Approved for public release; distribution is unlimited. / The September 11th terrorist attacks triggered an unexpected rapprochement between the United States and the Russian Federation. Russia joined the US-led coalition and supported Operation Enduring Freedom. US-Russian collaboration in Afghanistan surpassed most previous efforts in terms of the level of cooperation attained, especially in traditionally inviolable areas such as intelligence-sharing / however, disagreements over the invasion of Iraq confirmed that the US and Russia have not yet achieved a strategic partnership. This study uses Russia's decisions during the war on terrorism to discover the motives driving Russian foreign policy. Analysts offer three dominant rationales regarding Russia's behavior: 1) the desire to balance US unilateralism, 2) to gain support for "anti-terrorist" action in Chechnya, or 3) to advance the nation's economic interests. Each variable is individually assessed to see if expected gains in that sphere covary with Russia's decision to support and potential losses correlate with Russia's decision to oppose the war on terrorism. The study also reveals the true nature of the US-Russian relationship and exposes challenges and future possibilities for US-Russian relations. The last section makes policy recommendations and suggests how to build a stronger USRussian partnership. / Captain, United States Air Force

The title of the creative work is ‘Ugly Lovely'. The 20,000 word critical discussion of the creative piece has no title, other than that it offers a critical consideration of the relationship between the literary composition and contemporary or traditional achievements in the genre. The creative work concerns a taxi driver named Don, living in the south Wales port of Swansea. He finds his life and culture unsatisfying, but is unable, because of his own lack of will and energy, to leave. His passengers, some of whose lives have an orbit beyond the small-ish Welsh city, bring his sense of dissatisfaction into focus. The work follows a sequence of episodes during which the driver meets and reflects on the remarks and actions of subsequent passengers, and considers his own family and life. Structurally, the work takes the form of a story-cycle concerning or emanating from Don or from the passengers in his taxi. The passenger narratives sometimes present complete stories or self-contained episodes, sometimes broken or partial narratives. All episodes stand in relief against the other fractured narrative running through the work, the driver's self-reflection and re-evaluation of the family life and up-bringing. Thus: 1) Taxi stories – involve the characters who step in and out of the taxi. These stories centre upon a cast of characters who enter the driver's working world, but also present to reader the a secondary cast of characters introduced by the passengers, through the stories they tell. The role and status of the driver shifts as the work progresses. At the close of the work, though the driver's future, like the futures of his town and nation, remains unassigned, he approaches it with a firmer sense of purpose (if not direction). 2) Connected family narratives - gradually present fragments from the history and lives of the main figures in the driver's family. Through these frequently conflicting and contesting narratives, the work delivers a number of perspectives on the history of the town in which the family lived and through which the taxi stories now move. These separate narratives are arranged out of linear sequence, in an order which has greater correspondence to their emotional importance, and in response to triggers set within the various passenger narratives. The contesting nature of the family stories raises questions in the reader's mind about which narratives are privileged, and which reliable. As the work progresses, the realisation comes that none of the narratives is privileged, that all may be unreliable and all contest for dominance and primacy in the driver's mind. The critical element In providing a ‘critical consideration of the relationship between the literary composition and contemporary or traditional achievements in the genre', this commentary will present I. a general introduction to the creative work, II. discussion of the narrative form and organisation of the work, comprising: a. consideration of the ways that the work is shaped by modernist concerns and structures, particularly those of the modernist ‘city novel', b. consideration of the way that the work is structured to present a collection of linked and inter-related narratives, broadly referred to as a short-story sequence III. discussion of the extent to which the work can be placed within the canon of Welsh writing in English; in particular: a. the ways in which the work constitutes a recognisable piece of Welsh writing in English and the extent to which it treats the concerns of one of the national literatures b. the ways in which the work makes considered and constructive use of its setting in Swansea.

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Thesis (M.S. in Defense Analysis)--Naval Postgraduate School, December 2003. / Thesis advisor(s): Gordon McCormick, George Lober. Includes bibliographical references (p. 73-80). Also available online.

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Diss. Stockholm : Stockholms universitet, 2005.

Thesis (M.S. in Joint Campaign Planning and Strategy)--Joint Forces Staff College, Joint Advanced Warfighting School, 2006. / "15 April 2006." Electronic version of original print document. Includes bibliographical references (p. 78-87).

Thesis (M.A.)--Northern Michigan University, 2006.

Mongo Beti is the pseudonym of one Alexandre Biyidi, a novelist from the ex-French Cameroun, who wrote the body of his work in the 1950s, before his country gained its independence. His four novels, Ville Cruelle, Le Pauvre Christ de Bomba, Mission Terminee, and Le Roi Miracule together constitute a detailed portrait of life in the Cameroun under colonial rule. In this thesis I have attempted to set forth as clearly as possible Beti's opinions on the actions and philosophies of colonial administrator and Christian missionary alike, and on the effects which these have had upon his fellow-Camerounians. To analyse the justice of his opinions, I have referred to contemporary and more recent criticism of these two facets of Europe's "African adventure." It is my contention that, though mordant in his satire of the Christian religion in Africa, though angrily critical of colonialism's "civilising mission", Beti is never less than honest in his evaluation. Equally honest are his portrayals of his fellow-Africans, for he does not succumb to the temptation to present them as more noble or long-suffering, or as, in any way, other than they are. I have commented upon the intrinsic worth of the novels themselves, and have attempted, briefly, to suggest the position and importance of Beti's brand of social realism in the history of the African novel, indicating my reasons for believing that his work still has relevance today. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate