Dissertations / Theses on the topic 'Joan (1941-....)'

Many scholars exclude New York painter Philip Guston (1913-80) from the artistic tradition of Abstract Expressionism due to his absence from New York City during the group's early formative years. This thesis asserts, however, that Guston's role in Abstract Expressionism can be firmly established through his unique interpretation of the formative influence of surrealist automatism. Though never engaging with the surrealists directly, Guston explored automatist ideas upon meeting New York School experimental music composers John Cage and Morton Feldman. This trio's engagement with the Zen Buddhist concepts of unimpededness and interpenetration influenced Guston to create compositions through chance operations, a process Cage would call "indeterminacy." My aim is to enrich an understanding of Guston's idiosyncratic relationship to Abstract Expressionism and, ultimately, to offer a more expansive definition of Abstract Expressionism in general, allowing for a broader understanding of the formation of American modernism.

Il semblait qu'en France, depuis plus de trois décennies, l'œuvre de Dos Passos avait été délaissée alors que d'autres écrivains américains de sa génération comme Faulkner, Hemingway, Fitzgerald, continuaient de bénéficier d'un accueil relativement soutenu et que sa renommée littéraire, acquise avant la la guerre, tenait plus d'une réputation que d'une réelle connaissance d'une œuvre romanesque en constant développement. L'étude de sa réception, comparée a celle de ses pairs, permet de constater que Dos Passos a tout de même connu un accueil critique suivi entre 1921 et 1971, et au-delà, mais que celui-ci a été gravement hypothèque, des 1947, par des considérations idéologiques, qui s'ajoutaient a une insuffisante appréciation esthétique des romans postérieurs a 1938, dont les traductions furent décalées et chronologiquement désordonnées. Ressort de cette étude l'importance du contexte de réception : les opinions politiques, les "images" qu'on se fait du pays "émetteur", sont variables au gré des milieux de ce contexte, des évènements nationaux ou mondiaux. Les question éditoriales ont joué de surcroit un rôle important dans l'appréciation des œuvres reçues, ainsi que les difficultés liées a leur traduction
It seems that in France, for over three decades, the works of Dos Passos have been neglected by critics whereas other American writers of his generation such as Faulkner, Hemingway, Fitzgerald, still retained the attention of critics. His literary fame gained before the World War II, was based on his reputation rather than a real knowledge of his constantly evolving fiction. Studying how his books were received by critics, as compared to these fellow fellow writers, shows that dos passos's books were received regularly between 1921 and 1971 and even after, but as from 1947 the critics were influenced negatively by ideological considerations and even before, by an inadequate aesthetic appraisal of the novels published after 1938. In addition, the french translations came out much later and not in chronological order. This study shows the importance of the social context in which the books came out in France: the prevailling political opinions, the images of the U. S. A. In the French public, vary with the social milieu, the national or international events, problems relating to publishing have also played a major part in the appraisal of the novels which were reviewed, and account for translation difficulties

While the Australian wartime Prime Minister, John Curtin, has been the subject of intensive biographical and historical material, particularly during World War II, very few publications have focused on his relationships with journalists. Certainly, there is a distinct absence of a comprehensive study of his mass media strategies that would give us a detailed insight into his leadership in a critical period. Major forces converged with the commencement of another global war, the rapid expansion of relatively new radio and film industries, along with the appointment as prime minister of a skilful Labor communicator, well-known for his passionately anti-conscription views during World War I.This thesis investigates Curtin’s success in persuading the predominantly conservative news media to promote his wartime views. First, it identifies the prime minister’s mass media strategies to influence the Canberra Parliamentary Press Gallery journalists and their editors to accept his wartime policies and portray them positively in the media.The thesis argues that Curtin revealed a genius for initiating, developing and overseeing mass media strategies that made the best use of the latest technology to persuade journalists to communicate his government’s policies. In doing so, he extended the Australian public sphere, and his impact on political communications remains evident today. Curtin also bestowed a permanent legacy to benefit the parliamentary press gallery, contributing to our understanding of contemporary political journalism.

Auteur d'une oeuvre monumentale, dont chaque volet a constitué une forme de révolution artistique, James Joyce (1882-1941) a laissé aux auteurs irlandais de langue anglaise un héritage colossal. En bouleversant les codes narratifs, en forgeant une nouvelle langue, en subvertissant la hiérarchie qui jusque là subordonnait l'écriture au réel, Joyce a incarné et incarne encore une modernité dont les générations successives d'écrivains ont porté le poids écrasant. L'analyse comparative, intertextuelle, des écritures de Flann O'Brien (1911-1966), John McGahern (1932-) et John Banville (1945-)permet, dans une perspective historique, de soulever la question de l'influence de Joyce sur les romanciers irlandais du XXe siècle. Représentatifs de leur génération, ces trois auteurs ont chacun intégré dans leur oeuvre une part significative du patrimoine joycien, dont il devient alors possible de commencer à mesurer l'ampleur, voire la force inhibitrice. Quasi-contemporain de Joyce, quelque peu écrasé par un grand frère qu'on lui a reproché toute sa vie d'inmiter, Flann O'Brien a fait fructifier, dans une écriture métafictionnelle qui doit beaucoup à Ulysses, la part ludique de l'héritage, sans toutefois parvenir à faire entendre haut et clair sa voix de créateur. Une à deux générations plus tard, John McGahern, qui s'est inscrit dans le courant de réalisme symbolique dont Dubliners rest un exemple inégalé, demeure, malgré la force indéniable du souffle poétique qui traverse son oeuvre, impuissant à assumer totalement la succession, continuant partiellement d'écrire comme si Joyce n'avait pas existé. Seul John Banville, dont la recherche du côté d'une écriture trans-sémiotique héritée du maître renouvelle la création romanesque, semble, avec le recul apporté par trois-quarts de siècle et le bénéfice des acquis de la "post-modernité", de taille à permettre à la littérature irlandaise de tourner la page écrite par Joyce. L'encombrant héritage va-t-il, enfin, pouvoir être géré?
@Creator of an immense work, each of whose opus constituded an artistic revolution, James Joyce (1882-1941) has left to Anglo-Irish writers a formidable legacy. Leaving behind the XIXth century novel, Joyce irrevocably altered the modern literary map. Representing that moment of transition for contemporary sensitivity known as modernity, Joyce's work undeniably was and still is a burden to generations of Irish writers. A comparative study of O'Brien, McGahern and Banville's novels and short stories can lead to a fruitful historical analysis of Joyce's influence on XXth century Irish literature. Each of those three writers has indeed benefited, consciously or inconsciously, from the literary lessons of the " master ", whose heritage, possibly a source of inhibitions, is now possible to measure. Altohgh Flann O'Brien (1911-1966) was hailed as the author of several masterpieces, the general critical reception derided the Joycean undertones of his work, and tended, not undully so, to condemn his work as inferior imitation. As a matter of fact, O'Brien remains as the first Irish metafictionalistalong with Joyce. Less than two generations later, John McGaherrn (1932-)appeared on the Irish literary scene. Undeniably marked by Joyce's early work, whose realistic and symbolical influence can be perceived in most of his short stories and some of his novels, McGahern only reluctantly admits his indebtedness to the author of Dubliners. And despite the poetic originality of his writings, he continues to write as though James Joyce had never existed. As for John Banville (1945-), who seems to have inherited Joyce's sense of experimentation as well as his capacity to recycle the work of his predecessors, he has obviously started to pave the way to new forms of literature -maybe for the first time since Ulysses. With Banville, the Irish literary community may be able to turn over the leaf Joyce wrote nearly a century ago

Dans l'œuvre poétique de Joan Maragall (1860-1911), poète barcelonais un des plus remarquables représentants de la renaissance littéraire catalane a la transition de deux siècles, entre le romantisme et le modernisme - soumise à l'examen phonémique, limite à l'expression versifiée, on y découvre, d'après les principes, appliques a la phonétique de la langue catalane, du "système euphonique et rythmique du vers français" du professeur Michel Gauthier, la présence de toutes sortes de figures euphoniques, oscillations (successions de deux timbres de la même chaine - vocalique ou consonantique - sur un ensemble d'au moins trois occurrences) et les séries (ensemble d'au moins deux groupes identiques ou semblables de phonèmes successifs de la même chaine). L’étude détaillée (concernant la stylistique, la syntaxe, la sémantique et l'euphonie) des cents vers de l'oda nova a Barcelona (nouvelle ode a Barcelona) fait apparaitre certains rapports entre le son et le sens, permet d'avancer des hypothèses sur la genèse de quelques vers et meta jour les équilibres euphoniques inhérents a l'expression poétique. Et de ce fait, le système euphonique devient théorie euphonique, i. E. , une nouvelle méthode d'approche et d'interprétation de la réalité poetique, dans son ensemble
In the poetical work of Joan Maragall (1860-1911), a Barcelona poetone of the most representative of the catalan literary revival, between romantism and modernism - all sorts of euphonic representations appear such as: oscillations (a succession of two tones of the same sequence -vowel or consonant - over a group of at least three), series (a unity of at least two identical groups of two phonems running in the same sequence). These phonic representations have been outlined in "the euphonic and rhythmic system of French verse" by professor Michel Gauthier, adapted to the Catalan language. A detailed study (about stylistics, syntax, semantics and euphonic) of the one hundred verses of the new ode to Barcelona discloses certain relationships between the sound and the meaning. There are several hypothesis concerning the origin of various verses which bring to light the inherent euphonic balances in the poetic expression. Therefore the euphonic system turns into a euphonic theory, i. E. , a new method of approaching and interpreting poetry as a whole

This thesis analyses the literature debate in the overlooked Swedish magazine Samtid och Framtid 1944–1949. The magazine was first published at the end of World War II on the initiative of publisher Johan Hansson. After an interesting start, the terms of the debate in the magazine were changed after a power struggle on the editorial level. Thus, the magazine never became the influential arena for literary discussions that it first had potential of becoming. With its initial focus on how to construct a new post-war world, the debates in the magazine, however, provide an interesting material for an investigation of attempts to renegotiate the position of literature in society. This is conducted through a perspective that focuses on the debaters’ use of metaphors, but also their specific experiences of the past and their expectations on the future. Central oppositions between aesthetic and committed ideals are highlighted, but also between individualism and collectivism. It is also demonstrated that the debates successively turned more concrete, not least focusing on the very influential Swedish literary generation of the 1940s.

This study examines the birth of television and the modern media corporation that launched it, through the archives of the designer of the "first" set, John Vassos, a Greek-born American industrial designer, interior decorator, and illustrator (1898-1985). Vassos's early career is used as a case study to analyze the historical and cultural forces that shaped the emergence of this new media and the new profession of industrial design, through archival materials housed in the Archives of American Art at the Smithsonian Institution in Washington D.C. and at Syracuse University. Specifically, this thesis unites various parts of Vassos's early career, from his modernist illustrations to industrial design, through the aesthetics and practices of modernism. As RCA's lead industrial designer for over 40 years, Vassos was involved in the design and promotion of RCA's electronic products, including radios and televisions and studio equipment. Vassos also designed the new spaces carved out for their use in the home including the "living room of the future" featured at the 1939 World's Fair. Drawing from his skills as an illustrator, designer and display expert, Vassos helped develop RCA's public image at a time of its greatest expansion in radio and television manufacturing and broadcasting. This reading of Vassos's work is both diachronic, taking into account his work over the early part of his career to analyze his specific contribution and synchronic, in relationship to other designers working contemporaneously. Thus, this thesis explores Vassos's double role as a participant, with active agency within the emergence of the new field and as a subject, constrained by social roles and forces. Ranging from turnstile to the transmitter, Vassos along with other industrial designers used the streamlined aesthetic to create visual unity among mechanical and electronic products, from home to office, from subway to skyline.

L’interès d’aquesta investigació s’ha centrat en dos aspectes complementaris de l’obra de Joan Miró, del període de 1939 a 1945. Un és la producció artística i l’altre és el procés auto reflexiu. El període de la trajectòria vital i professional objecte d’anàlisi, el de major tensió emocional per a l’artista i la seva família, està marcat per inflexions significatives, però també per continuïtats. Miró fou capaç de superar l’opressió d’un ambient hostil gràcies a una severa auto disciplina en el treball, una recapitulació sobre el propi llenguatge artístic i un inèdit procés d’auto reflexió escrit. Pel que fa a la producció, hem destacat amb una especial significació dues sèries: Constellations (1940-41) i la Sèrie Barcelona (1941-1944). L’obra realitzada en aquest període és un dels exemples més interessants de com les característiques evasives, de l’absurd o tocades pel seu particular humour grotesc, suposen un contrapès al carregat ambient que l’envolta
El interés de nuestra investigación se ha centrado en dos aspectos complementarios de la obra de Joan Miró, comprendida entre el período 1939 y 1945. Uno es la producción artística y el otro es el proceso autoreflexivo. El período de la trayectoria vital y profesional objeto de análisis, el de mayor tensión emocional para el artista y su familia, está marcado por inflexiones significativas, pero también por continuidades. Miró fue capaz de superar la opresión de un ambiente hostil gracias a una severa autodisciplina en el trabajo, una recapitulación sobre el propio lenguaje artístico y un inédito proceso de auto reflexión escrito. Por lo que se refiere a la producción, hemos destacado con una especial significación dos series: Constellations (1940-41) y la Sèrie Barcelona (1941-1944). La obra realizada en este período es uno de los ejemplos más interesantes de como las características evasivas, del absurdo o tocadas por su particular humour grotesco, suponen un contrapeso al cargado ambiente que le rodea
The interest of our research is located in two complain aspects of Joan Miró’s work, between 1939 and 1945. One aspect is the artistic production and the other one is the self reflexive process. This vital and professional period is the most emotional tension for the artist and his family, and it is distinguished by important changes but also by continuities. Miró was into the most strict anonymous. He was able to overcome the oppression of a hostile atmosphere because he impose himself a hard auto discipline of work, a recapitulation about his artistic language, and an unpublished process of written reflection. In concerning the artistic production, we have studied two series because its special signification: Constellations (1940-41) and the Sèrie Barcelona (1941-44). The works made in this period of time are one of the most interesting examples of evasive trends, absurd or with a particular and grotesque humour. This attributes were the counter balance to the loaded climate

Ecological planning relies on a keen awareness of relationships between biophysical and social processes, then uses this knowledge for decision making in accommodating for human needs. The value of this planning process allows for design intervention while also ensuring a sustained use of the landscape, with these insights blending skill and artistry into place-making. In the 1960s, environmental concerns galvanized a generation of landscape architects who first codified ecological planning as a rationale for decisions with environmental stewardship. While this is the accepted canon, in the early 20th century during a period of experimentation and exploration, the Olmsted Brothers landscape architecture firm was using ecological principles as foundations for landscape architecture practice. This thesis challenges current discourse and accepted history, presenting evidence that the Olmsted Brothers' work in the 1920s predated many modern ecological theories and applications, and is an important addition to the historiography of ecological planning. This thesis largely focuses on Frederick Law Olmsted, Jr. as the central historical figure, offering a more in-depth understanding of the evolution of the firm, and fills the gap of the Olmsted legacy. As the children of Frederick Law Olmsted, Sr., Frederick Law Olmsted, Jr. (1870-1957) along with his brother John Charles Olmsted (1852-1920) co-founded the Olmsted Brothers and created one of the most prolific landscape architecture practices, developing projects in all aspects of landscape design. The Olmsted Brothers' work in California accounts for over 200 projects, and ranks among the highest number of their 5000 designs developed in the United States. In the early 20th century, the city of Los Angeles offered significant ecological, cultural, and technological challenges for the firm, with the city's unbridled urbanization and proliferate use of water and automobility. Rich in solutions, the firm's built and proposed designs over the course of 20 years revealed the discipline of landscape architecture in its richest and most scalar form. From small scale gardens, residential communities, park and parkway systems, to open space and watershed planning, the Olmsted Brothers created public spaces that worked in relationship to the ecology of the region during a critical juncture in the history of regional planning in Southern California. A range of methods were utilized in this thesis. Primary data provided both qualitative and quantitative material for study and was extracted from letters, reports and writing, drawings, photos, plans and maps. Over 20,000 primary documents, written by the firm's principals, provided the basis for analysis, and in a new way, this thesis interprets not only the written documents, but related construction documents developed from 1914 - 1931. As part of its data collection, an original contribution of this study is a comprehensive corpus of Olmsted Brothers source material from their work in Los Angeles. Methodologies sought to modify these documents into a spatial understanding of their work through digital analysis and re-creation of designs. The Olmsted Brothers' design solutions provide insights into today's ongoing concerns about water management, sustainable urban planning, and multifunctional landscapes. Their design proposals solved multiple problems with the design, accounting for not only vast geography, but complex cultural and natural systems within it. The value of their ideas reflects landscape architecture solutions as hybrid, dynamic, and strategic, offering 21st century practitioners paradigms in an ever-changing ecology.

As the Second World War in Europe came to an end the Russians advanced from the east towards Berlin. German occupation of Poland and Czechoslovakia had been particularly brutal. Both of these countries, products of German defeat at the end of World War I contained millions of ethnic Germans, who had previously co-existed with their Slav neighbours, often for many centuries, but were now perceived by these neighbours as having encouraged and collaborated with Nazi Germany. Russians, Poles and Czechs now sought revenge triggering the largest forced expulsion in recorded history. Somewhere between 8 and 16.5 million ethnic Germans fled to the west, and between 2 and 3 million perished during flight. Expellee property was subsequently seized by the Poles and Czechs. In broad terms, until the 1990s these events were seen within Germany as part of a submerged collective memory, suppressed in part by their having lost the war. In the last 20 years with an increasingly powerful expellee organisation (the Bund der Vertriebenen, Federation of Expellees) influencing mainstream German politics, academia, and the German media, an attempt has been made to change historical memory, or rewrite what has been referred to as an 'unacceptable past'. This, in recent years has led to claims by former expellees against the Czech Republic, and Poland for restitution. This in itself has led to bitter accusations by these countries that the expellees have rewritten German history portraying themselves as victims of the Second World War. This thesis explores the methods employed by the expellee groups and their supporters in the restructuring of their historical memory by examining literature dating from the 1950s until the present day from primarily German and American sources, as well as German television documentaries from 2000. These sources are considered in relation to how collective and historical memory have evolved into a position that has allowed the expellees to create an 'acceptable past'.

Aquesta tesi estudia el paper de Joan Puig i Ferreter (1882-1956) al capdavant de la direcció literària d’Edicions Proa a l’exili. El treball, que s’estructura en dues parts, analitza el període de 1948 a 1956, això és, d’ençà de l’acceptació de la represa de l’editorial des de la diàspora a l’estat francès i fins a la mort de Puig. En primer lloc, s’ofereix un estudi panoràmic de la continuació de l’editorial a Perpinyà i de la tasca de l’escriptor i de l’editor i fundador Josep Queralt i Clapés (1896-1965), principalment. S’analitzen els motius de la represa i el paper que hi exerceix Puig com a autor, com a mecenes i com a director literari. En segon lloc, s’editen els epistolaris inèdits de Puig amb diversos corresponsals (principalment amb Josep Carner, Domènec Guansé i Xavier Benguerel), derivats de la tasca que l’escriptor exerceix a Edicions Proa. Així, s’anoten més d’un centenar de lletres del director literari en dos blocs: un primer, el principal, amb els autors de la represa editorial i un segon, menor, que recull les propostes de col·laboració que no es duen a terme.
Esta tesis estudia el papel de Joan Puig i Ferreter (1882-1956) al frente de la dirección literaria de Edicions Proa en el exilio. El trabajo, que se estructura en dos partes, analiza el periodo de 1948 a 1956: desde la aceptación de reanudar la actividad editorial en la diáspora en el estado francés y hasta la muerte de Puig. En primer lugar, se ofrece un estudio panorámico de la continuación de la editorial en Perpinyà y de la tarea del escritor y del editor y fundador Josep Queralt i Clapés (1896-1965), principalmente. Se analizan los motivos de la reanudación y el papel que desempeña Puig como autor, como mecenas y como director literario. En segundo lugar, se editan los epistolarios inéditos de Puig con varios corresponsales (principalmente con Josep Carner, Domènec Guansé y Xavier Benguerel), derivados de la tarea que el escritor ejerce en Edicions Proa. Así, se anotan más de un centenar de letras del director literario en dos bloques: un primer apartado, el principal, con los autores de la reanudación editorial y un segundo, menor, que recoge las propuestas de colaboración no llevadas a cabo.
This thesis examines the role of Joan Puig i Ferreter (1882-1956) as the literary director of Edicions Proa in exile. The study, which is structured in two parts, analyses the period from 1948 to 1956, that is, from the agreement to resume the publishing in France during the Republican diaspora to the year of Puig’s death. The first part is a panoramic study of the continuation of the company’s activity in Perpignan and Puig’s work as a writer and of the editor and founder of Proa, Josep Queralt i Clapés (1896-1965). It examines the reasons behind the decision to resume publishing and the role that Puig played in this activity as an author, patron and literary director. The second part reveals unpublished correspondence between Puig and several important literary figures (principally Josep Carner, Domènec Guansé and Xavier Benguerel) in the exercise of his role at Edicions Proa. More than one hundred letters from the company’s literary director are presented, in two groups: the first, and largest, contains correspondence exchanged with the authors involved in the renewal of editorial activity, while the second documents proposals for collaboration that did not come to fruition.

Chapter one begins with a definition and exposition of the concept of theodicy, and a topology for characterizing comparative theodicies is suggested. It is argued that the basis on which theodicies might be compared is the foundational ontological principles on which they are built. Chapter two is a lengthy discussion regarding the meaning of terms such as omnipotence omniscience omnibenevolence, moral evil and natural evil. Chapter three begins with a critical analysis of a variety of theodicies found throughout the history of Christian theology. The final conclusion drawn in this chapter is that none of the proposed answers is acceptable. Acceptability is measured in three important ways: First, is the position logically consistent, second, does it conform, at least in a broad way, to the major tenents of the Christian form of life, and third, does this position take the individual sufferer seriously? In chapter four a foundation is laid for a response to the problem of evil which is to follow in chapter five. In this penultimate chapter an analysis of the Book of Job is offered which centers on the interpretation of Yahweh's speeches out of the whirlwind. It is suggested that the crux of Jobs repentance is to be understood in connection with Job "seeing God." In chapter five, an attempt is made, using the help of Karl Barth, D. M. Mackinnon, P. T. Forsyth, Ludwig Wittgenstein and John Wisdom, as well as some insights gained from chapter four, to argue that there is a teleological response to the problem of evil that is logically consistent, true to the Christian form of life and sensitive to the needs of the individual sufferer.

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The research aimed to scrutinize the memories relating to "Lighthouse and Joan Black," in Olivedos - PB (1940-1970). Space and commercial sexual exchanges, understand the "Lighthouse" among other settings, as a place and practiced as a heterotopic space deviation from theorists such as Foucault (2001) and Certeau (1994). I made use of the oral method and from there I interviewed eleven people selected according to age and knowledge of the historical facts of Olivedos linked to the Lighthouse and Joan Black. For reasons of memory discussion embasei me in theoretical as Candau (2011), with their ratings of memory and Montenegro (2007), for discussion of orality. The look of the research was guided, in the first chapter to Joan Black discussion as protagonist Lighthouse, historicizing the term "black" and their representations to understand how the name of Joan began to be accompanied by the term in the sense surname. In the second chapter problematizei the identity configurations Joan Francelino Lima, comprising from Hall (2000, p. 108), that identities are "fragmented and fractured," multiple. Also in this chapter, I presented the Joan Black tactics for meeting sexual partners and their encounter with the Catholic Church. In the third chapter, I analyzed the Lighthouse and its representations to Olivedos as "practiced place," multiple and named according to the configuration assigned by popular. In the fourth chapter, I analyzed the historical plot that led to deactivation of the lighthouse at the expense of the Municipality of urbanization process. So the historiographical operation here is woven from the space for discussion, as well as Joan identities as protagonist Lighthouse and representation of the History of Women in Olivedos-PB. Thus, these and other stories about Joan and the Lighthouse will be found here from what makes the historian and will be representations of Paraiba history
A pesquisa teve como objetivo perscrutar as memórias referentes ao “Farol e a Joana Preta,” em Olivedos - PB, (1940-1970). Espaço de trocas comerciais e sexuais, entendi o “Farol” dentre outras configurações, como um lugar praticado e como um espaço heterotópico do desvio, a partir de teóricos como Foucault (2001) e Certeau (1994). Fiz uso do método da oralidade e a partir daí entrevistei onze pessoas selecionadas de acordo com a idade e o conhecimento dos fatos históricos de Olivedos atrelados ao Farol e a Joana Preta. Para fundamentação da discussão de memória me embasei em teóricos como Candau (2011), com suas classificações da memória e Montenegro (2007), para a discussão de oralidade. O olhar da pesquisa se orientou, no primeiro capítulo para a discussão de Joana Preta enquanto protagonista do Farol, historicizando o termo “preta” e suas representações para compreender de que forma o nome de Joana passou a ser acompanhado do termo no sentido de sobrenome. No segundo capítulo problematizei as configurações identitárias de Joana Francelino de Lima, compreendendo a partir de Hall (2000, p. 108), que as identidades são “fragmentadas e fraturadas,” múltiplas. Ainda nesse capítulo, apresentei as táticas de Joana Preta para encontros com parceiros sexuais e seu encontro com a igreja católica. No terceiro capítulo, analisei o Farol e suas representações para Olivedos como “lugar praticado,” múltiplo e nomeado de acordo com a configuração atribuída pelos populares. No quarto capítulo, analisei as tramas históricas que levaram a desativação do Farol em detrimento do processo de urbanização do Município. Assim a operação historiográfica aqui tecida ocorre a partir da discussão de espaço, bem como das identidades de Joana enquanto protagonista do Farol e representação da História das Mulheres em Olivedos-PB. Dessa forma, essas e outras histórias sobre Joana e o Farol serão aqui encontradas a partir do que fabrica o historiador e serão representações da História da Paraíba.

The thesis is organised on a chronological basis, in five sections, each coinciding with a coherent phase in Kinross's life and/or career: Section I (1655 - 1890) a) delineates Kinross's earliest years and architectural training, b) examines the consequences of his period of study travel in Italy and c) details his emergence within Edinburgh architectural circles and his resultant partnership with Henry Seymour. Section II (1890 - 1898) investigates the architect's first years of entirely independent practice, focusing in turn on restoration, domestic and ecclesiastical work. It is argued that Kinross developed a distinctive and scholarly approach, exemplified by a conservative restoration procedure and the promotion of a viable "Scottish" style linked (in theory) to J. J. Stevenson and (in practice) to R. Rawand Anderson and articulated within a domestic and ecclesiastical format. Section III (1898 - 1905) encompasses Kinross's undertakings at the height of his career. placing particular importance on his country house experiments. The need for his partnership with H. U. Tarbolton is explained and the nature of their professional association defined. Section IV (1905 - 1914) examines and explains the steady decline of the Kinross practice, particularly in relation to his rapidly narrowing base of patronage. The architect's involvement in professional bodies (already touched upon in Sections II and III) is outlined, as is his major non-architectural investigation into the history and provenance of a bronze version of Michelangelo's Bruges Madonna. The architect's last years (1914 - 1931) are examined in Section V, including the uncertainties surrounding his financial and domestic circumstances (particularly acute during the war years), his contribution to the debate on the question of architectural education, his activities as a designer of war memorials, and the consequences of his nervous breakdown in September 1920. Finally, the modest outcome of his subsequent (and brief) Joint practice with J. Inch Morrison, is summarised, and attention drawn to his enterprises as Treasurer of the Royal Sottish Academy. The concluding section provides an overview of the thesis, and also defines the nature of Kinross's importance and the extent of his influence.

Drawing on extensive primary research into John Ford’s early films, from the silent era up until the late 1920s, the thesis charts the evolution of what has become known as the ‘Fordian sensibility’ through a close textual analysis of the director’s extant silent films, taking into account the implications of the auteur theory as applied to Ford’s work. A major part of the research process has been devoted to the appropriation of the director’s surviving early titles, in order that all existing film materials relevant to the thesis can be included. Prior to examining Ford’s silent film output, the thesis covers the evolution of the auteur theory, and the nature of the ‘Fordian sensibility’. This chapter also discusses key thematic and visual motifs that have been identified by various film scholars over the years, along with a number of other patterns discerned by the author of this thesis, through a close examination of all of Ford’s sound films, from The Black Watch (1929) through to 7 Women (1966). The main text of the thesis considers whether the identified key thematic and visual motifs can be detected in the director’s early work, and how these themes and motifs evolved chronologically into fully formed components of the ‘Fordian sensibility’. The four main chapters of the thesis cover the following periods: Pre-directing career 1914 – 1917; Apprenticeship at Universal 1917 – 1921; Early 1920s work at Fox 1921 – 1926; Late silent period at Fox 1927 – 1930. This examination of the director’s work analyses how John Ford, the man and the director, became ’John Ford’, the brand, and the label. Using the director’s early silent work as a case study, it questions how the idea of ‘authorship’ is formed and studies how Ford’s style and aesthetic evolved during the silent period due to the influence of other artists; biographical factors; technological innovations; and institutional, cultural and social issues.

Cette thèse essai d'analyser les propositions théoriques d'un groupe d'auteurs qui vont sous le nom de "marxisme analytique". J. Elster emploi la clé de lecture de l'oppposition entre explication fonctionnelle et individualisme méthodologique pour interpréter les textes de Marx. J. Roemer battît, à partir du concept d'individualisme méthodologique deux théories de l'exploitation. Autant Elster que Roemer estiment que la théorie des jeux est fondamentales pour analyser d'une manière non téléologique les concepts d'intérêt de classe, de consciences de classe action collective et d'exploitation. J. Cohen, enfin, tente une relecture rigoureuse du concept fondamental historique à partir des principes de la philosophie analytique
This work sets out to analyse the theoretical propositions of some authors known as "analytical marxism". J. Elster tries to read Marx's texts through the opposition between functional explanation and methodological individualism. J. Roemer defines two theories of exploitation both based on the concept of methodological individualism. Both Elster and Roemer think that game theory is very important to analyse the concepts of class interest, class consciousness exploitation and collective action not teleologically. Finally J. Cohen tries to recread rigourously the fundamental concepts of historical materialism basing on the principles of anglosaxon analytical philosophy

La presente tesis expone los resultados de investigación sobre el contenido y simbolismo místicos de la obra mironiana a partir de la detección y la interpretación de los símbolos y códigos de símbolos de rasgo metafísico, religioso, espiritual y mítico del periodo comprendido entre 1922 y 1942. Este periodo cronológico, que toma como punto de partida las interpretaciones del primer cuadro con contenido místico, La masía, involucra las fases de constitución, desarrollo y consolidación de los símbolos y los códigos de símbolos seleccionados, cerrando un ciclo evolutivo cuyo patrones establecidos se instauran definitivamente en la obra mironiana en las décadas posteriores con reiteraciones simbólicas que no manifiestan ulteriores evoluciones desde el punto de vista iconográfico y semiótico. El origen de la tesis se encuentra en la relevancia de algunos resultados de investigación previos, propuestos en la tesis de licenciatura Los dibujos surrealistas de Joan Miró de los años veinte, y en la tesis de Máster La interpretación del simbolismo místico de la obra surrealista de Joan Miró derivados de la oportunidad de efectuar una prolongada investigación en el archivo de la Fundación Joan Miró de Barcelona. Los primeros enfoques en la contextualización y la relación entre las obras mironianas y sus símbolos, han puesto en relieve la naturaleza mística y espiritual de los contenidos y elementos analizados brindando la posibilidad de un análisis interpretativo de la obra de Miró en varios niveles y abriendo camino hacia la indagación del tema místico, en el que hasta ahora se había parcialmente ahondado gracias a las intuiciones de los especialistas a los que se hace referencia en el trabajo. La primera parte de la tesis presenta la reinterpretación del lienzo Paisaje catalán, en el cual, tras la aplicación de un método nombrado de “dislocación de elementos”, se ha detectado un sistema de signos que revela el rasgo espiritual del cuadro y fundamenta nuevas relaciones con los lienzos a este directamente vinculados: La masía y Tierra labrada. El simbolismo místico mironiano expresa conceptos abstractos elaborados plásticamente por Miró, como la condición de libertad del ser, los vínculos entre la realidad tangible e intangible, los movimientos de transición entre estas dos realidades y elevación espiritual experimentados por los seres de la obra y perseguidos por el mismo artista. La interpretación de determinados símbolos, códigos y contenidos místicos y el estudio de sus evoluciones semánticas y formales, determinadas por los procesos de síntesis, asociación, fusión, integración y mutación aplicados por el pintor, están en todo momento respaldados por los hallazgos derivados de la investigación de archivo, los datos de las fuentes secundarias, las declaraciones del artista y sus fuentes de inspiración místico-religiosas, tanto intelectuales como iconográficas y literarias. Vista su relevancia y la cantidad de resultados de investigación inéditos, a las fuentes de inspiración del artista de ámbito literario se ha dedicado el último capítulo. En él se certifica como la vertiente mística indagada no solo concierne al simbolismo y a la obra de Miró sino a la intencionalidad expresiva y al proceso artístico del pintor catalán, comparados, hasta por sus propios contemporáneos, a los de un asceta y un místico.
The present dissertation expounds the research results on the mystic contents and symbolism in Miró's work, based on the detection and interpretation of the symbols and symbol codes of metaphysical, religious, spiritual and mythical traits in the period between 1922 and 1942. This chronological period, which takes as a starting-point the interpretations of the first painting with mystic content, La Masía, involves the phases of constitution, development and consolidation of the selected symbols and symbol codes, completing an evolutionary cycle, whose established models are definitely installed in Miró's work of the later decades, reiterating symbols that do not manifest any further evolution from the iconographic or semiotic point of view.This dissertation started from the relevance of certain results in previous investigation, that were exposed in the licenciate thesis entitled: I disegni surrealisti di Joan Miró degli anni venti (Miro’s Surrealistic Drawings of the 1920s), and in the Master thesis La interpretación del simbolismo místico de la obra surrealista de Joan Miró (The Interpretation of Mystic Symbolism in Joan Miro’s Surrealistic Work). Both are the result of the opportunity to carry out an exhaustive investigation in the archives of the Fundación Joan Miró in Barcelona. Initial focusing on the contextualization and the relation between Miró's work and its symbols have clearly highlighted the mystical and spiritual nature of the contents and elements analyzed, thus offering the possibility of an interpretation of Miró's work on various levels, and thereby leading to research into the topic of mysticism, which up to now has partly been dealt with thanks to the insights of specialists which are referred in this dissertation.The first part of this thesis exposes a reinterpretation of Paisaje catalán canvas, in which, after the application of a method named “dislocation of the elements”, a system of signs that has been detected and that reveals the spiritual features of the painting and substantiates new connections with paintings that are directly linked to it: La masía and Tierra labrada.Miró's mystical symbolism expresses abstract concepts that he elaborated plastically, such as the condition of freedom of any being, the links between the tangible and intangible reality, the movements of transition between these two realities and the spiritual elevation experienced by the beings portrayed in the work and pursued by the author himself. The interpretation of determined mystical symbols, codes and contents and the study of their semantic and formal evolution, determined by the processes of synthesis, association, fusion, integration and mutation applied by the painter, are at any moment backed by findings derived from the archival research, secondary sources data, the artist's statements and his sources of mystical-religious inspiration, intellectual and iconographic as well as literary.Considering the relevance and the amount of unpublished research results, the final chapter has been dedicated to the sources of the artist's inspiration in the context of literature. In this chapter is testified how the mystical aspect not only concerns symbolism and Miró's work, but also the Catalan painter's purposes of expression and his artistic process, which have been compared, even by his contemporaries, to those of an ascetic and mystical character.

A stylistic analysis of John Stevens' second brass quintet, Fabrics, which discusses the composer's use of orchestration, harmonic language, rhythmic activity, melodic and formal considerations, and performance practice issues. Collaboration between composer and performer is investigated, particularly through Stevens' status as member of the Wisconsin Brass Quintet, the ensemble for which Fabrics was composed. Biographical information about Stevens and the Wisconsin Brass Quintet is provided, with appendices providing information regarding Stevens' activities as composer and performer and the activities of the Wisconsin Brass Quintet. Stevens was extensively interviewed as source material for this dissertation.

Authoritarianism is on the rise across the world and intriguingly in the United States, known as the democratic laboratory. Political theorists and activists inquire into this contradictory political phenomenon in the United States, but their inquiries are fruitless. This dissertation finds that they uncritically conceive democracy as a mechanism of governance. As such, this narrow conception hampers their intelligence for political inquiries into the surge of authoritarianism in America. This dissertation discusses why and how the current political phenomenon occurs and suggests a moral method to pursue the quest for democratic values. This method allows inquirers to successfully address the crisis of democracy. This dissertation appeals to John Dewey’s vision of deliberative democracy, comparing and contrasting it with Alasdair MacIntyre’s communitarianism-oriented political theory. It finds that just as the Deweyan democratic vision does, MacIntyre’s political vision of democracy, too, emphasizes citizens’ participation in the political activities of decision-making and policy formulation. For MacIntyre, deliberative and participatory citizens are engaged in small group meetings to resolve their social and political issues. However, his communitarian method falls short of inspiring inquirers who wish to establish meaningful hypotheses to overcome the crisis of democracy: the idea of value plurality that is deemed essential for the political hypotheses is negated to a substantial degree by Thomist humanism held in his later works. MacIntyre’s skeptical attitude toward the methodology of democracy fundamentally based on liberalism and empirical naturalism inhibits political inquiries to discover and apply methods required to resolve the existing political situation in the U.S. By contrast, Dewey provides an appropriate array of philosophical ideas concerning deliberative democracy based on cooperative intelligence for political inquirers. With Dewey’s thought-provoking philosophical ideas, they are prepared to address their recently revived interest in authoritarianism in politics. They open a path towards a way of life that promotes authentic participation and deliberation in public affairs to tackle complex policy issues and bring out human flourishing. On this moral and social path, people demolish authoritarianism. Democratic hope is no longer an unattainable dream.

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This dissertation focuses on the idea of Scientific Revolution according to John Desmond Bernal (1901-1971), remarkable British scientist who started the studies about science based on Marxist concepts. The first chapter is about the existence of multiple possibilities for historical approaches about the Scientific Revolution, as well as the concepts Bernal came up with and how it is stablished within his own time, the 1950’s and 1960’s. The second chapter focuses on the production of Bernal’s theory, his view of science in a time when the discussions about which role should the State play in the society, and the social responsibilities of the institutions. It also discusses Bernal’s perspectives and role at that historical moment, from his defense of the Soviet Union as the ideal social model for the development of science and Marxism as a way to understand science itself. It is also about how his beliefs brought up a great debate with intellectuals and scientists of that time with many divergent political beliefs concerning the role science should play, and from which standpoint it should be put into practice. The third chapter is about the concept of Scientific Revolution found in Science in History and how it is connected to the ideas of production according to Marx’s theory. The first part of this chapter analyses the importance Bernal gives to Marx’s idea of production to develop his own studies about history of science. The second part addresses the way Bernal tried to bring a new meaning to the Scientific Revolution, as a special moment in which the natural sciences are no longer determined just by social production, but also seen as a fundamental productive power to make social changes possible
Esta dissertação aborda a ideia de Revolução Cientifica no pensamento de John Desmond Bernal (1901-1971), destacado cientista britânico que desenvolveu estudos em história da ciência baseado em concepções marxistas. O primeiro capítulo mostra a existência de múltiplas possibilidades de abordagens historiográficas sobre a Revolução Cientifica, bem como a concepção que Bernal elaborou e como ela está estabelecida dentro das visões de sua época, os anos 1950 e 1960. O segundo capítulo focaliza a produção teórica de Bernal, sua visão sobre ciência num período em que as discussões sobre o papel que o Estado deveria cumprir na sociedade, bem como as responsabilidades sociais das instituições estavam na ordem do dia. Trata, também, de suas perspectivas e seu papel naquele momento histórico, desde a defesa de Bernal da União Soviética enquanto modelo social ideal para o desenvolvimento da ciência e o marxismo enquanto o método para compreender o fazer científico. Ainda, como suas posturas geraram um forte debate com intelectuais e cientistas de sua época com diversas posições políticas diferentes em relação ao papel que a ciência deveria cumprir e a partir de que princípios deveria ser estudada e posta em prática. O terceiro capítulo trata em maior detalhe sobre a concepção de Revolução Científica expressa na obra Ciência na História e suas relações com a ideia de produção na teoria de Marx. A primeira parte deste capítulo analisa a importância dada por Bernal à ideia de produção em Marx para desenvolver a seus estudos sobre história da ciência. A segunda parte aborda a tentativa de Bernal de trazer um novo significado à Revolução Científica, como um momento especial no qual as ciências naturais passam a não ser apenas determinadas pelos modos de produção social, mas passam a ser uma força produtiva fundamental que possibilitaria mudanças no campo social

La présence dans les œuvres de John Banville d'un mode de lecture incorpore, déclenche et encourage une réception réflexive. L'analyse d'une telle lecture s'attache a indiquer comment la fiction et la valeur réflexive s'articulent entre elles et la façon dont, en retour, la valeur réflexive permet de situer la fiction dans l'héritage littéraire, celui de l’Irlande en particulier
The "instructions for reading" incorporated into the works of john Banville trigger off and countenance a reflexive mode of reading. A close analysis of this reflexive reception shows how the fiction ties up with its reflexive value. It also indicates the way in which, conversely, the reflexive value enables the reader to give the fiction its position within the literary heritage, that of Ireland in particular

John Dwyer (1856-1934) was a London docks foreman who emigrated to Australia in 1888. Leaving his London employment on his 'own accord', Dwyer embarked upon a quest for recognition - recognition of his rights as a worker and his identity as an individual. Dwyer and his family arrived in New South Wales to be greeted by the economic depression of the 1890s, and state and employer mobilisation against organised labour and working class radicals. Dwyer was soon reduced to scraping together a living as a boarding house manager in Sydney's poorest districts, as he helped organise the Active Service Brigade, which agitated on behalf of the unemployed. Dwyer's surviving papers - twenty-one boxes of correspondence, manuscripts, minutes, handbills, tracts and newspaper clippings, plus several other volumes - document the life of a working class political radical and autodidact who embraced temperance, and who was fascinated by new ideas in religion and science - Darwinism, Theosophy and occult spiritualism. This thesis places Dwyer in the context of the intense ideological ferment of new ideas in politics, theology and science that characterised the period 1890-1914. Ideas that aggressively challenged the old certainties, and which Dwyer embraced in his project to 'change the face of the world.' Changing the world contested with the need to endure its conditions. Theosophy and temperance appealed to Dwyer's notion of duty, and an instinct to rationalise the social and economic roles he seemed unable to escape. The fragmented nature of his papers, and stop-start bursts of public activism - in politics, theosophy and temperance - reflect the tension between an urge to fight, to understand, to create - struggling against the daily demands of making a living and feeding a family. The thesis explores Dwyer's relationship with fellow radicals and workers, the labour movement and members of Sydney's social and political elite - men and women who shared and contested with his vision. Dwyer's complex and at times apparently contradictory values can be found amongst radicals and labourites alike - for example, William Lane, W.G. Spence and Bernard O'Dowd. Nor was Dywer's interest in theosophy or the occult as unusual as it might seem to modern readers. Dwyer's papers provide important insights into dilemmas that have challenged historians: the problem of alienation, the role of the individual in the historical process, the nature of working class radicalism. Issues often analysed in theoretically abstract terms, or at a broad level of historical inquiry, across a national or class-wide scale. Broad analyses of social forces or ideologies tend to distort their historical impact and meaning, failing to capture the complex relationship of phenomena such as class or ideology with individual experience. Working from Dwyer's experience, this thesis argues that it is possible to build a complex picture of working class life in late nineteenth and early twentieth century Australia.

Thesis (Ph. D.)--University of Sydney, 2001.
Title from title screen (viewed Apr. 22, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of History, Faculty of Arts. Degree awarded 2001; thesis submitted 2000. Includes bibliographical references. Also available in print form.

John Dwyer (1856-1934) was a London docks foreman who emigrated to Australia in 1888. Leaving his London employment on his 'own accord', Dwyer embarked upon a quest for recognition - recognition of his rights as a worker and his identity as an individual. Dwyer and his family arrived in New South Wales to be greeted by the economic depression of the 1890s, and state and employer mobilisation against organised labour and working class radicals. Dwyer was soon reduced to scraping together a living as a boarding house manager in Sydney's poorest districts, as he helped organise the Active Service Brigade, which agitated on behalf of the unemployed. Dwyer's surviving papers - twenty-one boxes of correspondence, manuscripts, minutes, handbills, tracts and newspaper clippings, plus several other volumes - document the life of a working class political radical and autodidact who embraced temperance, and who was fascinated by new ideas in religion and science - Darwinism, Theosophy and occult spiritualism. This thesis places Dwyer in the context of the intense ideological ferment of new ideas in politics, theology and science that characterised the period 1890-1914. Ideas that aggressively challenged the old certainties, and which Dwyer embraced in his project to 'change the face of the world.' Changing the world contested with the need to endure its conditions. Theosophy and temperance appealed to Dwyer's notion of duty, and an instinct to rationalise the social and economic roles he seemed unable to escape. The fragmented nature of his papers, and stop-start bursts of public activism - in politics, theosophy and temperance - reflect the tension between an urge to fight, to understand, to create - struggling against the daily demands of making a living and feeding a family. The thesis explores Dwyer's relationship with fellow radicals and workers, the labour movement and members of Sydney's social and political elite - men and women who shared and contested with his vision. Dwyer's complex and at times apparently contradictory values can be found amongst radicals and labourites alike - for example, William Lane, W.G. Spence and Bernard O'Dowd. Nor was Dywer's interest in theosophy or the occult as unusual as it might seem to modern readers. Dwyer's papers provide important insights into dilemmas that have challenged historians: the problem of alienation, the role of the individual in the historical process, the nature of working class radicalism. Issues often analysed in theoretically abstract terms, or at a broad level of historical inquiry, across a national or class-wide scale. Broad analyses of social forces or ideologies tend to distort their historical impact and meaning, failing to capture the complex relationship of phenomena such as class or ideology with individual experience. Working from Dwyer's experience, this thesis argues that it is possible to build a complex picture of working class life in late nineteenth and early twentieth century Australia.

Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.

Thesis advisor: Alan Rogers
The following narrative traces the political lives of James Sullivan, Christopher Gore, Rufus King and John Quincy Adams, four Massachusetts men who were actively involved in the creation of state and national policy during the formative years of the new republic. Their years of public service bridged the critical period between the Revolution and the period of Democratic- Republican dominance. Because they knew each other so well, corresponded with one another on a regular basis, and held so many different state and national government posts, their lives provide an ideal vehicle to explore and better understand the changes that were taking place in post-Revolutionary Massachusetts. Their stories help trace the evolution of Massachusetts from a Federalist stronghold into a legitimate multi-party state firmly committed to the national union. The primary figure in this study is Sullivan, the oldest of the four men, who was the state's highest ranking Republican leader during much of the Federalist Era. A staunch opponent of the Federalist assumption that government should be in the hands of the natural gentry and ruling class, he spent his adult life promoting equal access to power. After serving as a member of the Massachusetts Provincial Congress from 1774 to 1776, Sullivan was an active participant in the creation of the new state government. He later served as attorney general for seventeen years, from 1790 to 1807, through several Federalist administrations and served as a member of state legislature for many years. He also was a member of the Supreme Judicial Court and, in the final years of his life, governor of the Commonwealth. Because he participated in or observed firsthand the most significant political events of his day, his words also help trace, as few others could, the gradual transformation of Massachusetts from a one party state to a multi-party state. His election as governor in 1807 was clear evidence of the growing strength of the Republican Party in Massachusetts and of the extent to which the emerging national consensus had grown. Christopher Gore, whose stature and perspective were more deeply rooted in the colonial past, stood in stark personal as well as political contrast to Sullivan. As a conservative Federalist who often served as spokesman for his party during this period, Gore was a major player in the Massachusetts legal community and government between the American Revolution and early years of the nineteenth century. He stubbornly adhered to the aristocratic belief that the government should only be managed by the propertied class and traditional ruling elite. Where Sullivan was a sentimental moralist who hated everything British, Gore was the stern and unyielding spokesman for the merchant class who seemingly admired everything British. Where Sullivan's father had emigrated from Ireland, the victim of oppressive Penal Laws, Gore's father was a Tory, who fled Boston with the British in March 1776. Though Gore himself supported the Revolution, he was never able to shed, or indeed temper, his attachment to Great Britain in later years. As perhaps the most passionate defender of everything British in the years after the Revolution, Gore's habits and customs reflected the old deferential order and embodied everything Sullivan opposed. Despite their personal and political differences, Sullivan and Gore shared a close personal friend. Rufus King was a longtime confidant of both men, corresponding with each of them over many years. Though King's habits and background were more similar to those of Gore than Sullivan, he was less rooted in the colonial past than his conservative friend. Though an ardent Federalist, he was respected by men on both sides of the political aisle and served not only as a bridge between the two parties, but as a bridge between the two branches of his own party. It is because he enjoyed such a close personal relationship with Sullivan and Gore, and corresponded with both men on a regular basis, that King provides a unique vehicle to explore the differences between the two parties during this critical period in Massachusetts political history. The fourth subject of this study is John Quincy Adams. The fiercely independent one-time Federalist, who, though born many years after Gore, King, and Sullivan, became active in politics at a very young age and crossed political paths with all three men on a regular basis. Although born a member of the second generation of political leaders, Quincy Adams identified with the first generation of Revolutionary leaders. He matured early and took part in every critical debate that took place after the ratification of the Constitution. From the beginning, Quincy Adams charted an independent course and played a critical role in the growth of the Republican Party. John Quincy Adams is particularly relevant to this study because his political transformation reflected the change in attitude that was taking place in Massachusetts and the country in the early years of the nineteenth century. He represented a commitment to the interests of union over sectional concerns. A strong and independent unionist throughout his life, Quincy Adams eventually came to represent a new global nationalism. In many respects, Quincy Adams was the `transition man' in post- Revolutionary America. The son of a colonial who was very much a product of the deferential society of the eighteenth century, young Adams came to embrace the principle of majority rule. His elevation to the highest political posts in the country marked the final stage in America's transition from colony to union to nation. James Sullivan, Christopher Gore and Rufus King each played significant roles in the establishment of constitutional government in Massachusetts and in the United States. Though he was considered a member of the so-called Hancock faction, a group viewed as primarily anti-Constitutionalist, Sullivan was an independent thinker. He would call for greater legal safeguards for the benefit of the more vulnerable and for the end of the practice of multiple office holding which had long been a tool of the ruling elite to maintain power and influence. A vocal proponent of the national government before King, Gore and Hancock, Sullivan had long recognized the importance of strengthening the central government. His embrace of participatory government and of law aimed at protecting all classes of people naturally appealed to a wider audience would continue to contribute to the democratization of Massachusetts politics. With a new national government in place and a new political era begun, Sullivan, King, Gore, and soon Quincy Adams, were uniquely positioned to play significant, if competing, roles in the coming struggle. This narrative differs from other secondary works on post-colonial Massachusetts in several respects. Firstly, the significant role played by Sullivan in the growth of Republicanism in Massachusetts has been largely overlooked by historians. His persistent calls for equal access to power stood in stark contrast to the views of the Federalists who dominated Massachusetts government in the years after the American Revolution. His active participation in regional politics both during and after the Revolution helped the people of Massachusetts in their transition from colony to state. Furthermore, he was one of the first Massachusetts political leaders to insist on placing the new central government on a sound financial footing. Indeed, his call for a strengthened and sufficiently financed national government predated the efforts of Massachusetts Federalists, including King and Gore. He was, I contend, one of the first political leaders of either party to be considered a true `nationalist.' While Quincy Adams' support for Jefferson's Embargo and his conversion to Republicanism have been well documented, this work explores the link between Sullivan and Quincy Adams, and details the critically important role they played in the national debate over how to respond to British aggression towards American shipping and American sailors. Though Gordon Wood and other historians point to the Embargo as the single biggest failure of Jefferson and his Republican supporters, I contend the opposite is true. The Embargo highlighted the central difference between the two parties, and though it provided Federalists with a temporary victory, it also sowed the seeds of their defeat. The Embargo enabled men like Sullivan and Quincy Adams to clarify one of the central issues of the post-Revolutionary period, ... national honor. Though Paul Goodman correctly points out that Republicanism tapped into the growing sense of nationalism in the country, I carry the discussion further and detail the growing disconnect between the Federalist Party and the American people. Quincy Adams, in particular, articulated the need to announce to the world that the United States would not submit to foreign aggression. Furthermore, his call for a stronger and expanded union, even if it meant a loss of power and prestige for Massachusetts, would soon strike a chord with a growing majority of Americans. Quincy Adams personified the shift in the national mood and represented a new national perspective. When John Quincy Adams left the Federalist Party, many Americans left with him
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: History

L'objectif de cette thèse est de défendre l’idée qu'une conception plausible et désirable du principe de neutralité de l'État, la neutralité des buts, est compatible avec une conception plausible et désirable du perfectionnisme politique, la doctrine pluraliste libérale. Afin de démontrer cette compatibilité, j'ai divisé ma recherche en quatre parties. Dans la partie 1, j'examine les divers sens du principe de neutralité. Dans la partie 2, j'examine deux des plus importants arguments défendant la neutralité : l'argument des « difficultés du jugement» de John Rawls, ainsi que l'argument de « l'autonomie» de Ronald Dworkin. Dans la partie 3, j'examine la variante de perfectionnisme politique que je considère la plus plausible : la variante pluraliste libérale. Dans la partie 4, je mets à l'épreuve ma défense de l’idée d'une compatibilité entre un libéralisme perfectionniste et paternaliste avec le principe de neutralité, en examinant les diverses conceptions de la neutralité dans trois variantes théoriques républicaines et je les confronte à un cas pratique, celui de la loi de mars 2004 interdisant le port des signes religieux ostentatoires dans les écoles publiques en France
The aim of this thesis is to defend the idea that a plausible and desirable conception of state neutrality (neutrality of aims) is compatible with a plausible and desirable conception of political perfectionism (liberal pluralism). To demonstrate this compatibility, I have divided my research in 4 parts. In part 1, I examine the different meanings of the principle of neutrality. In part 2, I examine two of the most important arguments defending neutrality: John. Rawls's "burdens of judgment" argument, and Ronald Dworkin's "autonomy" argument. In part 3, I examine the variant of political perfectionism which 1 consider the most plausible: liberal pluralism. In part 4, 1 use a practical case, the March 2004 law banning religious signs in public schools in France, to examine the different conceptions of neutrality implied by three variants of republicanism. I do this in order to reinforce my defence of a compatibility between a liberal paternalistic perfectionism and the principle of neutrality

Thesis (DTh)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: This thesis is a critical study of the work of John Rawls, political philosopher, and Reinhold Niebuhr, theologian. The work of these two scholars is brought into dialogue with theological thought to work towards a Christian notion of justice which seeks more than justice as fairness but realises the impossibility of perfect love in this world. Rawls’s two principles of justice form the basis of the discussion, with liberty placed prior to equality, and permissible inequalities only allowed when the weakest benefit. He excludes religion and moral reasoning from justice, essentially any thick theory of the good, in favour of the right; any conception of the good must be in agreement with the right and a thin theory of the good is necessary to guide people in the right direction. In his later works he accepts that people will mostly be guided by some moral or religious thought. Niebuhr believed that a prophetic religion combines an utmost seriousness about history with a transcendent norm. Hope, faith and love form the foundation of a call to a continual struggle for justice and equality. The boundaries in which justice is sought are being continually extended as global cooperation and dependence increase. Perfect justice would be a state of solidarity with no conflict of interests. Because people are a combination of vitality and reason, the social coherence of life can never be based on pure rationality. Our truth is never the truth; we are always subjective and prejudiced. There can be no universal rational standards of justice or neutrality in social struggle. Love is the primary law of nature and a fundamental requirement of social existence. We are called to involvement in society by the very nature of our justification by faith. Equality as the pinnacle of the ideal of justice points towards love as the final norm of justice; for equal justice is the realization of community under the conditions of sin. Justice as imperfect love aims for an equality which is increasingly inclusive and continuously creates space for people to live in harmony. In the final chapter, Rawls and Niebuhr are brought into critical discussion with other theologians. The Christian preference for the poor, an inherent part of theological justice begins the discussion. The importance of moral reasoning for justice comes into conflict with Rawls’s idea that there should be no thick theory of the good influencing justice. Human dignity is an important facet of justice. The inalienable dignity owed to every human being, created in the image of God, is an essential part of theology and can enrich secular theories of justice. Justice necessitates community. People learn how to behave in a way which is just, moral and ethical from their associations in communities. The church community can provide an important place where dialogue and learning can take place. The boundaries of justice are ever-increasing. Globalisation presents challenges to where and how justice is implemented and we become increasingly aware of how our actions affect other people. The responsibility of the struggle for justice is everincreasing. The eschatological hope and the specific way of life which can be offered by the church complete the Christian notion of justice.
AFRIKAANSE OPSOMMING: Hierdie tesis is ’n kritiese studie van die werk van die politieke filosoof John Rawls en die teoloog Reinhold Niebuhr. Hierdie denkers se werk word met teologiese nadenke in gesprek gebring om sodoende ’n Christelike idee van geregtigheid te vorm wat meer as billikheid wil wees, en wat terselfdertyd die onmoontlikheid van perfekte liefde in dié wêreld erken. Rawls se twee beginsels van geregtigheid vorm die basis van die argument, deurdat vryheid voor gelykheid geplaas word en met die enigste toelaatbare ongelykhede dié wat tot die swakstes se voordeel is. Hy maak nie gebruik van godsdienstige of morele arugmente om geregtigheid te begrond of vul nie – enige begrip van die goeie moet in ooreenstemming met die regte wees en slegs ’n dun teorie van die goeie is nodig om mense in die regte rigting te lei. Hy aanvaar in sy latere werk dat die meeste mense tog deur morele denke of godsdiens gelei sal word. Niebuhr glo dat ’n profetiese godsdiens ’n diepe erns met die geskiedenis met ’n transendente norm kombineer. Hoop, geloof en liefde vorm die grondslag van ’n oproep tot ’n voortdurende stryd om geregtigheid en gelykheid. Die beperkinge waarbinne geregtigheid gesoek word, word voortdurend uitgebrei soos globale samewerking en afhanklikheid verhoog. Volmaakte geregtigheid sou ’n toestand van solidariteit met geen konflik van belange wees. Omdat mense 'n kombinasie van vitaliteit en rede is, kan die sosiale kohesie van die lewe nooit op suiwer rasionaliteit gebaseer word nie. Óns waarheid is nooit dié waarheid nie en ons is altyd subjektief en bevooroordeeld. Daar kan geen universele rasionele standaarde van geregtigheid of neutraliteit in die sosiale stryd wees nie. Liefde is die primêre wet van die natuur en ’n fundamentele vereiste vir sosiale bestaan. Ons word geroep tot betrokkenheid in die samelewing op grond van die regverdigmaking deur geloof. Gelykheid as die toppunt van geregtigheid verwys na liefde as die finale norm van geregtigheid, want gelyke geregtigheid is die verwesenliking van die gemeenskap onder die voorwaardes van die sonde. Geregtigheid as onvolmaakte liefde het gelykheid wat toenemend inklusief is en voortdurend ruimte skep waar mense in harmonie kan lewe ten doel. In die laaste hoofstuk van hierdie studie word Rawls en Niebuhr in kritiese gesprek met ander teoloë gebring. Die bespreking begin met die Christelike voorrang vir die armes, ’n basiese element van teologiese geregtigheid. Die belang van morele redenering vir geregtigheid kom in konflik met Rawls se idee dat enige dik teorie van die goeie geregtigheid nie behoort te beïnvloed nie. Menswaardigheid is 'n belangrike faset van geregtigheid. Elke mens – as beeld van God – se onvervreembare waardigheid, vorm ’n noodsaaklike deel van die teologie en kan sekulêre teorieë van geregtigheid verryk. Geregtigheid vereis gemeenskap. Mense kan in gemeenskappe leer hoe om op te tree op 'n manier wat regverdig, moreel en eties is. Die kerk as gemeenskap kan 'n belangrike plek wees waar dialoog en opvoeding kan plaasvind. Die omvang van geregtigheid neem steeds toe. Globalisering bied uitdagings oor waar en hoe geregtigheid geïmplementeer behoort te word en ons raak meer bewus van hoe ons aksies ander mense beïnvloed. Die verantwoordelikheid vir die stryd om geregtigheid neem ook steeds toe. Die eskatologiese hoop en die manier van lewe wat die kerk kan aanbied voltooi die Christelike idee van geregtigheid.

Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap.
This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.

This thesis emphasises, as paramount, Buchan's little explored life-long and deeply held Christian faith and practice. Much on-going discussion of his life and character ignores or misrepresents this essential motivation, favouring interpretations that stress his desire for fame or fortune. This is not, however, a full-scale presentation of Buchan's doctrinal beliefs, perhaps impossible to achieve with so private a man. Many influences around Buchan, and choices he made throughout life, indicate that he remained faithful to his early experience of commitment to Christ. Neglected parts of books, articles, and sermons, together with archived letters, documents and papers, in Oxford, Glasgow, London, Elsfield, Edinburgh, and Queen's Library, Kingston, Ontario, are used to inform Buchan's Christianity. An examination of writings by Buchan's father and sister revises the extent of a suggested alienation between father and son over expressions of the faith. Subsequent chapters consider how older friends, and youthful contemporaries encouraged Christian faith throughout his life. Most appear as rather shadowy figures in what has been written. Greater attention to little published biographical material clarifies their importance. Using local reminiscences of the inter-war years when the Buchans were very prominent in Elsfield, for the first time the absorbing significance of their involvement in village life receives the attention it deserves. Those arguing that Buchan's more racist or anti-clerical fictional characters voice his own beliefs are challenged by closer examination of some of his historical and fictional writings, and other activities. It has been claimed that one of Buchan's greatest novels, Sick Heart River, reveals his own spiritual pilgrimage, lacking a fully satisfying conversion experience until the close of life. This book is given a new interpretation. All the matters addressed more thoroughly here trenchantly focus Buchan's life-long faith, wonderfully expressed in Greek on his grave, ‘Christ shall overcome'.

This thesis examines the idea of desert as expounded in the work of John Rawls, and some of the implications of this conception of desert for moral and political philosophy. In this work, I analyse a series of arguments against retaining this particular conception of desert.I argue that none of these arguments sufficiently diminishes the force of Rawls’ argument for desert, while many of them do state, and I argue that they are correct in doing so, that this conception of desert is dangerous for political or moral philosophy to maintain. I argue that the moral, political and legal implications of accepting this account of desert severely undermine various institutions of differential treatment, and indeed, moral assessment. I regard it as obvious that societies must, on occasion, treat members of those societies differently, for moral, as well as practical reasons. The Rawlsian account of desert, and the account of responsibility on which it rests, however, will endanger the legitimacy of such procedures. I argue further that the Rawlsian account of desert requires that differences in wealth, and inheritance of wealth, influence and privilege be diminished, if not abolished, if we are to talk of any form of desert meaningfully. I argue that this is a strength of Rawls’ account, and further that any account of desert that is true to the philosophical tradition of the concept will require similar steps to be taken. The primary aim of this thesis is to show that Rawls’ arguments against desert are serious ones, both in terms of strength and scope, and that they must be addressed. I intend to show that these arguments are founded on strong moral intuitions, and that it is plausible that these intuitions may need revision. Finally,I intend to show that desert is an important moral and political concept, and that the disciplines of moral and political philosophy will be impoverished by the absence this concept. This absence, I will argue, is a natural consequence of the acceptance of the Rawlsian arguments.

In martial arts there are several ways to perform the turning kick . Following the martial arts or different learning models many types of kicks take shape. Mawashi geri is the karate turning kick. At the moment there are two models of mawashi geri, one comes from the traditional karate (OLD), and the other newer (NEW), who agrees to the change of the rules of W.K.F. (World Karate Federation) happened in 2000 (Macan J. et all 2006) . In this study we are focus on the differences about two models the mawashi geri jodan of karate. The purpose of this study is to analyse cinematic and kinetic parameters of mawashi geri jodan. Timing of the striking and supporting leg actions were also evaluated A Vicon system 460 IR with 6 cameras at sample frequency of 200 Hz was used. 37 reflective markers have been set on the skin of the subjects following the “PlugInGait-total body model”. The participants performed five repetitions of mawashi geri jodan at maximum rapidity with their dominant leg against a ball suspended in front of them placed at ear height. Fourteen skilled subjects (mean level black belt 1,7 dan; age 20,9±4,8 yrs; height 171,4±7,3 cm; weight 60,9±10,2 Kg) practicing karate have been split in two group through the hierarchical cluster analysis following their technical characteristics. By means of the Mann Whitney-U test (Spss-package) the differences between the two groups were verified in preparatory and execution phase. Kicking knee at start, kicking hip and knee at take-off were different between the two groups (p < 0,05). Striking hip flexion during the spin of the supporting foot was different between the two groups (p < 0,05). Peak angular velocity of hip flexion were different between the two groups (p < 0,05). Groups showed differences also in timing of the supporting spin movement. While Old group spin the supporting foot at 30% of the trial, instead New start spinning at 44% of the trial. Old group showed a greater supporting foot spin than New (Old 110° Vs New 82°). Abduction values didn’t show any differences between the two groups. At the hit has been evaluated a 120° of double hips abduction, for the entire sample. Striking knee extension happened for everybody after the kicking hip flexion and confirm the proximal-distal action of the striking leg (Sorensen H. 1996). In contrast with Pearson J.N. 1997 and Landeo R 2007, peak velocity of the striking foot is not useful to describe kick performance because affected by the stature. Two groups are different either in preparatory phase or in execution phase. The body is set in difference manner already before the take-off of the kicking foot. The groups differ for the timing of the supporting foot action Trainer should pay attention to starting posture and on abduction capacities of the athletes.

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The goal of this work is to analyze and understand the constitutive process of the stories published in the comic book Hellblazer during the years of 1988 and 1991, as well as the creation of the stories protagonist, wizard John Constantine, and part of the themes approached by these comics during this period. The creation of the character John Constantine and the stories of its first phase of publications are the result of the combined work of English writers and the USA publishing company DC Comics. This production is perceived here as a criticism to the neoliberal conjuncture that England was going through during the years of Margareth Thatcher s government. One of the aspects analyzed in this work is how the experience of these English writers was articulated in their unique creations, thus expanding the possibilities of the language used in comic books and of themes approached in this type of publication. Another aspect that is analyzed in this work is how these themes are inserted and their viability in the USA comic book industry. Based on the youth experiences of the generation born post the Second World War, which would be most of the British cartoonists that entered in the USA market in the 1980 s, the English youth s disbelief in the 1960 s and early 1970 s utopias is analyzed. The purpose of this analysis is to understand the pessimism and the disbelief that appear in the stories scripted by Jamie Delano. Following this, and based on Delano s demonstrated interest in William S. Burroughs, evidences of the roles that marginalized and devious individuals take in stories published at Hellblazer are analyzed. Lastly, this research seeks to understand how the city points the issues of the conjuncture in which the comic book was published, since the city in Hellblazer is represented as a territory that is constituted by antagonist interests, in which the tensions become present
O presente trabalho tem como objetivo analisar e compreender o processo constitutivo das histórias em quadrinhos publicadas na revista Hellblazer durante os anos de 1988 e 1991, bem como a criação do protagonista dessas histórias, o mago John Constantine, e parte do temário que constitui essa fase da publicação. Tendo em vista que a criação do personagem John Constantine, assim como as histórias da sua primeira fase de publicação, resulta do trabalho articulado de escritores ingleses e da editora estadunidense DC Comics, e que essa produção é percebida aqui como uma crítica à conjuntura neoliberal pela qual passava a Inglaterra nos anos do governo de Margareth Thatcher, um dos pontos analisados é a maneira pela qual as experiências desses sujeitos resultaram em práticas capazes de articulá-los em torno de criações singulares, em que foram ampliadas as possibilidades da linguagem dos quadrinhos e novas temáticas inseridas, e, também, de que maneira se dá o ingresso e a viabilidade destes na indústria estadunidense de histórias em quadrinhos. Por meio das experiências juvenis da geração nascida no pós-Segunda Guerra Mundial, da qual faz parte a maioria dos quadrinistas britânicos que ingressou no mercado estadunidense da década de 1980, é analisada a descrença da juventude inglesa nas utopias dos anos 1960 e na passagem desta década para a seguinte, com o intuito de compreender o pessimismo que pontua as histórias roteirizadas por Jamie Delano. Em seguida, observando o interesse expresso de Delano por William S. Burroughs, são analisadas as evidências do papel que os indivíduos marginais ou desviantes assumem nas histórias publicadas em Hellblazer. Por fim, a pesquisa busca compreender a maneira como a cidade evidencia as questões da conjuntura na qual a revista foi publicada, uma vez que a cidade em Hellblazer é representada como território constituído a partir de interesses antagônicos, onde as tensões se fazem presentes

Psychobiography can be viewed as the re-writing of an individual’s life story previously undetected. In general it consists of a combination of two central elements: biography and psychological theory that aim to explain the particular individual’s psychological development. This particular study serves to explore the extraordinary life of renowned singer, songwriter, artist and activist, John Winston Lennon (1940-1980). The basis for this investigation will take the form of notable biographical accounts of the subject’s life, together with Austrian psychiatrist Alfred Adler’s (1938) theory of Individual Psychology, which recognizes the importance of human society for the development of individual character and the orientation of every single action and emotion in the life of a human being. Adler’s theory further explores that the main motives of human thought and behaviour are an individual’s striving for superiority and power, partly in compensation for his feeling of inferiority. The psychobiographical data collection and analysis for this research thesis will be guided by Yin’s (1994) theory of ‘analytic generalisation’, which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organizing and integrating that data, and Alexander’s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience was used and applied. John Winston Lennon expressed his personal experiences and ideals through his songs and became the spokesman for his generation on modern day issues such as feminism and world peace. It is however, unfortunate that Lennon throughout his life remained a boy who felt rejected and unloved by his parents and strove to be superior in all aspects of his rich life in an attempt to acquire the love and acceptance that was not bestowed on him as a child.

This thesis examines the practice of forensic medicine in Scotland in the period 1914 to 1939. This was a time of significant dynamism for the discipline, in which it enjoyed a high public profile and played an important role in the investigation of crime. The project focuses in particular on medico-legal practice at an elite level, based in specialist departments in the universities of Edinburgh and Glasgow. As well as producing a significant amount of research and textbook material, and thus constituting authorities within the discipline, representatives of these institutions gave expert evidence in a number of high-profile trials. Thus, an examination of their work can show how medico-legal knowledge was constructed, presented and challenged. To this end, four main areas of forensic medical practice are analysed, including the post-mortem examination, the laboratory analysis of trace evidence, the investigation of shootings and the use of photography. The development of the techniques contained within these categories is charted, as is the range of situations to which they were applied and the various ways in which their use was challenged in court by hostile legal counsel. Sources including textbooks and journal articles, medical case reports, photograph albums and trial transcripts are used. A fifth section explores an area of the public face of the discipline, specifically the popular output of two of its most famous practitioners, Sydney Smith and John Glaister Jr. Both produced memoirs and newspaper serials after retirement. These are used to explore the ways they reflected on their careers and spun their legacies, portraying themselves as impartial servants of science and justice. The thesis argues that the place of forensic medicine in wider institutional, investigative and geographical networks was central to its existence. The discipline collaborated extensively, both with representatives of other areas of the medical profession and with external authorities, professions and trades. Means of communication, such as written reports and samples taken at autopsy, allowed experts in the universities to lend their expertise to the non-specialists in peripheries by providing expert opinions based on materials sent to them. The scrutiny of post-mortem reports produced by peripheral generalists allowed medico-legists’ expertise to be spread over a wide geographical area. The thesis also reflects on the ways in which medico-legists guarded against error. Techniques derived from other areas of medicine and science were not adopted for use in court until their reliability could be demonstrated satisfactorily, and controls and standards were built in to procedures.

This dissertation relates to the dismissal of Admiral Jellicoe, First Sea Lord from November 1916 to December 1917, by Sir Eric Geddes, First Lord of the Admiralty, at the behest of the Prime Minister, David Lloyd George. The dismissal was peremptory and effected without rational explanation, despite Jellicoe having largely fulfilled his primary mission of combating the German U-boat threat to British merchant shipping. The outcome of the war may well have been affected if the level of shipping losses sustained through U-boat attack in April 1917 had continued unabated. The central argument of the dissertation is that the dismissal was unjustified. As an adjunct, it argues that the received view of certain historians that Jellicoe was not successful as First Sea Lord is unwarranted and originates from severe post war critism of Jellicoe by those with a vested interest in justifying the dismissal, notably Lloyd George. Supporting these arguments, the following assertions are made. Firstly, given the legacy Jellicoe inherited when joining the Admiralty, through the strategies adopted, organisational changes made and initiatives undertaken in anti-submarine weapons development, the progress made in countering the U-boat threat was notable. Secondly, the universal criticism directed at the Admiralty over the perceived delay in introducing a general convoy system for merchant shipping is not sustainable having regard to primary source documentation. Thirdly, incidents that occurred during the latter part of 1917, and suggested as being factors which contributed to the dismissal, can be discounted. Fourthly, Lloyd George conspired to involve General Haig, Commander of the British Forces France, and the press baron, Lord Northcliffe, in his efforts to mitigate any potential controversy that might result from Jellicoe's removal from office. Finally, the arguments made by a number of commentators that the Admiralty performed better under Jellicoe's successor, Admiral Wemyss, is misconceived.

This dissertation examines the political career of Scottish-born John Buchan (1875-1940) who, through the avenue of the British Empire, formed political alliances that enabled him to enter into the power circles of the British government. Buchan's involvement in governmental service is illustrative of the political and financial advantages Scots sought in Imperial service. Sources include Buchan's published works, collections of correspondence, personal papers, and diaries in the holdings of the National Library of Scotland, Edinburgh. Letters and other documents pertaining to Buchan's life and career are also available in the Beaverbrook papers, Lloyd George papers, and Strachey papers at the House of Lords Record Office, London, and in the Liddle Hart Collection at King's College, London. Documents concerning Buchan's association with the War Cabinet, the Foreign Office, and the Department of Information are among those preserved at the Public Record Office, London. References to Buchan's association with the British Expeditionary Force in France are included in the holdings of the Intelligence Corps Museum, Ashford, Kent. The study is arranged chronologically, and discusses Buchan's Scottish heritage, his education, his assignment on Lord Alfred Milner's staff in South Africa, and his appointment as Director of the Department of Information during World War I. The study devotes particular attention to Buchan's leadership of the Department of Information, a propaganda arm of the British government during the First World War. Buchan consolidated independent branches of propaganda production and distribution, and coordinated the integration of information provided by the British Foreign Office, War Office, and the Department of Information's Intelligence Bureau to forward Britain's propaganda effort. The study also considers his literary contributions, his Parliamentary service, and, when raised to the peerage as Lord Tweedsmuir of Elsfield, his royal commission as Governor-General of Canada. This dissertation concludes that, while pursuing an imperial career, John Buchan established a relationship with a powerful clique that enabled him to become part of the machinery of state.