Understandings of the Marshall Islands require attention to the interplay of multiple discourses of tradition, modernity, chiefs, development, and democracy from multiple sources that critically interact and mutually construct the Marshall Islands. This multi-sited, multi-vocal ethnography explores the reproduction and transformation of historic power relationships between Marshallese chiefs and commoners who incorporate and "indigenize" foreign discourses and resources into culturally informed models and practices of authority. In relationships of unequal power, such as that defined by the Compact of Free Association between the United States and the Republic of the Marshall Islands, dominant global discourses about culture and progress enable both local and transnational hegemonies. These discourses are contextually analyzed as they are invoked and challenged in Nitijela [parliament] debates, in evaluations of the Compact of Free Association, in elites' autobiographical reflections on Marshallese-American relationships, and in foreign media representations. Historical shifts in the political and economic powers of Marshallese chiefs through three colonial administrations, and the growth of a commoner elite class since World War II further highlight the ways foreign resources are appropriated for specific local purposes that transform understandings of power and authority. With discourse as both object and method of analysis, the agency of local actors is both foregrounded and contextualized. Simplistic characterizations of chiefs, elites, commoners, and foreigners' are complicated through close attention to the ways local loyalties, colonial histories, political rivalries, and global discourses inform and frame expressions of Marshallese identities.

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Is there a specific tradition of songs within the swedish environmental movement? What kinds of music has been performed in different situations and what does it mean to the movement and its inner life? The essay deals with a town meeting and action against plans of establishing passenger flights at a former military airport in Uppsala, looking at the action as a performance and as a ritual. The second part of the essay is built on interviews of three veterans of the movement's organisations one of which is as a singer-songwriter originally active in the peace movement of the 60's. The paper is about the songs and the situations in which they were sung, concluding that there is, the limited material considered, little evidence of considerable transfer of songs within the movement, though some coherence exists. The connection to between environmental movement and the swedish radical music movement of the 70's is also slightly mentioned. Finally there is a reasoning about songs and their different functions and the songs as an important part of a movement's narrative. / Finns det en speciell sångtradition inom den svenska miljörörelsen? Vilken slags musik har framförts i olika situationer och vad betyder det för rörelsen och dess inre liv. Denna uppsats behandlar ett torgmöte och en aktion mot planer att etablera passagerarflyg vid en tidigare militär flygplats i Uppsala. Aktionen ses ur performance- och ritualperspektiv. Vidare intervjuas tre veteraner i miljörörelsen varav en är en trubadur aktiv sedan fredsrörelsen på 1960-talet. Uppsatsen handlar om sånger och framförandesituationer. Förbindelsen mellan miljörörelsen och musikrörelsen under 1970-talet tas också kortfatttat upp. Slutligen finns ett resonemang om sången och dess funktion och sång såsom rörelseberättelse.

There is little question that Hobbes's Leviathan and Behemoth are largely responding to the civil conflicts that were tearing seventeenth-century England apart, but scholars disagree in their interpretations of Hobbes's diagnosis and prescription for the civil war. Complementing previous interpretations, my MA thesis suggests that Hobbes also traces the source of the civil conflicts to Western philosophical tradition (WPT) itself both methodologically and substantially. Methodologically, ancient Western philosophers do not start their ratiocination process with definitions of the terms used, and Hobbes argues that this lack of adequate method leads to all kinds of absurdities and consequently a whole false reference world. This critique is largely based on Hobbes's materialist accounts of philosophy and mind. Substantially, Hobbes suggests that Aristotle's natural, moral and civil philosophies in particular contribute to the chaotic opinions and the civil conflicts. After detecting this source, Hobbes undertakes perhaps the most ambitious endeavor to exorcise the demon of the tradition in Western history, by radically scientizing the philosophical tradition and establishing a science of politics.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores the contribution of the Australian witch and trance artist Rosaleen Norton (1917-1979) to the 20th century Western esoteric tradition. Norton’s artistic career began in the 1940s, with publication of some of her earliest occult drawings, and reached a significant milestone in 1952 when the controversial volume The Art of Rosaleen Norton – co-authored with her lover, the poet Gavin Greenlees – was released in Sydney, immediately attracting a charge of obscenity. Norton rapidly acquired a reputation as the wicked ‘Witch of Kings Cross’, was vilified by journalists during the 1950s and 1960s, and was branded by many as evil and demonic. Norton’s witchcraft coven was dedicated to the practice of heathen worship and ceremonial sex magic and attracted a small number of dedicated inner-circle followers, most notably the renowned musical conductor Sir Eugene Goossens (1893-1962), whose personal and professional career would be irrevocably damaged as a result of his contact with Norton’s magical group. Within the social context of post-World War Two Australia Norton was unquestionably an unconventional figure at a time when the local population was approximately 80 per cent Christian. Norton claimed to be an initiated follower of the Great God Pan and also revered other ancient figures, most notably Hecate, Lilith and Lucifer. Norton claimed to encounter these mythic beings as experientially real on the ‘inner planes’ which she accessed while in a state of self-induced trance. Many of her most significant artworks were based on these magical encounters. Norton is presented in this thesis as a magical practitioner and artist whose creative work and thought has made a substantial contribution to the 20th century Western esoteric tradition – and, in particular, to the magic of the so-called ‘left-hand path’, which is a significant part of this modern occult tradition. Norton’s artworks are also compared to those of the notable British trance artist and occultist Austin Osman Spare (1886-1956), who is now widely regarded as a major figure in the 20th century magical revival.

Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 1989. / Bibliography: leaves 253-255.

Thesis (M.A.)--Catholic Theological Union at Chicago, 1989. / Includes bibliographical references (leaves 133-135).

Zugl.: Heidelberg, Univ., Diss., 2001

Zugl.: Dortmund, Univ., Diss., 2005

Zugl.: London, Internat. Faith Theological Seminary Univ. College, Diss., 2006