hier wird eine weitere Meinung vertreten, nämlich, dass Lambda die Untersuchung der Prinzipien der Substanz ist und somit verkörpert es Aristoteles’ Verständnis der Sophia (5. Kapitel). Überdies löst diese neuartige Lesart des Textes das Problem der Stelle des zwölften Buches innerhalb der „Metaphysik“ dank der Abfassung einer Karte, die seine Struktur verdeutlicht (Anhänge).
The twelfth book (Lambda) of the “Metaphysics” of Aristotle has undergone a crucial transformation through the diverse interpretations over the centuries. Thus it has been transmitted up to today as a theological writing (chapter 1). But this made hardly recognizable both the original intention of the author and the structure of the text. The present work is a historical reconstruction of the various interpretations of the text since the first Peripatetic thinkers until today, especially those by Michael Frede (chapter 2), Lindsay Judson (chapter 3) and Stephen Menn (chapter 4). Frede states that the book Lambda is an inquiry into the substance (ousiology); Judson thinks that it presents the first philosophy; Menn argues that it is rather an investigation about the first principles (archaeology). A different opinion is set forth here, namely, that the book Lambda explores the principles of the substance, and in doing so it embodies Aristotle’s understanding of the sophia (chapter 5). Moreover, this new reading of the text solves the problem of the position of the twelfth book in the “Metaphysics” thanks to the composition of a map, which clarifies its structure (appendix).

William Davis was a church musician who spent the majority of his life in the employ of Worcester Cathedral as chorister, player of the ‘little organ’, lay clerk and Master of the Choristers. It is therefore unsurprising that the substantial part of his compositional output is sacred. Nevertheless, there is also a large body of secular music, including an ode, a wedding song, several songs for soloist or duet and a handful of catches. Additionally there is a four movement suite for keyboard and two other keyboard solo pieces. The majority of Davis’ music appears to have been composed between 1695–1715. Writing about Davis, Ian Spink has asserted that ‘on this evidence [of the piece Let God arise] the composer would seem to be one of the more talented of Croft’s contemporaries’. More recently, he noted that ‘His [Davis’] anthems are good examples of what Croft’s provincial contemporaries were capable of’. Such comments inevitably invite closer consideration of Davis’ music in the light of his more illustrious London contemporaries. It is concluded that the best of Davis’ output is on a par with some of the music of Chapel Royal composers such as Croft and Clarke. Illustrative of this is that it has been possible to reattribute one full anthem (Help, Lord; for the Godly man ceaseth) to Davis, it previously having been ascribed to Croft. Davis was evidently the principal composer in Worcester at the beginning of the eighteenth century. A survey of his life and works therefore not only serves to enlarge our appreciation of Davis, but it also affords us better understanding of musical life in the city at that time. It is therefore hoped that this thesis will contribute to wider knowledge of the musical activity of the provinces in the late seventeenth and early eighteenth centuries.

This thesis presents an interpretation of David Williams' (1738-1816) Lessons to a young prince (1790) ostensibly from a publisher-centric viewpoint. Through close analysis of its English-language editions it argues that Lessons has been consistently misattributed, misread, and otherwise taken out of context. The agglomeration of both contextual and particular factors contributed to this general negligence, but the most important factors were anonymity and the transformation of the text by the addition of a tenth lesson on Edmund Burke's Reflections, which altered the way Lessons was read by contemporaries in light of the revolution controversy. The thesis suggests that the explicit ad-hominen attack on Burke in the tenth lesson overshadowed what amounted to an implicit attack on Burke-in-transition towards Reflections contained in the original nine lessons. Using a significant body of previously unknown material to identify Williams' intended audience and the effects of anonymity, genre, and advertising on reader-response to Lessons, the thesis adds to existing knowledge about Williams' intentions and to the way his texts were read and understood by contemporaries. More particularly it underscores the importance of his publishers and charts their impact upon his text. The influence that Lessons' publishers had on the impact of the text, both intentional and unintentional had received no scholarly attention, and they are themselves, as publishers, understudied. However, as this thesis shows, their direct textual interpolations increased the satirical vigour of Lessons, whilst a sophisticated marketing campaign attempted to influence reader reception as well as sales. Indirectly, anonymity caused readers to superimpose the political sympathies of the publishers onto Lessons, which further pre-ordained the terms on which they were read.

This thesis is an attempt to de-construct the linear way in which I describe my work. I am attempting to deal with my family’s background in the theater and identity as a Texan. In addition I am attempting to address my interest in phenomenological concerns. This document was created in Microsoft Word 2000. The video portions of the video were edited on Imovie HD and Final Cut Pro, while the audio text was recorded from TextEdit’s text to speech program.

The Quorum of the Twelve Apostles for the Church of Jesus Christ of Latter-day Saints is an administrative and ecclesiastical quorum. The Church, first organized in 1830, did not organize the Quorum of Twelve Apostles until 1835. When it was organized, Joseph Smith outlined the quorum's responsibilities through revelation. The Twelve were assigned two unique and specific responsibilities: to take the gospel to the nations of the earth and to form a traveling high council for the regulating of the Church outside of its stakes. The first opportunity for the Twelve to fulfill their responsibilities was in May 1835 when they were assigned to travel to the eastern United States and southern Canada. There they both preached the gospel and regulated the branches of the Church. This mission represents not only the first time the Apostles fulfilled their assigned responsibilities but the only time that they filled their responsibilities as an entire quorum. It is surprising that more secondary literature on this mission is not available. This thesis seeks to commence an academic conversation regarding this mission and its impact both on the quorum's development and on the Church in its outlying areas. Chapter 1 details the preparation of the individual members of the Twelve to fulfill this mission. It discusses the preparation of the Twelve prior to their call to the apostleship. It also discusses the training that took place between their call and the commencement of this mission. As an administrative body for the membership of the Church, the Twelve spent the majority of their time on this mission with the members of the Church. Chapter 2 identifies the unique purpose of the Twelve on this mission and how that purpose was fulfilled. Joseph Smith originally laid out the geographic framework for this mission, which sent the Twelve into Canada and throughout much of the northeastern United States. Chapter 3 identifies the locations of the Twelve based on available records and seeks to provide an answer to how the Twelve decided which areas to preach in. Many individuals were baptized during this five-month mission. Chapter 4 identifies what the Twelve taught and the sources that they used. It also discusses the reaction of the people they taught. The concluding chapter summarizes the thesis and identifies areas for further research.

Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Marcus L. Riegel. The recital, performed by the Chapman Middle School Sixth, Seventh, and Eighth Grade Bands, was given in the District Gymnasium at the Spring Arts Concert on April 22, 2008 at 7:00 pm. The repertoire included but was not exclusive to Bells of Freedom by David Gillingham, Rising Star by Samuel R. Hazo, Achilles’ Wrath by Sean O’Loughlin, Kenya Contrasts by William Himes, On the Wings of Swallows by Michael Sweeney, and Old Churches by Michael Colgrass. This document contains theoretical and historical analysis- and outlines the procedures of planning and performing the graduate conducting recital.

Questa tesi si occupa di percorrere il percorso di evoluzione del King Lear attraverso due secoli e mezzo di adattamenti teatrali e riscritture. Prende in esame gli adattamenti di Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean e William Charles Macready. La tesi propone anche l’analisi del melodramma di W.T. Moncrieff nonché i burlesques di John Chalmers, Joseph Halford e C.J. Collins, e Frederick Marchant.
This doctoral thesis focuses on the evolution of the story of King Lear through two centuries and a half of theatrical history. The research is concentrated on the adaptations proposed by Nahum Tate, David Garrick, George Colman, John Philip Kemble, Edmund Kean and William Charles Macready. The analysis also takes into considerations some rewritings such as the melodrama written by W.T. Moncrieff and the burlesques produced by John Chalmers, Joseph Halford and C.J. Collins, and Frederick Marchant.

Master of Music
Department of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by Clifton Williams, Dance of the Rose Maidens as arranged by James Truscello, Prelude and Rondo by David Holsinger and Valdres Marsj as arranged by Loras J. Schissel was given on May 15th, 2007 at 7:00pm. The document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.

A presente tese carrega o ônus de afirmar a relevância dos textos de Henry David Thoreau para a filosofia moral. Duas estratégias paralelas foram utilizadas para cumprir a tarefa. A primeira consiste na discussão pormenorizada de um conjunto de autores que apresentaram para Thoreau diferentes visões sobre a moralidade e o papel da filosofia na tecitura de uma vida digna de ser vivida: o Unitarismo de William Ellery Channing, as doutrinas do Scottish Common Sense de Dugald Stewart e Thomas Reid, o utilitarismo teológico de William Paley, o intuicionismo racional dos Platonistas de Cambridge (representados aqui por Ralph Cudworth), Orestes Brownson e Ralph Waldo Emerson – dois dos principais nomes do Transcendentalismo da Nova Inglaterra e Samuel Taylor Coleridge, Victor Cousin e Thomas Carlyle – primeiros intérpretes do Idealismo Alemão para o mundo de língua inglesa. A segunda estratégia articula a reação de Thoreau a essas diferentes posições sobre a moralidade, mostrando como, a partir dessa reação, ele foi capaz de formular um exercício de pensamento moral, cristalizado, emblematicamente, na escritura de Walden. O conceito de “identidade ficcional” foi pensado para capturar as diferentes técnicas utilizadas nesse exercício.
The present thesis carries the burden of asserting the relevance of Henry David Thoreau´s texts for moral philosophy. Two parallel strategies have been used to complete the task. The first is a thorough discussion of a group of authors who presented to Thoreau different views on morality and the role of philosophy in the weaving of a life worthy of being lived: William Ellery Channing´s Unitarianism, the doctrines of the Scottish Common Sense - Dugald Stewart and Thomas Reid, William Paley´s theological utilitarianism, rational intuitionism of Cambridge Platonists (represented here by Ralph Cudworth), Orestes Brownson and Ralph Waldo Emerson - two of the leading names of New England Transcendentalism and Samuel Taylor Coleridge, Victor Cousin and Thomas Carlyle - first interpreters of German Idealism to the English-speaking world. The second strategy articulates Thoreau´s reaction to these different positions on morality, showing how, from this reaction, he was able to formulate an exercise in moral thinking, crystallized, emblematically, in the writing of Walden. The concept of "fictional identity" was designed to capture different techniques used in this exercise.

Kollapsen av den klassiska Mayakulturen under sen 700- till sen 900-tal e.Kr. har förbluffat forskare ända sedan studier av Mayakulturen påbörjades på 1840-talet. Både arkeologer och antropologer som epigrafiker eller klimatforskare har arbetat med att lösa gåtan av hur ett kulturellt vidsträckt samhälle kunde kollapsa utan någon klar förklaring. Civilisationen som än idag talar till oss genom sina kolossala pyramider och tempel, inskriptioner och den vetenskapliga kunskapen som ansetts outförbara utan moderna instrument. Dock har inte kollapsen varit ett direkt fokus i Mayastudier sedan forskningen påbörjades. Det var inte förrän på 1960-talet som systematiska undersökningar utfördes för att hitta rimliga teorier till kollapsen. Ända sedan dess har hypoteser och teorier haglat in och forskarna idag hittar sig själva i en sjö av oförklarlig information. Kunskapen av Mayakulturen är enorm men det har inte hjälpt att hitta någon bestämd teori om kollapsen av klassiska Maya. Det finns forskare som fokuserar på stora katastrofala händelser såsom drastiska klimatförändringar, sjukdomar eller jordbävningar så svåra att återhämtning var omöjligt. Sedan finns den andra skaran av forskare som förkastar enskilda händelser och fokuserar mer på mångfaldiga katastrofer som kunnat utlösa ödesdigra mönster i samhället som till slut utmynnat i en kollaps. Trots oklarheter kring kollapsen har framsteg gjorts inom fältet. Många teorier har mycket tack vare avancerade metoder kunnat förkastas medan andra blivit mer debatterade. Vad som än Mayakulturen kan berätta för oss, står ändå kollapsen som den stora nöten att knäcka och ju längre forskningen av ämnet fortgår desto närmare kommer även forskare till svaret. Frågor dyker dock fortfarande upp om det är möjligt att lösa en av arkeologins stora gåtor.

An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation.

In 1891, an Englishman named William Beer arrived in New Orleans, Louisiana, to take up the position as librarian of Tulane University's Howard Library. Beer quickly gained a reputation as a competent and knowledgeable librarian by bolstering the Louisiana collection at the Howard Library with maps, rare books and Louisiana historical documents. In 1896, Beer played a central role in the organization and opening of the first free and public library in New Orleans, the Fisk Free and Public Library. Beer befriended many well-known authors of New Orleans literature including George Washington Cable, Grace King, Mollie Moore Davis and Mary Ashley Townsend. Beer's influence in New Orleans and its literature, and his roles as librarian and instigator of literature have hitherto been largely ignored. This paper will argue that Beer created the foundations of a New Orleans literary culture.

The following Thesis is a survey of seventeenth-century uranography, with specific focus on the use of the Pleiades and Charles's Wain by English poets and pageant writers as astrological ciphers for the Stuart dynasty (1603-1649; 1660-1688). I then use that survey to address the problem of irony in John Dryden's 1685 Pindaric elegy, "To the Pious Memory of Mrs. Anne Killigrew," since the longstanding notion of what the Pleiades signify in Dryden's ode is problematic from an astronomical and astrological perspective. In his elegiac ode, Dryden translates a young female artist to the Pleiades to actuate her apotheosis, not for the sake of mere fulsome hypberbole, but in such a way that Anne (b. 1660-d. 1685) signifies for the reign of Charles II (1660-1685) in her Pleiadic catasterism. The political underpinnings of Killigrew's apotheosis reduce the probability that Dryden's hyperbole reserves pejorative ironic potential.

Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.

Master of Philosophy (MPhil)
Informationist Science Fiction theory provides a way of analysing science fiction texts and narratives in order to demonstrate on an informational basis the uniqueness of science fiction proper as a mode of fiction writing. The theoretical framework presented can be applied to all types of written texts, including non-fictional texts. In "Informationist Science Fiction Theory and Informationist Science Fiction" the author applies the theoretical framework and its specific methods and principles to various contemporary science fiction works, including works by William Gibson, Neal Stephenson and Vernor Vinge. The theoretical framework introduces a new informational theoretic re-framing of existing science fiction literary theoretic posits such as Darko Suvin's novum, the mega-text as conceived of by Damien Broderick, and the work of Samuel R Delany in investigating the subjunctive mood in SF. An informational aesthetics of SF proper is established, and the influence of analytic philosophy - especially modal logic - is investigated. The materialist foundations of the metaphysical outlook of SF proper is investigated with a view to elucidating the importance of the relationship between scientific materialism and SF. SF is presented as The Fiction of Veridical, Counterfactual and Heterogeneous Information.

Le principe des verres de contact repose sur la neutralisation optique de la cornée par un liquide et la substitution au dioptre oculaire ainsi éliminé d'une nouvelle surface optique placée au contact de l'œil. Certains passages de Léonard de Vinci (1505), de René Descartes (1637), de Christian Huygens (1653) et de Philippe De La Hire (1685) décrivent et illustrent des expériences faussement interprétées comme réalisant une neutralisation du dioptre oculaire. L'expérience de Jean Méry (1704) d'immersion oculaire interprétée par Philippe De La Hire (1709) et les travaux de François-Pourfour Du Petit (1728) à l'Académie royale des sciences, témoignent d'une compréhension du phénomène de la neutralisation que complètent les présentations de Thomas Young (1800) et de John William Herschel (1827). L'orthoscope de Joseph Czermak (1851) et ses modifications pour l'usage clinique se basent sur ces principes et préfigurent l'hydrodiascope de Lohnstein (1896) et ceux améliorés par August Siegrist. Après la découverte de l'anesthésie locale oculaire par Carl Koller (1884), les médecins Adolf Eugen Fick à Berne, Eugène Kalt à Paris et August Muller à Kiel inventent en 1888 les premiers verres de contact dont la fonctionnalité sera améliorée par Henri Dor (1892) et David Sulzer (1892, 1895). Au début du XXe siècle, les ocularistes Muller de Wiesbaden, ont fourni des coques soufflées pour la correction des kératocônes à quelques médecins, dont Rudolf Helmbold de Danzig, August Siegrist de Berne et Georges Weill de Strasbourg. La fabrication industrielle des verres de contact taillés par Zeiss, fut mise en place progressivement après la première guerre mondiale, d'abord, en 1920, avec un choix limité de coques pour la correction du kératocône, puis en 1930 sur l'initiative de Leopold Heine, avec un choix plus étendu pour la correction de toutes les amétropies.

The main objective of this study was to document, systematize and analyse the contributions of some leading Physical Educationists to the establishment and development of Physical Education in South Africa. The main methodological approach used to realise this objective was the historical-analytical method, by which the data were systematized and analysed thematically and chronologically. With a view to the systematization of data, tilt! following main aspects were chosen according to which the contributions were analysed: • Training and instruction • Research and publications • Administrative and organisational aspects - in particular to Physical Educational and sports associations and professional journals. Although several factors were considered in determining the value of the contributions, the emphasis fell on the nature, extent and quality of the contributions made in the fields already mentioned. To do research on only a few Physical Educationalists, a selection had to be made from 35 leading persons in this field in South Africa. Information on the work, approaches and involvement of these 35 persons were obtained by personal interviews and correspondence, and by studying documents, annual reports, minutes, journals, newspapers, dissertations and theses. After the relevant information had been gathered, the following criteria were applied to analyse the contributions of the chosen persons and to select three of them for further study: 1. Training and instruction 1.1. Establishment and development of the subject 1.1.1. Administrative control over training and instruction 1.1.2. Institution of courses and subjects, as well as the compilation of syllabuses 1.1.3. Implementation and expansion of facilities and equipment 1.1.4. Methods of presentation and aids used 1.2. Personal influence 2. Research 2.1. Own research 2.2. Project leadership and assistance to students 2.3. Publications 2.4. Papers presented 3. Administrative and organising aspects 3.1. Associations for Physical Education 3.2. Sports associations 3.3. Physical Educational journals 3.4. Festivals and public appearances 3.5. Other projects, such as fitness programmes and film production The application of this set of criteria to the nature, extent and quality of the work by the previously mentioned 35 persons facilitated the selection process, but still could not succeed in pinpointing only three persons for the study. For this reason, additional criteria were chosen according to which three persons could responsibly be selected. These criteria were connected with aspects such as the geographical regions where the persons worked for the longest periods of time; the particular subjects or fields of interest in which they specialised; the specific fields in which they made their most important contributions; and the period in which they made the contributions. On the basis of these additional criteria, the following three persons were selected: J.W. Postma, C.M. Smit and D.P.J. Smith The contributions of these three persons to the development of the subject of Physical Education in South Africa were dealt with under the following headings: 1. Biographical sketch 2. Views on Physical Education and sport 3. Contributions to training and instruction 4. Research contributions 5. Contributions particular to Physical Educational and sports associations and professional journals To provide the necessary background information and to get a dear picture of the position these three persons had in the history of Physical Education in South Africa, as well as the conditions in which they had to work, one chapter was set aside for a survey of the development of Physical Education in South Africa between 1900 and 1982. Following that, the contributions of J.W. Postma, C.M. Smit and O.P.J. Smith to the development of the subject were dealt with in separate chapters. During the study the following conclusions were drawn with regard to the contributions of J.W. Postma, C.M. Smit and D.P.J. Smith to the development of Physical Education in South Africa. J W POSTMA Postma's contribution should be viewed in the light of the circumstances in which Physical Education was presented at that time. These were the formative years of Physical Education and Postma had to do pioneering work in various fields. Whereas certain aspects of the subject are nowadays being taken for granted, Postma then had to fight for the subject's right of existence. Postma's most important contribution with regard to the training of students of Physical Education was his management and the development of the Department of Physical Education at the University of Stellenbosch. He made a special contribution to the institution and development of courses and subjects, as well as the drafting of syllabuses. He was responsible for the institution of the section of Tests and Measurements in the Physical Education course at the Department. The importance of including this section in a Physical Education course has since been realised by other educational institutions. It is therefore largely owing to Postma (as well as Smith) that Tests and Measurements (later called Evaluation) was included in the courses for Physical Education students in South Africa. Besides Tests and Measurements, Postma also contributed to other theoretical sections of the subject such as Anthropometry, Principles, Method and Organisation, and Administration. He expanded factual knowledge on these subjects at Physical Education Departments throughout South Africa by means of publications and papers. Postma also strove for the implementation of better training facilities, especially in research. He also saw to it that the most vital scientific reference works and journals were made available to Physical Education students. Postma was an enthusiastic lecturer• and inspired his students. Postma's most important contribution in the field of research lies in the fact that he was one of the first Physical Educationalists in South Africa to begin research on the subject. Not only did he personally undertake many research projects, but he also inspired his students to do research and gave them valuable critical guidance in their work. The fact that Postma was an expert in the field of Physical Education as a whole, led to several publications on a wide spectrum of subsections within the subject. The large number of publications for which he was responsible, ensured that his views on the subject were propagated throughout South Africa. His book Inleiding tot die Liggaamlike Opvoedkunde should be seen as his biggest and most important research contribution to the development of the subject. Postma's involvement with Physical Educational journals and organisations in South Africa ensured growth in these two fields of the subject. Postma made a particularly valuable contribution to the development of the South African Association for Sport Science, Physical Education and Recreation. He was responsible in various capacities and in several fields for the establishment and development of this organisation. He can be seen as one of the most important founder members of this body, which came to be known as SAASSPER, and which is highly esteemed. C.M. SMIT As was the case with Postma, Smit had to pioneer and found the subject and had to fight for its development and survival. His contributions were especially in the following fields: the establishment and development of Physical Education at schools and Physical Educational organisations; the establishment and development of Physical Education and sport at the University of Pretoria; the development of the subject by means of research and publications, as well as through services rendered to Physical Educational and sports associations. With regard to the development of training and instruction as part of Physical Education, Smit did important work in two aspects. In the first instance, he did pioneering work as the first organiser of Physical Education at the Union Education Department and the National Advisory Council for Physical Education (NACPE). He had the gigantic task of establishing Physical Education at the widely diffused schools of the Union Education Department and to advise all voluntary physical culture clubs throughout the country. To succeed in this, he had to design new systems, present training courses, give professional advice, decide on the purchase and supply of Physical Educational and sports equipment, and manage several administrative affairs. One of Smit's biggest assets was his ability to instill in teachers and instructors his own knowledge, love and enthusiasm for Physical Education. During his involvement with the Union Education Department and NACPE Smit was responsible for the compilation of the national syllabus for Physical Education in South Africa. This can rightly be seen as one of Smit's most important contributions to improve the instruction of Physical Education in South Africa. Secondly, Smit made a great contribution to promote the training and instruction of Physical Education in South Africa by the work he did as professor at the Depa1•tment of Physical Education and as Director of the Institute for Physical Education at the University of Pretoria. He had to establish and manage both these departments. He was responsible for the creation of sport structures at the University of Pretoria, the planning and development of sport grounds, the purchase of equipment and for adv1sing sport clubs. As head of the Department of Physical Education, he had a big part in the instituting and developing courses and subjects, as well as in making adjustments and changes to upgrade the quality of training of Physical Education students. The standard of training was improved further by Smit's constant efforts to increase the quality of the facilities used in training. In this regard, special mention has to be made of the construction of the building in which the Department of Physical Education is housed, and the building of the L. C. de Villiers Stadium and sport grounds. The efficient way in which Smit managed the Department of Physical Education led to the expedient and effective training of students. Apart from the efficient control which Smit had over the Physical Education building and its staff, he also made an effort to maintain good relation between the personnel and students. For example, he took the initiative in organising Physical Education tours and forming a Physical Education Society at the University of Pretoria. Because of the heavy work load that Smit had to bear during his employment at the University of Pretoria and the Union Education Department, he had little time left for research work and publications. He tried to expand his knowledge of the subject by studying publications, undertaking study tours and attending conferences on Physical Education. His contribution to research on the subject consisted of some research projects he completed on his own, as well as guidance to post-graduate students. With regard to publications, he was responsible for some books (mostly as co-author) and several articles published in journals such as Physical Education and Vigor. Smit contributed his services to outside organisations. He was involved in the South African Association for Sport Science, Physical Education and Recreation from r its inception. During this time he acted as chairman (1952) and worked on several of the organisation's committees. Apart from being involved in several branches of sport at the University of Pretoria, he also offered his services to national and provincial sport bodies. D.P.J. SMITH As was the case with Postma and Smit, Smith's contributions to the development of Physical Education in South Africa should be seen against the circumstances surrounding the subject at that time. Because the subject was not given recognition, Smith had to do pioneering work in many fields. He was one of the few Physical Educationalists who succeeded in making a balanced contribution to each of the following aspects of the subject: training, research and services rendered to outside organisations. Smith's contributions in the field of training are mainly related to his involvement with the Potchefstroom Teachers' Training College and the Potchefstroom University. He was the first person to be permanently appointed as lecturer of Physical Education at the Potchefstroom University. In this capacity he was not only responsible for the training of Physical Education students, but also for the organis11tion and presentation of advancement classes for teachers. In both cases Smith did pioneering work, especially in the establishment and development of Physical Education courses and subjects, as well as the compilation of syllabuses for these subjects. Because of his efforts to improve the quality and quantity of Physical Educational facilities and equipment at the College, the standard of instruction improved. During this time Smith was also responsible for the organisation and presentation of several exhibitions related to Physical Education. In this way the public was introduced to the nature, content and methods of instruction of the subject, and prospective students were motivated and recruited. Smith's work as lecturer, marked by enthusiasm, energy and purposefulness in presenting the subject, played a definite role in improving the standard of training at the College's Department of Physical Education. The contributions Smith made to training during his involvement with the Potchehtroom University, can be summarised as follows: In the first place he established and developed the Department of Physical Education at the University. Due to his capable administration of the Department, the training of students could be effected successfully and effectively. In the second place Smith did pioneering work in the institution of courses and subjects, as well as the compilation of syllabuses. He saw to it that the contents of the courses were scientific, applicable and practical. In the third instance, the quality of instruction which Smith offered his students was exceptionally high. Not only were his lectures well prepared, systematic and of a high standard, but his method of presentation was also stimulating, interesting and very effective. His example had a positive influence on his students. In the fourth instance, the standard of instruction was improved due to the acquisition of better facilities and equipment, which was largely the result of Smith's efforts. Smith's contributions in the field of research in Physical Education can be summarised as follows: He did pioneering work in establishing research in Physical Education at the Potchefstroom University. He provided expert and inspired guidance to students in their own research projects. He maintained good contact with experts and remained informed on new developments in the subject by attending conferences and symposia. He was responsible for several publications which were scientific, orderly and polished. With regard to services rendered to outside organisations, Smith made large and valuable contributions. Apart from his involvement with organisations such as the Road Safety Council and the Church, Smith did extremely valuable work for Physical Educational and sports associations. He was involved in the research section and several committees of the Physical Educational organisation SAASSPER, and made valuable contributions during discussions at its conferences. In the field of sport, he offered his services in various capacities, such as coach, administrator, selector, official and president, on club and national level. Although he was principally concerned with athletics and tennis, his assistance was valuable to sportsmen across the board. For him it was his life's work to be of service to sportsmen and sports women. He was also of service to the public through his involvement with several fitness projects. In the 1940's he presented exercise classes to the public in Parys, and during the 1960's and 70's he played a leading role in fitness projects launched by the National Fitness Scheme. CONCLUSION This study showed that the following three leading South African Physical Educationalists - J.W. Postma, C.M. Smit and D.P.J. Smith - had made valuable contributions to the development of Physical Education in South Africa. Their contributions were analysed under the following headings: Training and instruction Research and publications Administrative and organising aspects - in particular to Physical Educational and sports associations and professional journals All three of them succeeded to a large extent in maintaining a healthy balance between these three aspects of their work. The researcher hopes that this study will give the Physical Educationalist of today new insight into the origins of this subject and that there will be a renewed appreciation of the work done by the pioneers of Physical Education in South Africa.
Proefskrif (DEd)--PU vir CHO, 1987

Twentieth Century Americans witnessed the construction of numerous massive dams that controlled the flow of rivers across the country. Many of these dams were built by the U.S. Army Corps of Engineers to improve navigation and to provide inexpensive electricity and flood control. This paper will seek to shed light on Georgia’s current water crisis by analyzing the initial purposes behind the building of Buford Dam in North Georgia, investigating how water supply issues were addressed in the first half of the twentieth century, and exploring how expectations of the Chattahoochee River changed over time due in part to metropolitan Atlanta’s population growth. This paper will show that Atlanta area leaders secured appropriations for Buford Dam primarily to obtain a reliable water supply and additional electricity for their burgeoning community.

This thesis is an analysis of the manner in which the persona and works of Ben Jonson were appropriated – between the Restoration, in 1660, and the retirement of David Garrick, in 1776 – to reflect the political and social concerns of the age. Unlike previous studies, rather than primarily focusing on the stage history of Jonson, I analyse a wide range of sources – produced both within and outwith the theatre – in order to explore, across a variety of media, a breadth of material which appropriates the playwright and his works. I shall consider in my first main chapter the appropriations of Jonson within the Restoration court, in particular noting the assimilation of the playwright's work to what might be styled a proto-Tory ideology, as well as the way in which his plays could mirror the destabilising effects of the king's romantic liaisons. In my second chapter, I explore the moral reformation at the turn of the eighteenth century, in which we can see appropriations of Jonson which cast his works as being primarily didactic. The third chapter moves the narrative of the thesis into the years of the premiership of Sir Robert Walpole. I shall consider the way in which the playwright's works – especially The Alchemist and Eastward Ho! – were seen as being especially relevant to an age of speculation and mercantile endeavour, as well as examining the manner in which the figures of Sejanus and Volpone were appropriated to mock the increasingly unpopular premier. In the final chapter, I shall offer an analysis of Garrick's seminal portrayal of Drugger in the contexts of the political philosophy of the mid-eighteenth century, considering the manner in which it was interpreted alongside the character's further appropriations by Francis Gentleman. The thesis concludes by exploring political appropriations of Jonson up to the present day.

This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.