Digitized by Kansas Correctional Industries

<p>Syftet med denna undersökning är att kartlägga storkonflikten 1909 med fokus på dess orsaker, förlopp och konsekvenser på lokalnivå. För detta har företagsmaterial och fackföreningsmaterial från de mest betydande industrierna i Oskarström, Rydöbruk och Getinge undersökts liksom de aktuella församlingarnas flyttningslängder.</p><p>Resultatet visade att Oskarströms och Rydöbruks industrier blev involverade i storkonflikten 1909 på grund av de aktuella företagens medverkan i Svenska Arbetsgivarföreningen. Majoriteten av arbetarna i Oskarström och Rydöbruk berördes direkt av konflikten. Konflikten mellan arbetarna och arbetsgivarna kunde vara hätsk, framförallt i Oskarström. Konsekvenserna av konflikten var ekonomiska förluster för företagen, nedläggandet av de lokala fackföreningarna samt en ökad emigration och utflyttning från Oskarström.</p>

Syftet med denna undersökning är att kartlägga storkonflikten 1909 med fokus på dess orsaker, förlopp och konsekvenser på lokalnivå. För detta har företagsmaterial och fackföreningsmaterial från de mest betydande industrierna i Oskarström, Rydöbruk och Getinge undersökts liksom de aktuella församlingarnas flyttningslängder. Resultatet visade att Oskarströms och Rydöbruks industrier blev involverade i storkonflikten 1909 på grund av de aktuella företagens medverkan i Svenska Arbetsgivarföreningen. Majoriteten av arbetarna i Oskarström och Rydöbruk berördes direkt av konflikten. Konflikten mellan arbetarna och arbetsgivarna kunde vara hätsk, framförallt i Oskarström. Konsekvenserna av konflikten var ekonomiska förluster för företagen, nedläggandet av de lokala fackföreningarna samt en ökad emigration och utflyttning från Oskarström.

No description available.

The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.

No description available.

The scope and nature of this Thesis excludes at once the possibility of dealing exhaustively with so towering and complex a genius as George Meredith. He is so wholly sui generis that neglect of him involves neglect of nothing else, implies no deficiency of taste, no literary limitation. He cannot be placed. He has no derivation and no tendency; and yet he bridges the gap between the eighteenth and twentieth centuries as though the Victorian era had never been. It has, therefore, been natural to concentrate attention of the man's work itself rather than on its relation to that of contemporary or succeeding craftsmen. Considerations of space have made it necessary to isolate certain of his essential conceptions and salient characteristics. These have been considered analytically. While not claiming real novelty for many of the views set forward, there is a considerable degree, especially in the last two chapters. Needless to say, the portions of Meredith about which the critics are agreed, are much more important than anything "new" that can be said about him. For this reason the aim has been to go to the man's work so far as it was compatible with a moderate array of authority. Originality has been sought by going to origins rather than in eccentricity of opinion.

No description available.

Since it was first published, Gabrielle Roy's third novel, Alexandre Chenevert (The Cashier), has regularly been studied from the so-called "psychological" perspective while the hero's bodily dimension, as revealed through the narrative, has been generally ignored. But figuratively, literally and properly, what can be said about Alexandre's body? The aim of this study is to answer this question in two parts. First, by focussing on the cashier's body illnesses, we establish that his physical suffering is the metaphor of the psychological harm which affects him too, the prostate cancer illustrating his difficulty with oral and written communication. Then, through a semiotic reading of the body seen as a vector of communicative signs, we define the protagonist's behavioural attitude in relationship to other characters in the novel, we isolate the conditions behind the existence of various behaviours and, concurrently, we establish the poetics of the non-verbal. Our analysis reveals that the hero is able to use body language to his advantage, that the narrator shows him under his best light in this regard and that it is by this way, the non-verbal, that Alexandre succeeds in transmitting a message. If spoken words still conceal secrets for the cashier, body language has none. In fact, the character's alienation is confirmed but, for Alexandre, body language is a way to escape it.

Una parcial revaluación póstuma de la obra de Ciro Alegría revela que aunque sobresale por su cultivo tanto del cuento como de la novela, la forma en que el publico y la critica han acogido sus novelas indica que estas son su mayor contribución literaria. En el contenido de sus novelas el tema social constituye su preocupación central y se dirige a la reivindicación de la raza indígena. Hay realismo en su obra tanto por el método creador como por los materiales que emplea. Se observa, sin embargo, que en el tratamiento del indio y la vida comunitaria hay un desvío del realismo hacia el idealismo. Esto responde a su actitud hacia el indio, actitud que se revela al enfatizar los aspectos positivos del indio y su cultura y al asumir el punto de vista del indígena en la narración. Aparte de su pro-indigenismo se destaca el genuino interés del autor en la liberación integral del nombre, sin importar la raza o tipo de opresión que sufra, y de ahí que el humanismo sea una de las características fundamentales de su obra. Al considerar los aspectos formales de sus novelas se encuentra que en muchos casos es evidente la selección del autor en asuntos de técnica con el propósito de servir fines funcionales al tema y mensaje que trata de comunicar. De ese modo el autor fusiona y equilibra la forma con el contenido y produce una obra de valor estético y social. La obra de Alegría ocupa un lugar especial de gran mérito en la literatura que trata del indio y un lugar culminante dentro de la corriente indigenista. Su mensaje, sin embargo, trasciende todas las barreras geográficas y expresa artística-mente los sentimientos de todos los oprimidos en el mundo. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate