Vicinal surfaces consist of terraces separated by atomic steps. In the step-flow regime, deposited atoms (adatoms) diffuse on terraces, eventually reaching steps where they attach to the crystal, thereby causing the steps to move. There are two main objectives of this work. First, we analyze rigorously the differences in qualitative behavior between vicinal surfaces consisting of infinitely many steps and nanowires whose top surface consists of a small number of steps bounded by a reflecting wall. Second, we derive the continuum model that describes the macroscopic behavior of vicinal surfaces from detailed microscopic models of step dynamics. We use the standard theory of Burton-Cabrera-Frank (BCF) to show that in the presence of an Ehrlich-Schwoebel barrier, i.e., a preferential attachment of adatoms from the lower terraces, N-periodic step motions are stable with respect to step collisions. Nonetheless, for N > 2 step collisions may occur. Moreover, we consider a single perturbed terrace, in which we distinguish three cases: no attachment from the upper terraces (perfect ES barrier), no attachment from the lower terraces (perfect inverse ES barrier), and symmetric attachment. For a perfect ES barrier, steps never collide regardless of the initial perturbation. In contrast, for a perfect inverse ES barrier, collisions occur for any nonzero perturbation. Finally, for symmetric attachment, step collisions occur for sufficiently large outward perturbations. To model nanowire growth, we consider rectilinear steps and concentric steps bounded by reflecting walls. In contrast to a vicinal surface with infinitely many steps, we prove analytically that the Ehrlich-Schwoebel barrier is destabilizing with respect to step collisions. We further consider nanowire growth with desorption, and prove that the initial conditions that lead to step collisions are characterized by a unique step motion trajectory. We take as our starting point a thermodynamically consistent (TC) generalization of the BCF model to derive PDE that govern the evolution of the vicinal surface at the macroscale. Whereas the BCF model yields a fourth-order parabolic equation for the surface height, the TC model yields a system of coupled equations for the surface height and the surface chemical potential.

Film adaptations are becoming more popular and past critics and scholars have discussed films based on dramas and novels. However, few have explored the children’s literature genre. In discussing such a topic, it takes more than just debating whether the novel or book is better. A discussion on what elements have been maintained, removed, or added in such an adaptation has to be made along with its success or failure. With this in mind, Roald Dahl’s 1964 novel, Charlie and the Chocolate Factory, and its two film adaptations will be explored along with an analysis of film adaptation theory to show that the first version of the novel succeeds and the second one fails.

Governor Arthur Phillip did not magically extend British sovereignty over the continent of Australia when he read his orders to the assembled convicts and members of the military in January 1788. To the international community, this act of declaratory sovereignty claimed Australia for Britain. Gaining practical legal authority over the indigenous population, however, took years and a number of court cases to obtain. The British established their sovereignty over the Australian Aborigines by integrating them into the British legal system. This legal incorporation eventuated in stages. Three important stages were: first in 1790, when the British attempted to punish Aborigines for the murder of white men, secondly in 1827, when the British tried to punish white settlers for the deaths of indigenes, and lastly in 1836 when the British decided to punish indigenes for murders committed amongst themselves. Previous colonial experience influenced British officials’ dealing with the indigenous population of Australia. Many of the colonisers who settled in Australia, Britain’s penultimate colony, had lived in other parts of the British Empire. This prior colonial experience shaped the views and outlooks of legal policy towards the Aborigines.

The purpose of this diploma thesis is an analysis of selected texts of three popular American authors (Stephenie Mayer, Anne Rice, Tim Burton), who develop the tradition of Gothic literature in their prose writing and film making. This thesis attempts to show how the particular Gothic elements are used in selected works (ex.: the vampire or monster character, the theme of violence or death). In the introductory theoretical chapter the specific character of Anglo-American Gothic prose is explained, and in the following chapters the separate themes are analysed. In this context the literary influences, as well as the originality of the stories, are considered (Horace Walpole, Mary Shelley, Ch. R. Maturin, Bram Stoker), and the contribution of the analysed texts for the coming development of Gothic literature is assessed.

[EN] SUMMARY "Vibraphones in jazz: the jazz vibraphone in Spain" is a thesis addressing three clearly differenciated and yet related parts - for each one of them is indispensable for the full comprehension of the next. The three topics herein addressed are: 1.- The vibraphone. In this part a description of the instrument is made, as well as references to the different types of vibraphones, performing techniques and the use of vibraphones in the 20th century. 2.- Vibraphones in international jazz. In this part an analysis of the origin of the vibraphone, its evolution and performers is carried out by connecting this topic to the different styles in jazz history. 3.- Jazz vibraphones in Spain. This is by far the most important part of this thesis. Here, starting from the Spanish Jazz history, we speak about the arrival of the vibraphone in our country, its introduction and classical conservatory teaching methodology, the main Spanish vibraphones and mallet manufacturers, predecesors of jazz vibraphones (jazz players, first jazz xylophone and vibraphone players from the 30s and 40s), Spanish Jazz vibraphone players born since the 30s, international Jazz vibraphone players with residence in Spain and main concerts performed in Spain by international vibraphone players. This thesis presents various annexes in connection to vibraphones, such as the evolution of the different models of "Deagan" vibraphones, the presence of vibraphones in chamber music, examples of vibraphone mallet models depending on manufacturers, jazz vibraphone players throughout history, jazz players, first jazz xylophone and vibraphone players in Spain, websites consulted, and finally "technical exercises for jazz vibraphone". This thesis gathers numerous figures and testimonials of the main leading figures involved with Jazz vibraphones in Spain. Apart from that, it includes several indexes, such as illustrations, tables of contents or lists of vibraphone players. This thesis ends with a specific bibliography on vibraphones, the bibliography herein used and conclusions on each of the three parts previously explained. As a main byproduct of this thesis it is noteworthy the creation of an Internet Forum -http://vibrafonojazzistico.blogspot.com- which lists and allowes Spanish Jazz vibraphone players to get in touch. In short, this thesis puts names and surnames to the protagonists of a never before told story, the story of the Jazz vibraphone players in Spain. / [ES] RESUMEN "El vibráfono en el jazz: el vibráfono jazzístico en España" es una tesis que aborda tres partes claramente diferenciadas, y a la vez relacionadas entre sí, ya que cada una de ellas es imprescindible para comprender la siguiente. Los tres temas abordados son: 1.- El vibráfono. En esta parte se realiza una descripción del instrumento y se tratan los diferentes tipos de vibráfonos, las técnicas de ejecución y la utilización del vibráfono en el siglo XX. 2.- El vibráfono en el jazz internacional. En esta parte se analiza el origen del vibráfono y su evolución e intérpretes, relacionando este tema con los diferentes estilos de la historia del jazz. 3.- El vibráfono jazzístico en España. Esta es la parte más importante de la tesis. En ella, partiendo de la historia del jazz en España, se comenta la llegada del vibráfono a nuestro país, su introducción y didáctica clásica en los conservatorios, los principales fabricantes españoles de vibráfonos y baquetas de vibráfono, los antecedentes del vibráfono jazzístico ("jazz-bandistas", primeros xilofonistas "jazzísticos" y vibrafonistas de los años 30 y 40), vibrafonistas jazzísticos españoles nacidos desde la década de los años 30 hasta la actualidad, vibrafonistas jazzísticos internacionales residentes en España y principales conciertos realizados en España por vibrafonistas internacionales. La tesis presenta diversos anexos relacionados con el vibráfono, como la evolución de los distintos modelos de vibráfonos "Deagan", la presencia del vibráfono en la música de cámara, ejemplos de modelos de baquetas de vibráfono según fabricante, vibrafonistas de jazz a lo largo de la historia, "jazz-bandistas", primeros xilofonistas "jazzísticos" y vibrafonistas jazzísticos en España, páginas web consultadas y "ejercicios técnicos para el vibráfono jazzístico". La tesis recoge numerosas figuras y testimonios de las principales figuras relacionadas con el vibráfono jazzístico en España. Además, incluye diversos índices, como por ejemplo ilustraciones, tablas o vibrafonistas. La tesis finaliza con una bibliografía específica de vibráfono, la bibliografía empleada y las conclusiones de cada una de las tres partes explicadas anteriormente. Una de las utilidades más importantes que ha supuesto la elaboración de esta tesis ha sido la creación de un foro en internet que reúne y pone en contacto a los vibrafonistas de jazz españoles, http://vibrafonojazzistico.blogspot.com. En definitiva, esta tesis pone nombre y apellidos a los protagonistas de una historia nunca contada, la historia del vibráfono jazzístico en España. / [CAT] RESUM "El vibràfon en el jazz: el vibràfon jazzístic a España" és una tesi que aborda tres parts clarament diferenciades, i al mateix temps relacionades entre si, ja que cada una d'elles és imprescindible per a comprendre la següent. Els tres temes abordats són: 1.- El vibràfon. En esta part es realitza una descripció de l'instrument i es tracten els diferents tipus de vibràfons, les tècniques d'execució i la utilització del vibràfon en el segle XX. 2.- El vibràfon en el jazz internacional. En esta part s'analitza l'origen del vibràfon i la seua evolució i intèrprets, relacionant este tema amb els diferents estils de la història del jazz. 3.- El vibràfon jazzístic a Espanya. Esta és la part més important de la tesi. En ella, partint de la història del jazz a Espanya, es comenta l'arribada del vibràfon al nostre país, la seua introducció i didàctica clàssica en els conservatoris, els principals fabricants espanyols de vibràfons i baquetes de vibràfon, els antecedents del vibràfon jazzístic ("jazz-bandistas", primers xilofonistas "jazzístics" i vibrafonistas dels anys 30 i 40), vibrafonistas jazzístics espanyols nascuts des de la dècada dels anys 30 fins a l'actualitat, vibrafonistas jazzístics internacionals residents a Espanya i principals concerts realitzats a Espanya per vibrafonistas internacionals. La tesi presenta diversos annexos relacionats amb el vibràfon, com l'evolució dels distints models de vibràfons "Deagan", la presència del vibràfon en la música de cambra, exemples de models de baquetes de vibràfon segons fabricant, vibrafonistas de jazz al llarg de la història, "jazz-bandistas", primers xilofonistas "jazzístics" i vibrafonistas jazzístics a Espanya, pàgines web consultades i "exercicis tècnics per al vibràfon jazzístic". La tesi arreplega nombroses figures i testimonis de les principals figures relacionades amb el vibràfon jazzístic a Espanya. A més, inclou diversos índexs, com per exemple il¿lustracions, taules o vibrafonistas. La tesi finalitza amb una bibliografia específica de vibràfon, la bibliografia utilitzada i les conclusions de cada una de les tres parts explicades anteriorment. Una de les utilitats més importants que ha suposat l'elaboració d'esta tesi ha sigut la creació d'un fòrum en internet que reunix i posa en contacte als vibrafonistas de jazz espanyols, http://vibrafonojazzistico.blogspot.com. En definitiva, esta tesi posa nom i cognoms als protagonistes d'una història mai contada, la història del vibràfon jazzístic a Espanya. / Pérez Vigo, R. (2016). El Vibráfono en el jazz: El Vibráfono Jazzístico en España [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62323 / TESIS

Thesis (MA (Modern Foreign Languages))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This dissertation investigates the different forms of otherness and alterity (“Fremde”) in Bulgarian born German author, Ilija Trojanow’s novel, Der Weltensammler (2006). In this novel, alterity, as portrayed by Trojanow, is read as threatening and uncanny (“unheimlich”), on the one hand, and fascinating on the other. The novel, Der Weltensammler, translated by William Hobson and published under the title The Collector of Worlds (2008), narrates the life of the historical figure Sir Richard Francis Burton. Burton, a colonist, traveller and explorer, undertakes a journey across continents: British-India, Arabia and East Africa. As one of the first Europeans to do so, Burton - disguised and converted to Islam - undertakes a pilgrimage to Mecca. Like the title of the novel suggests, Burton is a contradictory man who not only collects worlds, but also obsessively adopts the cultures of the colonised. However, this British officer’s bizarre lifestyle and unusual ability to adapt to and adopt the foreign world raises certain questions regarding the relationship between coloniser and colonised. More importantly, he grapples with the portrayal of otherness. Throughout the novel both the narrator and a writer (the Lahiya) try to put together the pieces of Burton’s life. As the narrator warns in the preface of his novel, Burton remains an enigma. His antipodes are another historical figure, the former slave Sidi Mubarak Bombay and his servant Naukaram. Unlike in Burton’s and Stanley’s travel diaries where Bombay takes a marginalised position, he comes to the fore in Der Weltensammler. Though Burton appears to become part of the foreign world, it is the change of narrative perspectives between coloniser and colonised that puts their relation into question, thereby dissolving binary opposites. This thesis begins with a general discussion of the novel and its significance within German post-colonial literature. The study moves on to a discussion of the discourses surrounding the concept of alterity, identifying one key form of alterity, namely mimicry, a term borrowed from the theorist Homi K. Bhabha. The greater part of the thesis is devoted to the analysis of the novel. The first part deals with the analysis of alterity and otherness by focussing attention on the portrayal of otherness as threatening and fascinating, the concept of mimicry, and finally, Burton’s transformation. The second part investigates the process of re-writing that takes place and the manner in which alterity is portrayed in the novel paying particular attention to the relation between author, writer and narrator. Following this analysis of alterity and its rewriting, this thesis moves to the more general question of how Ilija Trojanow’s novel, Der Weltensammler, functions as a refutation (Gegenschrift/Kampfabsage) of Samuel Huntington’s Clash of Civilizations and the Remaking of World Order. Relying on the words of Stephen Slemon, this study finally questions whether this novel can be read as another “scramble for post-colonialism”. Based on the theoretical framework developed on the concept of culture by Homi K. Bhabha on the one hand and the insights on cultures by Polish journalist Ryszard Kapuscinski on the other, this study demonstrates how it is through the processes of revision and re-writing of literary borrowings, e.g. Joseph Conrad’s Heart of Darkness (1899), that the concept of alterity is redefined and the novel in itself gains a post-colonial voice. Furthermore, this thesis shows how otherness is deconstructed to such an extent that it is not difference that is highlighted, but instead a literary model for the co-existence of cultures. / AFRIKAANSE OPSOMMING: Hierdie tesis is ‘n studie van die verskillende fasette van vreemde, die onbekende en alteriteit (“Fremde”) in die Duits-Bulgaarse skrywer, Ilija Trojanow se roman Der Weltensammler (2006). In hierdie roman word alteriteit, soos deur Trojanow uitgebeeld, gelees as bedreigend en unheimlich, en gelyktydig as fassinerend. Die Roman, Der Weltensammler, deur William Hobson vertaal as The Collector of Worlds (2008), beskryf die lewe van die historiese figuur Sir Richard Francis Burton. Hy onderneem as kolonis en ontdekkingsreisiger ‘n reis regoor verskeie kontinente: Brits-Indië, Arabië en Oos-Afrika. Vermom en bekeer tot Islam, onderneem hy as een van die eerste Europeërs ‘n pelgrimstog na Mekka. Soos deur die titel van die roman gesuggereer word, is Burton op sigself ’n ambivalente karakter wat nie net wêrelde nie, maar ook die kulture van die gekoloniseerdes approprieer. Dit is juis hierdie Britse offisier se vreemde leefstyl en buitengewone vermoë om die vreemde toe te eien, wat sekere vrae ten opsigte van die verhouding tussen die kolonisator en die gekoloniseerde laat ontstaan. Van grootste belang vir hierdie analise is veral die uitbeelding van die vreemde. Deurgaans poog die verteller en ‘n skribent (die Lahiya) om uitsluitsel oor Burton se lewe te kry. Soos die verteller alreeds in die voorwoord van sy roman waarsku, bly Burton egter ‘n enigma. Sy teenpole is die ander minder bekende historiese figuur, die gemarginaliseerde en voormalige slaaf Sidi Mubarak Bombay en sy bediende Naukaram. Anders as in onder andere Burton en Stanley se reisbeskrywings waar Bombay slegs ‘n randverskynsel is, kry hy nuwe betekenis in Trojanow se roman. Ofskoon Burton deel van die vreemde blyk te word, word die verhouding tussen die kolonisator en die gekoloniseerde veral bevraagteken deur die verandering van narratiewe perspektiewe. Terselfdertyd word binêre opposisies gedekonstrueer. Die tesis word ingelei deur ‘n algemene oorsig van die roman en sy betekenis binne die konteks van Duitse postkoloniale literatuur. Na afloop van die oorsig, volg ‘n bespreking van die diskoerse rondom die konsep alteriteit. Die klem val hier veral op een spesifieke vorm van alteriteit, naamlik mimiek, ‘n term ontleen aan die teoretikus Homi K. Bhabha. Die grootste deel van die tesis word gewy aan die analise van die roman. In die eerste deel van die analise word die konsep alteriteit onder die loep geneem. Die klem val hier veral op die uitbeelding van die vreemde as bedreigend en fassinerend, mimiek and laastens Burton se gedaanteverwisseling. Die tweede deel van die analise fokus deurentyd op die verhouding tussen die skrywer, skribent en verteller en bestudeer veral die herskrywingsproses (re-writing) wat plaasvind en die wyse waarop alteriteit beskryf word. Deur die loop van die studie volg die meer algemene vraagstuk van hoe Ilija Trojanow se roman Der Weltensammler beskou kan word as ‘n weerlegging (Gegenschrift/Kampfabsage) van Samuel Huntington’s Clash of Civilizations and the Remaking of World Order. Laastens word op Stephen Slemon se algemene vraagstuk gesteun of die roman beskou kan word as ‘n “scramble for postcolonialism”. Hierdie analise word volgens die teoretiese raamwerke van twee outeurs nl. Homi K. Bhabha en die Poolse verslaggewer Ryszard Kapuscinski ondersoek. Dit is veral deur die proses revisie en die herskrywing van literêre ontlenings, bv. Joseph Conrad se Heart of Darkness (1899), dat die begrip alteriteit geherdefinieer word en die roman op sigself ‘n postkoloniale perspektief inneem.Vervolgens word die begrippe vreemde en alteriteit tot so ‘n mate gedekonstrueer deurdat die aandag nie op ongelykheid val nie, maar ‘n literêre model vir die naasbestaan van kulture ontskep word.

When Argentina invaded the Falkland Islands in 1982, it was the beginning of a two month long war. The aim of this essay is to find alternative explanations to the Falklands war with the main question being whether there were hidden motives for Thatcher and her reactions in 1982.   The essay will focus on the period 1965-1982 in which different texts will be analyzed by applying theories. The diversionary war theory describes how state leaders can improve their political popularity by intentionally escalating a conflict. The geopolitical theory explains how a state, by investments, constructions and military, can create demographic and international perceptions regarding a territory while foreign political theory describes how decision making is affected by the bureaucracy, psychology and the international system.   The ministry of defense and the navy was heavily affected by the financial cuts during the conflict and may also have affected the manner in which they advised Thatcher in 1982. Because of the British unwillingness to invest geopolitically in the Falklands and their aggravation of the diplomatically efforts to find a peaceful solution, the conflict got worse. In addition, Thatchers intentions to implement economic reforms and her record low political popularity make it plausible to suspect her for having, intentionally, escalated the conflict to gain political popularity and to enable the economic reforms.

Can cross-border interaction: interpersonal, economic, and otherwise, help ease relations between neighbouring political entities facing conflicts of interest and other differences? 1. How and why are border crossing communication routes created and maintained? 2. Under what circumstances are they used and how? 3. In what ways do they alter the conditions of a conflict between the parties that they link? 4. How do governments relate to the communication route and in what ways do they fit it into their policies? Seeking to reconcile the theories of the international system advanced by Hedley Bull and John W. Burton, we conduct a comparative case study, based on contemporary media and scholarship, of the situations regarding Senegal and the Gambia, as well as the two de facto (if not de jure) republics of Cyprus to answer these questions. Having sought to estimate the causes and effects of border crossing, we find that host factors, in particular divergent economies and the utilization of international partners, may in fact come to stem from the issues of border-crossing activity and contribute to complicating existing conflicts rather than resolve them.

Référentiel, réflexif, métaphorique constituent un échantillon des expressions et concepts employés pour qualifier les films de Tim Burton, attestant du lien qui unit ce corpus à l'histoire de son art et à son époque. Partant de ce constat, l'hypothèse proposée ici affirme que cette filmographie constitue un cinéma de la ré-imagination. Le cinéaste emploie lui même ce terme pour définir l'approche conceptuelle de son cinéma. Cette thèse explique d'abord le choix de ce mot par rapport aux concepts pré existants pour ensuite analyser ce qu'il englobe et implique dans la filmographie de Tim Burton. Ses films sont conçus comme des boîtes à jouets rassemblant souvenirs, imagination et pièces intactes. Ces éléments constituent la base formelle des ré imaginations burtoniennes. Ils s'entremêlent au sein d'une même image, tout au long d'un fil narratif parfois ténu. En adoptant des procédés cinématographiques et filmiques ramenant vers des âges antérieurs du septième art et rattachant les intrigues au domaine de l'imaginaire par l'intermédiaire de manifestations mentales, Tim Burton construit un cinéma ancré dans le passé, essayant de reconstituer le royaume de l'enfance en le reconstituant avec ce qu'il en reste. / Referential, reflexive, metaphorical – these are a few recurrent terms and concepts used to describe the films of Tim Burton, which attest to the links between this corpus and the history of his art and his era. Based on this observation, the present hypothesis argues that Burton’s filmography is a cinema of re imagination. The filmmaker himself uses this term to describe the conceptual approach to his films. This dissertation explains the choice of re imagination in regard to other pre existing concepts before analyzing the implications of re imagination in Tim Burton's filmography. His films are designed like toy chests in which memories, imagination, and intact pieces are collected. These elements establish the formal base of Tim Burton's re imaginings. They come together to form a single image by means an often tenuous narrative thread. By adopting cinematographic and filmic processes which look back to prior eras of the seventh art, and by bringing stories into the domain of the imagination through the intermediary of mental manifestations, Tim Burton builds a cinema that is anchored in the past, all while trying to restore the kingdom of childhood with what is left behind.

The aim of this thesis is to provide a close reading and a philosophical and anthropological interpretation of Burton's understanding of the concept of melancholy (as well as the concept of the human being and the world) as it is presented in his work ​The Anatomy of Melancholy​. The primary objective will be gradually to respond to the following questions: How did Burton perceive the concept of melancholy? How did he make use of it within his notion of ​the melancholic world​? Based on this, his vision of a remedy to the melancholic disease afflicting the whole world, together with the form of this treatment presented in The Anatomy of Melancholy will be thereafter shown and explained. This task will be preceded by an analysis situated on the edge between the history of ideas and intellectual history, cultural history, and philosophical anthropology with a small overlap with the history of mentalities. This analysis will firstly reveal the diversity and rich history of the concept of melancholy and, subsequently, open up the intellectual milieu and ideas which form the basis of Burton's notion of the problem of the melancholic world and its treatment. This thesis, especially in its final part, will rely on a contextual reading of ​The Anatomy of Melancholy​. In order to acquire an overall...