Rozprawy doktorskie na temat „Female muse”

This thesis addresses the concept of the contemporary muse in the work of six late-nineteenth and early-twentieth century women poets. In my introduction, I detail the history of the muse in literary tradition. I examine the problems that the gendered dynamic of poet/muse presented, by restricting women to a passive, inspiring role. I argue that, due to these problematic aspects, contemporary feminist criticism of the woman poet’s muse has often elided the homoerotic desire and power-play that structures these relationships. To rectify this, I focus on contemporary, living muse figures. I emphasise why these kinds of figures (as opposed to dead, historical or mythological muses) were particularly inspiring to women poets in the late-nineteenth/early-twentieth centuries. I also address the specific ethical dilemmas of claiming a living muse. My four main chapters detail and theorise the dynamics between poets and their contemporary muses: Michael Field and Bernard Berenson; Olive Custance and Lord Alfred Douglas; Amy Lowell and Eleonora Duse/Ada Russell; and H.D. and Bryher. My conclusion draws these individual studies together to emphasise their illuminating similarities, including the increased fluidity between the roles of poet/muse, destabilisation of gender categories, and the presence of a third term that mediates the muse/poet relationship.

'The virgin, the temptress and the godess' is a visual exploration of love, longing and beauty from the carnal though to the sublime. The narrative of the research has several subtexts: one that explores female archetypes, the muse as figurative source of inspiration and also beauty as a transcendental catalyst. I have sought to represent a comprehensive vision of the female muse that embraces both the spiritual and the sensual and explores the duality of corporeal and metaphysical yearning. This is done through photographic imagery; the journey that it evokes is an interior landscape that takes place in the purgatory that is longing and ascends to a sublime state of stillness and peace through the experience of the divine.

I quantified nocturnal activity of female desert mule deer (Odocoileus hemionus crooki) in the Belmont and Bighorn Mountains, Arizona, 1990. I determined seasonal differences in percent of time active and distances moved at night from locations of radio-collared deer. I compared nocturnal home ranges and habitat use to those obtained from daytime locations. Activity differed among seasons (P = 0.046). Nocturnal activity was greatest in spring and summer, and decreased in winter. Movement distances also varied with seasons (P = 0.045). Most of the area of nocturnal home ranges (88%) fell within daytime home ranges. Use of habitat in relation to availability was consistent between day and night for 6 of 8 vegetation associations. Use of disturbed sites increased at night (P < 0.01).

Thesis (M.S. in natural resource sciences)--Washington State University, May 2009.
Title from PDF title page (viewed on May 21, 2009). "Department of Natural Resource Sciences." Includes bibliographical references (p. 19-24).

The dynamics of pathogen and host relationships relative to disease transmission in wildlife populations are important ecological processes to understand, particularly since spatial dynamics of disease can be driven by movement, behavior, and dispersal of animals. Chronic Wasting Disease (CWD) is an example of this important interface, where little is known regarding origin of the disease or routes of transmission. Surveillance data for CWD in free-ranging mule deer indicates that breeding-age male deer have 2-4 times higher prevalence rates than females or younger age males. In an effort to understand differences that might increase risk for exposure to CWD infective agents, I used GPS data to examine breeding behavior and home range sizes of mule 11 deer. GPS radiocollars were placed on adult (> 2 ½ years) males, females, and young ( < 2 ½ years) males. Data collected during the breeding season was used to infer visitation rates of males to females. Cluster analysis was used to separate data into periods of movement (spatio-temporal clusters) and non-movement. Females formed more spatio-temporal clusters and movement paths than males. However, males spent more time moving, had more long-term periods of movement, moved an estimated 1 km/day more than females, and had more tortuous movement paths. Male home ranges for winter, summer, and breeding seasons were also larger than those of females. Overall, data indicates that males may have an increased risk of exposure to CWD relative to females, because of larger movements and greater space use. These male behavioral differences may result in increased encounter rates with CWD infectious material through greater exposure in the environment to sources such as carcasses from infected animals, their excreta, or contaminated soils. Furthermore, during the breeding season increased male sociality, as suggested by increased movement rates and movement path tortuousity, combined with larger space use may further enhance direct contact with infected individuals and increase exposure to excreta sources such as feces and alimentary secretions due to licking and tending behaviors.

The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further.

Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object.

The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels.

The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.

Wachsfigurenkabinette waren nicht immer die billigen Sensationsmaschinen, als die sie heute verstanden werden. Vor der Erfindung und Verbreitung von Photographie und illustrierten Zeitschriften waren sie Bildmedien, die der Vermittlung von visuellen Informationen dienten. Kein anderes Medium konnte die Protagonisten der Weltgeschichte so unmittelbar darstellen wie die Sammlungen lebensgroßer Wachsfiguren. Das Material Wachs trug wesentlich zu ihrem Erfolg bei, denn es ermöglichte die täuschend echten und bis dahin realistischsten Darstellungen von bekannten Persönlichkeiten. Die Operationsweise dieses Mediums wird am Beispiel von Madame Tussauds Wachsfigurenkabinett genauer untersucht. Dazu wurde, soweit möglich, die Reiseroute, der Aufbau und die “Besetzung” der Ausstellung rekonstruiert, sowie die soziale Herkunft der Besucher in der ersten Hälfte des 19. Jh.s ermittelt. Es wird deutlich, daß Marie Tussaud eine talentierte Portraitkünstlerin und ambitionierte Schaustellerin war, deren sorgfältig gestaltete Ausstellung vor allem Besucher der aufstrebenden Mittelschicht mit Interesse an Menschenkenntnis anzog. Das Wachsfigurenkabinett fiel damit in die Kategorie der “nützliche Unterhaltung”, die der Wissens- und Charakterbildung diente. Madame Tussaud ist vielleicht die bekannteste Betreiberin eines Wachsfigurenkabinetts – keinesfalls aber die erste. Die Geschichte der kommerziellen Ausstellung lebensgroßer Wachsfiguren reicht ins beginnende 17. Jh. zurück, wobei sich das Konzept der Kabinette im Laufe der Jahrhunderte stark gewandelt hat. In dieser Arbeit werden drei Ausstellungsformen unterschieden: a) das barocke Figurengruppen-Kabinett, das programmatische oder allegorische Geschichten erzählt, b) die aufklärerische Portraitgalerie (wie z.B. Madame Tussauds), in der Persönlichkeiten als charakteristische Individuen vorgestellt werden, c) das moderne Tableau-Kabinett, wo alltägliche oder außergewöhnliche Ereignisse auf bis dahin unübertroffen realistische Weise wiedergegeben werden. Als Nachrichtenkanal und als Medium für realistische Wirklichkeitswiedergabe sind Wachsfigurenkabinette seit den 1920er Jahren überholt. Als Spiel mit der menschlichen Sinneswahrnehmung bleiben sie jedoch vorerst aktuell.
Waxworks were not always the cheap sensation spinners as which we perceive them today. Before the invention and wide-spread use of photography and illustrated magazines they were an important medium for distributing visual information. No other form of communication could offer such immediate representations the protagonists of world history. Perhaps the greatest part in their success took the material wax which allowed the creation of deceptively lifelike and hitherto most realistic depictions of celebrated individuals. In this thesis, Madame Tussaud’s serves as a prime example for examining the mode of operation of a waxwork exhibition. As far as the sources allow, the itinerary, the ‘cast’ and display of the exhibition is reconstructed, as well as the number and the social background of its visitors during the first half of the 19th century. It emerges that Marie Tussaud was a talented portrait artist and a show woman of ambition whose carefully constructed exhibition attracted mainly middle-class visitors with an interest in human classification. Thus, the waxworks was a ‘rational entertainment’ that was thought to further the development of knowledge and character in its visitors. While Madame Tussaud’s was perhaps the most famous waxworks, it was not the first one. The history of commercial exhibition of life-sized wax figures goes back to the 17th century. Their concept, however, changed significantly over the centuries. Three forms of waxworks are differentiated here: a) the baroque waxworks of groups of figures narrating programmatic and allegorical stories, b) the enlightened portrait gallery – such as Madame Tussaud’s – where celebrities are presented as individual characters, c) the modern tableau waxworks, that represents extraordinary as well as everyday events in a realistic way that was hitherto unprecedented. As a channel for the distribution of news and as a medium for representing reality waxworks have become outdated. As a tickle for the senses, however, they will yet remain effective.

Le premier volet de cette thèse en création littéraire, un récit, s’appuie sur une logique orientée à bâtir des passerelles là où c’est possible, et à mettre à plat les disciplines artistiques afin d’en révéler les limites. Cette difficulté particulière au coeur de la thèse met en place des stratégies d’hybridité susceptibles de renforcer l’intensité artistique inhérente à chaque discipline. Intitulé Décorps, le récit devenu ainsi hybride opère donc un rapport de synergie plastico-textuelle. Plus précisément, ce récit, à la frontière entre l’image et les mots, présente une narratrice, Valérie M., dont la voie/voix aboutit à une démarche non conventionnelle ouvrant un espace agonistique entre deux paroles artistiques, entre le même et l’autre, et entre le réel et la fiction. Le deuxième volet de cette thèse en création littéraire, une réflexion au sujet de l’entreprise artistico-littéraire, compte trois chapitres expliquant les raisons sous-jacentes au travail de création hybride. Pour ce faire, le premier chapitre examine les difficultés auxquelles doit faire face l’auteur-artiste dans un monde opaque. L’hybridité s’y découvre comme un outil herméneutique capable parfois d’introduire un minimum de sens dans un univers promis au chaos. Le deuxième chapitre explore pour sa part le métissage générique à partir de la notion d’autofiction à laquelle participe en partie Décorps. Il s’interroge sur les limites et la portée de ce type de représentation littéraire. Enfin, le troisième chapitre consiste en un retour sur Décorps en vue de comprendre ses processus d’hybridation et les tensions survenues au cours de la démarche artisticolittéraire. Ce dernier chapitre se penche sur le langage confronté à ses limites, touchant une forme de mort, de nécrose, là où il n’a plus de prise.

This work in the theoretical part focuses on the role of men in a society and on the position of a woman. It also describes differences between men and women, differences in communication between a man and a woman and differences in a general perspective. It gives an insight in the process and phases of men being in love. It also gives an outlook on a man and a woman and their equal chances.

碩士
明新科技大學
土木工程與環境資源管理研究所
100
Nearly a century, Earth energy production is the growing shortage. In Taiwan, 99% of energy needs to rely on imports. In the past 20 years, energy consumption to grow more than 3 times, 2.2 times faster than the global average growth rate. In recent years, various countries more and more attention for energy saving and carbon reduction, therefore, development of the emerging industry is called Energy Service Company, ESCO, aim the structure of energy consumption, including power, lighting, air conditioning, process, compressed air and boiler steam…etc, through by the integration of energy-saving technologies and financial intermediation expert, Energy Saving Performance Contract, ESPC, tailor-made a service project for our customers. In this study, through the practices of four successful ESCO cases based, against the Minghsin University of Science and Technology in the three directions of the lighting and dormitory boiler system…etc. calculations. The purpose of this study was to find a way to reduce the energy consumption of the Minghsin University of Science and Technology, The analysis showed that lighting energy saving rate of 30%, the boilers energy saving rate of 75%.

Abstract in English, Xhosa and Tswana
The recognition of the role of females in drug trafficking was established more than 30 years ago and there are notable cases of women undertaking leading roles in this crime for almost 100 years. This phenomenon has gained popularity in South Africa as is evidenced by the number of women who are found and incarcerated for smuggling drugs into or out of South Africa. The purpose of this study was to gain an in-depth understanding of the female drug mule phenomenon and explain the reasons why female drug mules are involved in drug smuggling. The objectives of the study were to develop a profile for female drug mules incarcerated in South African correctional centres, specifically Kgoši Mampuru II and Johannesburg Female Correctional Centre; to establish risk factors for being recruited and used as drug mules; to explain the mules’ motivations for being involved in drug smuggling; to determine the physical and emotional impact drug smuggling has on the drug mules; and to determine the methods used by drug mules to smuggle drugs. A qualitative research approach, with the use of one-on-one semi-structured interviews, was used to obtain information from participants. The sample comprised 20 diverse female offenders incarcerated at Kgoši Mampuru II and Johannesburg Correctional Centres. The data from the schedule of interview questions were analysed using thematic analysis, coding and categorising. It is envisaged that this research will be of significance to the criminal justice system, as recommendations on deterrence and preventative measures regarding the use of females as drug mules may be made from the findings. The general findings of this research demonstrate that a female drug mule, in the context of this study, is an African or Spanish woman that is open to methods that can produce various streams of income to support her children and family. Secondly, the findings in this dissertation revealed that women are recruited as drug mules because of their vulnerable economic state. Lastly, the most common method used to smuggle drugs revealed by participants in this research is through luggage concealment. Through this study, an in-depth insight into the history and life circumstances of female drug mules is provided. This will also help society to understand why some individuals are at risk of being recruited as mules or are motivated to engage in drug smuggling. Consequently, this research study may assist in the creation of early detection, education and awareness programmes surrounding the risks associated with drug smuggling.
Ukuthatha inxaxheba kwabasetyhini ekuhambiseni iziyobisi kwaqala ukubhalwa ngako ngaphaya kweminyaka engama-30 adlulayo, kanti phantse kwiminyaka eli-100 eyadlulayo zazikho iingxelo ngamakhosikazi adlala iindima eziphambili ekuhambiseni iziyobisi. Apha eMzantsi Afrika lo mbandela uye wafumana ukwaziwa kakhulu ngenxa yeqela labasetyhini abafunyaniswe baza bavalelwa entolongweni ngenxa yokuthubelezisa iziyobisi ezingenisa okanye ezikhupha kweli loMzantsi Afrika. Injongo yesi sifundo yayikukuqonda nzulu lo mkhwa wemeyile (isilwanyana sokuthwala) yeziyobisi nokuchaza izizathu zokuba ababhinqileyo babe ziimeyile zeziyobisi. Esi sifundo sijonge ukuqulunqa ubume bomntu obhinqileyo oyimeyile yeziyobisi okhe wavalelwa kwiintolongo zaseMzantsi Afrika, ngakumbi iKgoši Mampuru II kunye neJohannesburg Correctional Centre. Okunye okujongwe sesi sifundo kukufumanisa umngcipheko abakuwo abafazi abarhwebeshwayo basetyenziswe njengeemeyile zeziyobisi; kuchazwe izinto ezikhuthaza ukuba ubani abe yimeyile yeziyobisi; kufunyaniswe ukuba ukuthubelezisa iziyobisi kumchaphazela njani umthubelezisi/imeyile emphefumlweni nasemzimbeni; kubuye kufunyaniswe iindlela ezisetyenziswa zezi meyile zingabafazi ekuthubeleziseni iziyobisi. Kusetyenizswe indlela yophando eqwalasela amanani ukuze kufunyanwe ulwazi kwabo bathathe inxaxheba, kwenziwa nodliwano ndlebe lobuso ngobuso olungaqingqwanga ngqongqo. Isampulu yophando ibe ngamabanjwa abhinqileyo angama-20 ahlukeneyo navalelwe eKgoši Mampuru II naseJohannesburg Correctional Centre. Iinkcukacha zolwazi/idata ehlalutyiweyo iquka ezo nkcukacha zithathwe kwiimpendulo zemibuzo yodliwano ndlebe apho kuhlalutywe imixholo, kwafakwa iimpawu/iikhowudi zabuya zahlulahlulwa zaba ngamahlelo iinkcukacha zolwazi. Kucingwa ukuba olu phando luya kuba luncedo kwinkonzo yezobulungisa kuba okufunyanisiweyo nokucetyiswayo kunganceda ekuqulunqeni amanyathelo okuthintela nokuthibaza abaphuli mthetho ekusebenziseni abantu ababhinqileyo njengeemeyile zeziyobisi, kubabonise nabo abafazi ububi bokuba ziimeyile zeziyobisi. Uluntu ngokubanzi nalo luya kuncedakala kokufunyaniswe lolu phando. Esi sifundo siveze ukuqonda nzulu ngembali neemeko zobomi beemeyile zeziyobisi ezibhinqileyo. Olu lwazi lunganceda ukuba abantu baqonde ukuba kwenzeka kanjani ukuba abanye abantu babe semngciphekweni wokurhwebeshelwa ukusebenza njengeemeyile zeziyobisi, baqonde nokuba zintoni ezikhuthaza ubani ukuba azibandakanye nokuthubelezisa iziyobisi. Ngoko ke olu phando lunganceda ekwenzeni iinkqubo zokuqaphela kwangoko ubani oyimeyile, ezokufundisa nezokwazisa uluntu ukuze kuthintelwe imingcipheko enxulumene nothubeleziso lweziyobisi.
Seabe sa batho ba bomme mo kgwebong e e seng mo molaong ya diritibatsi se kwadilwe la ntlha dingwaga di feta 30 tse di fetileng, mme mo sebakeng se se ka nnang dingwaga di le 100, go nnile le dikgetse tse di lemogilweng tsa basadi ba ba eteletseng pele kgwebo e e seng mo molaong ya diritibatsi. Mo Aforikaborwa, ntlha eno e tlhageletse thata ka ntlha ya palo ya basadi ba ba tshwerweng le go golegwa ka ntlha ya go tsena gongwe go tswa ka diritibatsi ka tsela e e seng mo molaong mo Aforikaborwa. Maitlhomo a thutopatlisiso eno e ne e le go tlhaloganya thata ntlha ya basadi ba ba tsamaisang diritibatsi e seng ka fa molaong le go tlhalosa lebaka la gore goreng basadi ba ba tsamaisang diritibatsi e seng ka fa molaong ba nna le seabe mo go tsamaiseng diritibatsi jalo. Maikaelelo a thutopatlisiso ke go dira porofaele ya basadi ba ba tsamaisang diritibatsi ka tsela e e seng mo molaong, ba ba golegilweng kwa ditikwatikweng tsa kgopololo tsa Aforikaborwa, go totilwe Ditikwatikwe tsa Kgopololo tsa Kgosi Mampuru II le Johannesburg, go bona dintlha tsa matshosetsi a gore basadi ba ngokelwe go dirisiwa jaaka batsamaisi ba ba seng mo molaong ba diritibatsi; go tlhalosa gore batsamaisi ba ba seng mo molaong ba diritibatsi ba susumediwa ke eng gore ba nne le seabe mo go tsamaiseng diritibatsi ka tsela eo; go lebelela gore go tsamaisa diritibatsi go go seng mo molaong go amile jang motho yo o tsamaisang diritibatsi mo mmeleng le mo maikutlong; le go lebelela mekgwa e e dirisiwang ke batsamaisi ba diritibatsi ba basadi go tsamaisa diritibatsi ka tsela e e seng mo molaong. Go dirisitswe molebo wa patlisiso e e lebelelang mabaka go bona tshedimosetso go tswa go bannileseabe, ka tiriso ya dipotsolotso tse di batlileng di rulagana tsa batho bongwe ka bongwe. Sampole e dirilwe ka bagolegwa ba basadi ba ba farologaneng ba le 20 ba ba golegilweng kwa Ditikwatikweng tsa Kgopololo tsa Kgosi Mampuru II le Johannesburg. Data e e lokolotsweng e na le data e e gogilweng go tswa mo sejuleng ya dipotso tsa dipotsolotso mme e lokolotswe go ya ka morero, go khouta le go aroganya data ka dikarolo. Go solofelwa gore patlisiso eno e ka nna mosola mo tsamaisong ya bosiamisi jwa bosenyi ka ntlha ya fa diphitlhelelo le dikatlenegiso di ka thusa mo go tlhamiweng ga dikgato tsa thibelo go dira gore batlolamolao ba tshabe go dirisa basadi jaaka batho ba ba tsamaisang diritibatsi e seng mo molaong le go thibela basadi go nna batsamaisi ba diritibatsi ba ba seng mo molaong. Baagi le bona ba ka ungwelwa go tswa mo diphitlhelelong tsa patlisiso eno. Ka thutopatlisiso eno, go tlamelwa ka tshedimosetso e e boteng ya lemorago le seemo sa botshelo sa basadi ba ba tsamaisang diritibatsi e seng ka fa molaong. Seno se ka thusa baagi go tlhaloganya gore goreng batho bangwe ba le mo matshosetsing a go ka ngokelwa go tsamaisa diritibatsi ka tsela e e seng mo molaong gongwe ba rotloetsega go nna karolo ya go tsamaisa diritibatsi ka tsela eo. Ka ntlha ya seo, thutopatlisiso eno e ka thusa gore go tlhamiwe mananeo a temogo ya go sa le gale, thuto le temoso go fokotsa matshosetsi a a amanang le go tsamaisa diritibatsi e seng ka fa molaong.
Criminology and Security Science
M.A. (Criminal Justice)

Summary in English, Tswana and Zulu
The researcher aimed to examine female perpetrator motives for becoming drug mules. The aim was accomplished through the use of a qualitative study, case research. Collection of data occurred via semi-structured interviews with seven participants. Purposive sampling was employed to aid with the selection of participants, and thematic analysis used as a means to analyse the data collected. The study found that motivations differed amongst all participants; nonetheless, the primary findings indicate that participants chose to become drug mules mainly due to financial strain. The other themes identified included monetary rewards and the influence of social networking relationships. The most common finding was the involvement of Nigerians in all participants becoming drug mules. Further research, and the need for intensive educational drives in communities and schools regarding drug mules, formed the recommendations derived from the study.
Boikaelelo jwa patlisiso eno ke go tlhatlhoba mabaka a a dirang gore basadi ba ikamaganye le go tsamaisa diokobatsi tse di seng kafa molaong. Boikaelelo jono bo fitlheletswe ka go dirisa patlisiso e e leng kaga boleng,, go dirisiwa boemo jo go ithutiwang ka jone ka ntlha ya gore ke jone bonang le dintlha tse di tlhokegang, tse di maleba mme di re naya dintlha tse di feletseng kaga se go batlisisiwang ka sone. Patlisiso eno e kaga basadi ba le supa bao re kgonneng go batlisisa ka bone. Patlisiso eno e sekaseka kafa batsayakarolo ba tshelang ka gone go ya kafa ba tlhalositseng ka gone,, go akareletsa le tsela eo ba neng ba tshela ka yone fa ba sale bannye le ka moo ba godileng ka gone, ga mmogo le botshelo jwa bone jwa jaanong le ka moo ba tshelang ka gone jaaka batsamaisi ba diokobatsi tse di seng kafa molaong. Patlisiso eno gape e sekaseka le kwa ba tswang teng, seemo sa bone sa loago le ikonomi, ba lelapa ga mmogo le ditsala tse ba ikopanyang le tsone, patlisiso eno e batlisisitse le gore a go na le dilo dipe tse dingwe tse di bakang gore ba tsamaise diokobatsi tse di seng kafa molaong. Go kgobokanya tshedimosetso go dirilwe ka go dira dipotsolotso le batsayakarolo ba supa. Setlhopha se se tlhophiwang se dirisiwa go tlhopha batsayakarolo. Ka ntlha ya gore setlhogo seno ke kaga batsamaisi ba diokobatsi, mokgwa ono o ne o le maleba go tlhatlhoba batsayakarolo ba ba oketsegileng. Mmatlisisi o akanyeditse gore a botsolotse batho ba ka nna lesome, kwa bofelong go ile ga nna le basadi ba ka nna sometlhano ba ba ileng ba kopiwa go tsenela patlisiso eno mme ba le supa ke bone fela ba dumetseng go tsenela patlisiso eno. Go ile ga dirisiwa tlhatlhobo ya thematic e le go tlhatlhoba tshedimosetso e e kgobokantsweng. Le fa gone patlisiso e ne e le ka ga boemo jo go ithutiwang ka jone, tlhatlhobo ya thematic e nnile yone e e thusang thata ka gonne e ne e le bonolo go ka dirisiwa ka ntlha ya gore ke yone eo e nang le dintlha tse dintsi tseo di batlegang. Mabaka a a dirang gore ba tlhophe tiro ya go tsamaisa diokobatsi a ne a sa tshwane go batsayakarolo botlhe le fa go ntse jalo go bonagetse gore lebaka la konokono leo le ba dirang ba tlhophe tiro eno ke ka ntlha ya mathata a madi/maemo a ikonomi a a sa tlhomamang. E re ka mathata a madi le maemo a ikonomi a a sa tlhomama di aname seo se ama motho yo o mo maemo ao fela thata, ke ka moo patlisiso e bontshitsheng gore maemo ao e ka nna a nako e telele kana a nako e e khutshwane. Mathata a tsa madi a nako e e telele a bakwa ke go tlhoka tiro nako e e telele le ditshono tse di tlhaelang tsa go bona tiro ka ntlha ya go sa nne le bokgoni jwa tiro, mme mathata a tsa madi a nako e khutshwane a bakwa ke ditiragalo tse di sa bonelwang pele tseo maemo a tsone a ka baakangwang ka bonako. Patlisiso e ne e bontsha lebaka le lengwe la go bo basadi bano ba dira tiro eno e ne e le ka gonne tiro eno e dira madi ka bonako ga e tshwane le tiro ya nako e e tletseng. Ba bontshitse gore ba tlhotlhelediwa le ke balosika, batho ba ba ratanang le bone ga mmogo le ditsala. Lebaka le lengwe le le kgatlhang le le fitlheletsweng go batsayakarolo botlhe ke go nna le seabe ga Ma-Nigeria mo go direng gore ba tsamaise diokobatsing tse di seng kafa molaong. Patlisiso eno e tlhomamisitse gore Ma-Nigeria ke one a a tshamekang karolo e kgolo mo tirong eno e re ka e le bone badiri ba diokobatsi tseno le gore ke bone ba ba nayang tiro eno ya go tsamaisa diokobatsi. Basadi botlhe ba ba dumetseng go tsenela patlisiso eno ba bontshitse bosupi jwa seno. Go tlile go dirwa patlisiso e e tseneletseng ka ga batsamaisi ba diokobatsi. Go na le tshedimosetso e ntsi malebana le batsamaisi ba diokobatsi, segolobogolo jang mo basading. Ntle le seo, go tshwanetswe ga rutiwa batho mo go tseneletseng kaga batsamaisi ba diokobatsi mo baaging ga mmogo le kwa dikolong, thuto eno e tla lebisediwa thata kwa malapeng, ba ba tlhokomelang malapa ka tsa madi ga mmogo le go ba thusa gore ba kgone go dira ditshwetso tse di siameng.
Injongo yalolu cwaningo ukuhlola izimbangela ezenza abantu besifazane bashushumbise izidakamizwa. Le njongo iye yafezwa ngokusebenzisa uhlobo lokucwaninga lokuhlola ngokucophelela, kanye nocwaningo olumba lujule ngoba lushaya ngqo kulokho okucwaningwayo, lunembile futhi lunikeza isithombe esicacile sendaba ecwaningwayo. Leli phepha locwaningo lusekelwe ocwaningweni olwenziwe kwabesifazane abayisikhombisa. Lolu cwaningo luye lwahlola izindaba zokuphila zababambiqhaza njengoba babezilandisela bona ngokwabo, kuhlanganise isikhathi beseyizingane nendlela abakhuliswe ngayo, impilo yabo bengabantu abadala nokuphila kwabo njengabashushumbisi bezidakamizwa. Ucwaningo lugxile nasekuphileni kwabo kwangaphambili, izimo zomnotho nezenhlalo, umndeni nabangane, ucwaningo luye lwahlola ukuthi zikhona yini ezinye izinto okungenzeka ziyingxenye yezimbangela ezenza bashushumbise izidakamizwa. Ukuqoqwa kwedatha kwenziwa ngezingxoxo ezihleliwe nababambiqhaza abayisikhombisa. Abacwaningi baye bazikhethela ngokwabo abantu abazobamba iqhaza. Ngenxa yokuthi isihloko sigxile kulabo abashushumbisa izidakamizwa, le ndlela ibifaneleka ukuze kuxoxwe nababambiqhaza abengeziwe. Umcwaningi obehlose ukuxoxa okungenani nababambiqhaza abayishumi, ekugcineni kuyiwe kwabayishumi nanhlanu okuthe kubo kwaba nabayisikhombisa abavume ukubamba iqhaza. Indlela ehlakaniphile yokuhlaziya isetshenzisiwe ukuhlaziya idatha eqoqiwe. Nakuba ucwaningo belugxile ocwaningweni olumba lujule, ukuhlaziya okuhlakaniphile kube usizo ngoba bekuvumelana nezimo okusizile ekunikezeni idatha enemininingwane eminingi. Izimbangela bezihlukile kubo bonke ababambiqhaza, noma kunjalo okuyinhloko okutholakele kulolu cwaningo kubonisile ukuthi ababambiqhaza bakhetha ukushushumbisa izidakamizwa ngenxa yokuthwala kanzima ngokwezomnotho nangokwezimali. Ngenxa yokuthi ukuthwala kanzima ngokwezimali nangokwezomnotho kuyinto ebanzi futhi kuhlobana nomuntu othwele kanzima, kuye kwatholakala ukuthi ukuthwala kanzima ngokwezimali/ngokwezomnotho kungachazwa ngokuthi ukuthwala kanzima ngokwezezimali okuthatha isikhathi eside nokuthwala kanzima ngokwezimali kwesikhashana. Ukuthwala kanzima ngokwezimali okuthatha isikhathi eside kwenziwa ukuhlala isikhathi eside ungasebenzi kanye nokuntuleka kwamathuba emisebenzi ngenxa yokungabi namakhono, kuyilapho ukuthwala kanzima ngokwezemali kwesikhashana kudalwa izimo ezingalindelekile ezenza kudingeke isisombululo esisheshayo. Okunye futhi okutholakele ukuthi ababambiqhaza babekhuthazwa izinzuzo ezingokwezimali ukuthi bangaceba ngokushesha ngokungafani nokusebenza isikhathi esigcwele. Abantu abaphila nabo nsuku zonke bayingxenye yembangela ebagqugquzele ukuba bashushumbise izidakamizwa, kulaba kungabalwa umndeni, ophathina babo nabangane abadlale indima ebalulekile ekuthonyeni abanye ababambiqhaza ukuba bashushumbise izidakamizwa. Okuthakazelisayo okutholakale kubo bonke ababambiqhaza ukuthi abantu abadabuka eNigeria babe nesandla ekubeni kwabo abashushumbisi bezidakamizwa. Ucwaningo luqinisekisile ukuthi abase-Nigeria badlale indima enkulu ekubeni abaxhasi noma abagcini bezidakamizwa ezithuthwa ababambiqhaza. Lokhu bekufakazelwa yibo bonke ababambiqhaza okuxoxwe nabo. Izincomo zalolu cwaningo zihlanganise ucwaningo olwengeziwe oluzokwenziwa kulabo abashushumbisa izidakamizwa. Alwanele ulwazi olukhona mayelana nabashushumbisi bezidakamizwa, ikakhulukazi kubantu besifazane. Ngaphandle kwalokho, kufanele kube nemikhankaso yokufundisa emiphakathini nasezikoleni ngokuphathelene nokushushumbisa izidakamizwa, le mikhankaso yokufundisa izogxila kakhulu emndenini, ezikhungweni ezinikeza kanye nasekwenzeni ukukhetha okufanele.
Criminology and Security Science
M.A. (Criminology)

This master's thesis focuses on the issue of food in some selected works by Kawakami Hiromi (born 1958). At first, it attempts to express some characteristic features of modern Japanese cuisine in general, which are closely connected to the creation of the concept of national identity, and to give a summary of works of modern and contemporary Japanese literature in which the topic of food is present. Next, it describes the work of Kawakami Hiromi. After introducing the author's main masterpieces and its typical features, it comes to the interpretation of the selected texts which were published within 1998 and 2010. It interprets the works mainly from the thematic point of view and it attempts to determine connections in which the issue and motifs of food appear. It also studies what role is played by food, eating or cooking in Kawakami's work. In selected translated passages it makes an effort to give evidence of certain elements in her work such as: food as means of befriendment, motif of a skilled male cook, inability to cook, which leads to a conflict in a relationship etc. It compares works in which often appear lonely women protagonists longing for love and in which the real world meets the supernatural or the traditional elements meet the modern ones. In order to point out other connections...