The present single species geometric forest plantations in the Scottish landscape suggest that foresters were not interested in conservation issues and landscape aesthetics. This thesis argues that the appearance of the forests is not so much the result of the foresters' lack of interest in conservation and nature but the social, economic and political pressures that underpinned their creation as well as the Scottish physical environment. Scottish foresters have had a long-standing interest in conservation issues that dates back to the colonial roots of Scottish forestry in mid- 19th century India. The concept of conservation was introduced in Scotland through foresters returning from their service in India and other parts of the Empire. The root of the interest in landscape aesthetics dates back even to the 18th century when Scottsh landowners started to plant trees, both exotic and native, to beautify their estates. By the second half of the 19th century influential landowners became concerned about the fact that Scotland could not produce sufficient timber to provide for its own needs. They also thought that forestry could provide jobs in the Highlands of Scotland and thus contribute to strengthening the social and economic fabric of rural Scotland. To increase timber production and improve the rural economy, influential landowners lobbied for the creation of a forestry agency. It was from these roots - aesthetics, conservation and social and economic concerns - that forestry policy in Scotland developed. It was only after the First World War, when Britain was confronted with severe timber shortages, that a state forestry organisation, the Forestry Commission, was created. Its initial task was to create a strategic timber reserve but over time conservation objectives came on board forest policy. The lands available for forestry were poor upland areas where only a handful introduced conifers were able to survive the harsh condition and, because of their fast growth, created in a relatively short time-span the desired timber reserve. It was for this reason that the forests created by the Forestry Commission were mainly made up of fast growing conifers introduced from the Pacific coast of North America. Technical improvements such as the introduction of mechanical ploughing and the use of fertilisers expanded the range of planting and pushed planting even further uphil. The coincidence of ploughing and the use of conifers on a large scale also led to an increasing monotonous appearance of the new plantations. It was this monotonous and artificial appearance that attracted the first opposition to the planting of conifers in the Lake District, but not in the Scottish Highlands. The development of an environmental policy as part of state forestry in Scotland was not so much driven by external pressures from conservation organisations but by a combination of economic and social pressures in the Highlands and the fact that many foresters ar.e sensitive to the environment in which they work. The general public and nature conservation organisations were until the 1970s not much concerned about the emergence of coniferous plantations in the landscape. Other more pressing environmental issues, such as the impact of build structures on the landscape, the use of herbicides, and the creation of nature reserves, occupied public environmental concern and nature conservation organisations alike. In the meantime the Commission developed the fundaments on which the broadleaf and conservation policies of the 1990s became based. It was the pressure from the Treasury and the wood processing industry that made it hard to change direction because hard economics were dominant. But when change came, the Commission was able to adapt to the new situation thanks to the deep-rooted interest of its staff in nature conservation.

The thesis presents a first account of the development of British public relations in the twentieth century. The focus is on the whether British public relations has managed to 'professionalise'. To a large degree, the story is one of failure, despite the exponential growth of the field. The history of this puzzling contradiction is explored in detail, drawing on previously untapped archives and extensive oral history interviews. The thesis argues that this apparent paradox is explained by the inability of the would-be professional body to establish control over public relations practice. Thus, one of the key features of the thesis is its presentation of a counter-history of the Institute of Public Relations to that body's own selfunderstanding. Turning to the overall development and growth of the occupation, the thesis argues that one of the most significant features of British developments, especially in the first half of the twentieth century, was the large role played by local and central governments and the relatively small contribution of the private sector. Key aspects of British government propaganda in both wartime and peacetime are highlighted and also include activities focused on policies of de-colonisation and economic intervention. The contribution of the British Film Documentary Movement and the collaboration between its leader, John Grierson, and the Secretary of the Empire Marketing Board (EMB), Sir Stephen Tallents, is presented as being of considerable significance, particularly in terms of the development of public relations ideology. The discourse and actions of key figures within the public relations industry are also foregrounded in the overall analysis. Themes include relationships between the public relations industry, the media and politics, ethics, and the ultimately vain attempts of the industry to establish the widespread legitimacy necessary for professional status.

In this thesis I explore instances of literary engagement with the major transitions in national political formation in Malawi and South Africa; both countries moved from a totalitarian regime to democratic government, brought in by multi-party elections, in 1994. Most analyses of the wave of democratic transitions in Southern Africa are either historical, political or economic in their approach. The shift of political power from one constituency to another also requires another kind of study, of the impact of the political changes on lived experience through an analysis of people's creative expression. The artistic expressions of the experi nce of change are at times strikingly similar in the two countries, especially how artists imagine newness and simultaneously negotiate a past which was subject to repression. Literature is important in this political process, for it has a licence to reinterpret conventional representations and dominant narratives, often through fictionalising and creating new imaginative possibilities. I consider whether literary production in Malawi and South Africa is comparable in the light of this idea, despite the obvious differences in political configuration, geographic factors and levels of industrialisation and urbanisation, and ask whether political transition is a legitimate point of departure for interpreting literature. In the process I seek to identify similarities, and even overt influences or alliances between the literary practices in Malawi and South Africa during and since the transition. I analyse a wide variety of literary forms, some of which may transgress conventional definitions of 'literature'. Examples include the reader-contributions sent in to a newspaper's literary pages by its readers and the two historical accounts of women's experience. I discuss the porous distinction between fiction and history, realism and magic realism, as well as the subjective distinctions between formal and popular literature. The ambiguity of the title of my thesis therefore conveys the fact that the more established modes of literary interpretation are themselves also currently in transition. My intention here is not to argue what kind of literature is good or bad, valuable or trivial, but to discuss and interpret contextually the kinds of literature which are being produced and published. Chapter 1 of my thesis discussesth e work of JackM apanje and Nadine Gordimer, two 'veterans' of censorship under their respective regimes, suggesting how their writing has changed with freedom of expression. With the transition came experimentation and a wave of writing on fantastical, magical and irrational subjects. The writers discussed in Chapter 2 serve as a contrast to the engaged realism of Gordimer and to some extent, Mapanje. Steve Chimombo, Lesego Rampolokeng, Seitlhamo Motsapi and Zakes Mda convey a burlesque, transgressive style, which I discuss, drawing on Bakhtin, under the eading 'carnivalesque'. Chapter 3's emphasis on newspaper literature from Malawi reflects the importance of the form in contrast to South Africa where popular writing largely finds its main outlet in literary journals and magazines rather than in daily newspapers. Chapters 4 and 5 are related in their considerations of memory and searches for truth. In Chapter 4 Antjie Krog and Emily Mkamanga challenge the distinction between literary and factual chronicle in their woman-centred accounts of the past. The final chapter discusses two texts that are overtly literary, yet function in a mode of mourning and reflection, returning from the bustle of the present moment to a continuing, necessary reflection of the past which defines the new present. I conclude by suggesting that the comparative analysis is viable and enriching and that this study of literature from societies in transition demonstrates how poetry and fiction tell stories of history.

D.Phil. / The purpose of this study is to investigate the situation of the white labourer in the secondary industries during the years 1924 to 1933 on the Witwatersrand. This research is, however, not limited to working conditions such as wages, working hours and physical circumstances, but it also takes a look at the daily living conditions of the labourer. In the first place the study focuses on the secondary industries as milieu within which the labourer functioned. The development and growth of the secondary industries were to a large extent inspired and encouraged by the First World War, the mining industry and also urbanisation. These factors led to certain demands on the secondary industries that had to be met. The above factors not only contributed to increased production and: markets, but, also created much needed job opportunities for the inhabitants of the Witwatersrand. During and after the war the industrial growth was to a large extent without direction. The labourer also had only the labour union which he could appeal to. To provide the necessary order and direction, important legislation had been introduced since 1918 to serve as framework within which employer and employee could act. When the Pact Government assumed power in 1924 industrial growth was therefore not only further stimulated, but the government made a conscious effort to eliminate problems between employer and employee. Then a look is taken at the men, women and youth labourers.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts in Fine Arts. / This dissertation investigates a particular use of repetition (and `quotation`) in the artistic method of Robert Hodgins, and the pedagogical significance of this method for the author. (Abbreviation abstract) / AC2017

This study is an investigation of the life and work of émigré artists who arrived in Great Britain as refugees after the 1956 revolution in Hungary and after the crushing of the Prague Spring in 1968. The artists selected for examination represent different aspects of cultural production and range from painters through graphic artists and designers to film-makers. The work of these artists is discussed in the wider cultural, social and political context of Cold War Europe. The human aspect, that is, the way in which exile affected individual artists and their lives and altered their perception and artistic output, is a central thread of the thesis. Other key issues that are considered include: the relationship between art and politics, exile and identity, cultural exchange and issues of communication with a foreign audience. The main argument is based on the analysis of selected artworks created in exile and the thesis is structured around eight case studies which explore specific aspects of the uprooted experience in the context of artistic creativity in exile. The major themes which the case studies focus on are: questions of identity and loss in the films of Robert Vas, the feeling of dislocation and alienation in György Gordon’s self portraits, the problems of artistic acceptance in the context of the career of cartoonist Edma, the transposition of Hungarian landscape painting traditions into English art by Gyula Sajo, the origins and artistic benefits of Josef Koudelka’s wandering existence, forms of Czech Functionalism in Eva Jiricna’s architectural designs, nostalgia and memory in the paintings of Jiri Borsky and Jan Mladovsky’s conceptual explorations of Eastern and Western cultural identities. The case studies are used to identify common artistic, philosophical and theoretical threads which connect the visual responses of the examined artists to the wider subject of art in exile.

<div>This study analyzes eleven collections created, saved, and preserved by rural Iowa women, during the middle of the twentieth-century to interpret change in the experience of rural American women, and consider their role in the preservation of historical evidence. Analysis of privately-held and institutional collections of calendars, journals, scrapbooks, notebooks, and club meeting records provides details of farm life, rural communities in transition, and the way collection creators conceptualized and enacted the identity of rural womanhood. In making decisions about which events to write down in a journal or clip-and-save from the local newspaper, these women “performed archivalness” in preserving their experience for family and community members and scholars. </div><div>The women who created the collections considered in this study experienced a rural landscape altered by the continuation and aftermath of agricultural specialization, mechanization, and capital consolidation. These changes altered rural community systems, economies, and institutions reshaping the experience of rural womanhood, as women upheld and adjusted the norms and values that defined the rural way of life. This study takes a three-part approach to considering the eleven collections as case studies. Chapter two analyzes five of the collections as unconventional forms of autobiographical writing, finding that nowhere else were women truer to themselves and their experiences than in their daily writing. In journals or on calendars, these women wrote their life stories by recording the daily details of work, motherhood, and marriage, and occasionally providing subtle commentary on local and national events. Changes in women’s work, education, responsibilities in marriage and motherhood, and involvement in public life and civic affairs happened in gradual and rapid ways during the middle of the twentieth-century. The third chapter in this study analyzes the collections of three women who used their writing to document, prescribe, and promote notions of rural womanhood during this time of change. Chapter four provides a meditation on the relationship between evidence and history by examining the ways in which three women performed archivalness in creating their collections. Consideration of the means by which the collections have been saved, provides insight into the importance of everyday individuals in the preservation of historical evidence. </div><div><br></div>

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My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture. Chapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer's Burger's Daughter(1979), and Doris Lessing's The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan's Saturday (2006). Finally, Chapter 4 examines how Don DeLillo's Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception. By setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.

二戰後，歐洲歌劇院（尤其是德國歌劇院）興起了一場歌劇製作的革命。新一代歌劇導演往往不再遵循作曲家的原意, 而以當下的視角重新審視並闡釋作曲家的文本。人們因而將此類歌劇製作稱為“導演制歌劇(Regieoper)。筆者認為，導演制歌劇脫胎于民主德國的先鋒派戲劇製作。在導演制歌劇中，歌劇導演不僅顛覆了歌劇文本的原意，更試圖通過歌劇製作來反思整個西方歌劇的傳統。 / 本文以哈瑞·庫普夫(Harry Kupfer)1989 執導的格魯克(Christoph WillibaldGluck)歌劇《奧菲歐與尤麗蒂契》(Orfeo ed Euridice)與卡特琳娜·瓦格納(Katharina Wagner)2007 年執導的瓦格納(Richard Wagner)歌劇《紐倫堡的名歌手》(Die Meistersinger von Nürnberg)為例，展示“導演制歌劇“導演對當代歌劇運作機制(operatic institution)的質疑。《奧菲歐與尤麗蒂契》與《紐倫堡的名歌手》的原作皆為“元歌劇“ (“meta-operas“)，兩位作曲家格魯克與理查·瓦格納通過劇中的人物和情節，探索音樂與歌劇創作的美學本質。兩位導演沒有因循原作者的觀點。相反，他們的製作類似於“元製作“(“meta-productions“)，籍由大量改動作曲家的文本，反思當代歌劇運作機制的美學屬性和政治功能。哈瑞·庫普夫的《奧菲歐與尤麗蒂契》表達了當代古典音樂演出中，音樂家個人情感表達與公眾媚俗品味之間的矛盾。卡特琳娜·瓦格納的版本則借用了前人的文本探討歌劇製作與政治的關聯。 / 本文分為四個章節。第一章梳理了當前學界對“導演制歌劇“的研究和討論。第二章與第三章分別聚焦哈瑞·庫普夫與卡特琳娜·瓦格納的兩部“導演制歌劇“。由此，筆者在第四章中指出“導演制歌劇“具有強烈的自我批判傾向，與二戰後歐洲盛行的文化價值重估思潮息息相關。 / Regieoper (“director’s opera“) refers to a staging practice in postwar European (especially German) opera houses. Evolved from East German avant-garde theatrical productions, Regieoper de-familiarizes canonical operas with drastic changes to the work’s original settings; at the same time, it often presents additional self-reflexive narratives that question the underlying motivations of the operatic institution. / In this study, I examine two Regieoper productions as directors’ critiques of the operatic institution, namely Harry Kupfer’s production of Christoph Willibald Gluck’s Orfeo ed Euridice for the Komische Oper Berlin (1989) and Katharina Wagner’s production of Richard Wagner’s Die Meistersinger von Nürnberg for the Bayreuth Music Festival (2007). Both C.W. Gluck and R. Wagner’s original operas are “meta-operas“, in which the composers reflect on the role and nature of music. Harry Kupfer’s and Katharina Wagner’s “meta-productions“, in turn, question and critique Gluck’s and R. Wagner’s aesthetic arguments in relation to contemporary social and cultural contexts. Harry Kupfer questions whether sincere artistic expression can survive within contemporary classical music institutions, while, Katharina Wagner raises moral questions about the political role of the operatic canon. / The study is divided into four chapters. It begins with a theoretical and historical overview of Regieoper, examining it in the light of recent musicological discussions about the “work-concept“, “idealized performance“, and the “textuality of opera“. Chapters Two and Three are detailed analyses of the two “meta-productions“. To conclude, I contend that these two case studies illustrate Regieoper’s critical engagement with meta-issues in contemporary opera production, and argue that this self-reflexive attitude is related to the Zeitgeist of postwar Europe. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Xu, Lufan. / "December 2012." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 79-89). / Abstracts also in Chinese. / English Abstract --- p.i / Chinese Abstract --- p.ii / Acknowledgements --- p.iii / Table of Contents --- p.v / Table of Figures --- p.vi / CHAPTER ONE: / Introduction --- p.1 / Opera in Performance --- p.1 / Regieoper’s Challenges: Origins and Motivations --- p.11 / The Academic Response to Regieoper --- p.19 / Opera Texts and Production Texts --- p.21 / Meta-operas and Meta-productions --- p.23 / CHAPTER TWO: / Orpheus’s Splitting Images: Harry Kupfer’s Production of Orfeo ed Euridice --- p.29 / Orphic Operas: Demonstrations of Music’s Powers --- p.29 / Gluck and Calzabigi’s Ideal Eighteenth-Century Musician --- p.32 / Orpheus’s Changing Images --- p.36 / Harry Kupfer’s Modern Musician --- p.39 / CHAPTER THREE: / “Why Regieoper?“: Katharina Wagner’s Production of Die Meistersinger von Nürnberg --- p.52 / The Wagnerian Legacy: From Richard to Katharina --- p.52 / First Argument: Werktreue vs. Avant-Gardism --- p.56 / Second Argument: Spectatorship and Opera Production --- p.62 / Third Argument: The Arts and Politics --- p.67 / Re-writing Myths with Regieoper --- p.71 / CHAPTER FOUR: / Conclusion --- p.73 / Bibliography --- p.79