The use of writers room in making of Czech television series, is the

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

This thesis expounds the theoretical underpinnings of problem-solving approach to conflict resolution. It also criticizes the traditional state-centric approach to conflict resolution being followed by the Inter Governmental Authority on Development (IGAD) in the Sudanese civil war. IGAD was initially known as Inter Governmental Authority on Drought and Desertification (IGADD), but was renamed IGAD in 1996. Its objectives were reformulated to give priority to conflict prevention, resolution, and management, and humanitarian affairs. It is stipulated in the thesis that IGAD faces problems that need attention if the Sudanese civil war is to be resolved. A key problem is that while IGAD's objectives were reformulated to give priority to conflict resolution, IGAD's management structure has remained the same. The management structure is state-centric and lacks neutrality, which is a very important ingredient in deep-rooted social conflict resolution. The management structure, which was initially based on combating drought and desertification, was not restructured to conform to the realities of a problem solving approach to conflict resolution. The committee that was formed to look into the Sudanese conflict is composed of states in dispute with Sudan. The other structural problem cited in the thesis is that the IGAD peace process is cumbersome and does not include all aggrieved parties. The meetings involve heads of state, ministers, ambassadors and other government representatives. The peace process is not inclusive of other important players such as other rebel movements. This thesis concludes that: 1. there is a need for peace keeping forces from neutral African Union (AU) member states; 2. conflict resolution specialists are deployed in the region whose main task would be to assist the belligerent groups to reach a common understanding of their problems; 3. the United Nations (UN) acts proactively to create international awareness to the Sudanese problem.

In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.

In recent years, few laws have had greater impact on public education than Title IX of the Education Amendments of 1972. As a result of this legislation, participation levels of female athletes have risen dramatically. Conducted in the Texas Education Agency's Region XI, this study sought to ascertain the perceptions of high school principals, the lead coaches of male athletes, and the lead coaches of female athletes with regard to their schools' compliance with the components of Title IX. The study centered on the results of a survey instrument that included twenty Likert-scale questions as well as several demographic questions. The research questions sought to determine: (1) respondents' overall perception of compliance; (2) any differences in perceptions of compliance based upon the role of the individual; (3) any differences in perceptions based upon the percentage of students qualifying for free and reduced lunch; (4) any differences based upon the state classification of the schools; (5) any differences based upon the gender of respondents; (6) whether complaints filed via OCR result in a perception of increased compliance; and (7) the program component areas in which respondents view their schools to be most compliant. Descriptive and causal-comparative methods were used to analyze the data. The results revealed that school leaders in north central Texas public high schools perceived a high degree of compliance of their schools with the requirements of Title IX regardless of their role. A descriptive analysis of the responses based upon respondent role yielded slight differences between coaches of males and females. An ANOVA of responses considering the variables of free and reduced lunch as well as state classification did not yield a statistical significance in terms of perceptions of compliance. Although the mean scores of female respondents were slightly lower than males, the research did not yield statistically significant differences based upon gender. The study was inconclusive in terms of whether districts that have experienced formal Title IX complaints are more compliant with Title IX. Finally, the study indicated that school leaders should focus more attention on the areas of coaching assignment and compensation as well as publicity as they seek to comply with Title IX.

Contemporary transnational literature presents a unique interpretive problem, due to new methods of language and culture negotiation in the information age. The resulting condition, transnational compositionality, is evidenced by specific linguistic artifacts; to illustrate this I use three American novels as a case study: Nowhere Man by Aleksandar Hemon, Absurdistan by Gary Shteyngart, and The Brief Wondrous Life of Oscar Wao by Junot Díaz. By extension, many conventional literary elements are changed in the transnational since modernity: satire is no longer a lampooning of cultures but a questioning of the methods by which humans blend cultures together; similarly, complex symbolic constructions may no longer be taken at face value, for they now communicate more about cultural identity processes than static ideologies. If scholars are to achieve adequate interpretations of these elements, we must consider the global framework that has so intimately shaped them in the twenty-first century.

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Strategic upheavals, such as the emergence or disappearance of geopolitical threats or radical technological changes, generate profound uncertainty and intense debate about a state’s future strategy. How do decisionmakers reexamine and revise strategy amidst these upheavals? Existing theories of strategic change recognize the significance of upheavals, but raise questions about the mechanisms by which decisionmakers embrace or discard new ideas about strategy. contend that understanding strategic change requires attention to narratives––stories about the past and present of international politics that suggest legitimate pathways for future action. I develop a theory of narrative emergence, positing that after upheavals, national security elites compete to mobilize support for their vision of future policy. They use public and private debates to legitimate their positions and build domestic coalitions. I identify four rhetorical strategies––persuasion, rhetorical coercion, co-optation, and transgression––that have different effects in mobilizing or demobilizing coalitions. If one coalition builds cross-cutting support, this can entrench their rhetoric in public discourse over time as part of a dominant narrative that shapes subsequent strategy debates through constraining and enabling effects. I evaluate this theory in the context of two cases of strategic upheaval in the United States, focusing on the puzzles of U.S. nuclear strategy: the arrival of the atomic age and the achievement of strategic parity between the U.S. and Soviet nuclear arsenals. In the first case, I use qualitative and text analysis to track the rise of a dominant narrative about nuclear weapons during the early Cold War. In this contradictory narrative which I label “Waging Deterrence,” the bomb was both an unusable, revolutionary deterrent and an essential tool for fighting and winning the next war. I draw on archival sources to trace the emergence of this narrative during the Truman and Eisenhower administrations, showing this narrative was not predetermined, but contingent on domestic debates as speakers––Presidents, civilian advisors, military elites, and others––used rhetorical strategies in public and private to co-opt and silence opponents. This narrative constrained the possibilities for strategic revision during the later Eisenhower and Kennedy administrations. In the second case, parity’s mutual vulnerability upended this narrative; narratives remained unsettled until the Carter administration, where domestic legitimation contests facilitated the return of Waging Deterrence to justify competitive nuclear postures that had a lasting impact on U.S. nuclear strategy. The project offers a novel mechanism to understand strategic change and highlights the discursive and domestic politics of nuclear strategy, showing that foundational U.S. deterrence concepts emerged in part from domestic legitimation contests that rendered other options illegitimate. It also offers insights into policy debates about the future of nuclear and grand strategy amidst contemporary upheavals, suggesting contested processes of narrative construction will be central to shaping future strategy.

This dissertation examines Soviet and Polish science fiction from the 1960s to 1980s as a political genre that investigates power and society. The problem of alterity is central for this genre: it is ungovernable because it is incomprehensible. Science fiction of this kind explores the possibilities and impossibilities of living with the Other that can impact social organization dramatically and lethally while that Other cannot be impacted in return. Living peacefully with such alterity is the fundamental premise of pluralism as a principle of social organization, according to the conclusions of the study. The dissertation explores alterity in science fiction by Ivan Efremov (1908–1972), Arkady and Boris Strugatsky (1925–1991 and 1933–2012), Stanisław Lem (1921–2006), and Volodymyr Savchenko (1933–2005). My goal is to reveal in their works a transformative epistemological shift that had manifested itself through the tropes of alterity. Among these tropes the dissertation highlights aliens and alien civilizations, artificial intelligence, anisotropic universe, distant planets endowed with unique natural attributes, the more abstract unknown, and non-human elements running out-of-control within human species. I also examine specifically science-fictional notions such as the bull and progressor, which represent the intelligentsia’s relations with power and the masses. The analyzed literary worlds also represent their authors’ views of alternative societal organization, ruled by the powerful alterity such as a mega-computer or alien super-intelligence. Another important trope of alterity is based upon a simultaneous performance of contradictory competing logics that create an effect known as parallax: the reader may interpret the same characters and/or stories in multiple, mutually incompatible, ways. Beyond avoiding censorship, these tropes set the stage for the authors’ utopias, in which the Other appears as an impenetrable alterity that affects those who encounter it. For these writers, alterity serves as the tool for problematizing progress, as it was imagined after World War II by the majority of political elites under socialism and in the West. I suggest that their science fiction contributed, among many other factors, to the lexicon and the imaginary of a cohort of political dissidents and Communist Party functionaries alike who translated science-fictional themes into political science terms to shape Perestroika’s discourse. The dissertation, thus, establishes a historical connection between Soviet and Polish science fiction of the post-Stalin period and the ways in which democracy was discursively constructed in Russia, Ukraine, Poland, and other former socialist nations.