In this dissertation, research is aimed at the multifaceted concepts of tolerance and abjection, which are becoming increasingly relevant worldwide. The way in which these terms are integrated into literary works is analysed with reference to two novels, namely Santa Gamka (2009) by Eben Venter and Een schitterend gebrek (2003) by Arthur Japin. Both novels include tolerance and abjection as a significant part of their narratives, yet they originate from two different parts of the world, are set in two different periods of time and also differ at historical, social-political and individual levels. In this study, the most signification similarity between the novels is how tolerance and abjection take effect, both independently and together In both novels, tolerance and abjection are, for various reasons, problematised. These reasons include: skin colour, beauty, space and borders. When compared to reality, the manifestation of tolerance and abjection in the novels is also illuminating, because it reflects the actual situations in their respective countries, namely South Africa and The Netherlands. The history and views of tolerance in these two countries can be seen as opposite: South African intolerance is characterised by apartheid, while the praised tolerance of The Netherlands is known worldwide. The analysis of the novels focuses on the influence of tolerance and abjection on the main characters, with the emphasis on the body – not only in terms of physical appearance, but also sexual practises. The study demonstrates that specific spaces, as well as spatial displacement, can be linked directly to tolerance and abjection. In accordance with their spatial migration, the novels show that borders, boundaries and overstepping boundaries are of the utmost importance to the protagonists. Borders that are experienced as limiting and result in rejection and intolerance are often simultaneously a passage to acceptance and tolerance. / MA (Afrikaans en Nederlands), North-West University, Vaal Triangle Campus, 2014

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The purpose of this thesis is to survey Sir Arthur Wing Pinero's treatment and development of the leading women in four of his most highly regarded "social" plays. Their texts will be analyzed carefully in order to arrive at answers to the following questions: What problems do these women confront and how do they attempt to solve them? What are the factors which determine their success or failure? Are their failures due to inherent flaws in character or outside influences? To what extent do these women control their destiny? What common traits do these women possess and in what respects do they differ? What is Pinero's idea of women's role in society, and what is his idea of women in general? What can one learn of Pinero's art from a study of these women?

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

In Sir Thomas Malory’s Le Morte Darthur, King Arthur’s nephew, Sir Gawain, is presented as a troublesome figure whose vengefulness hastens the collapse of Camelot. This characterization is unsurprising in the light of traditional French depictions of Gawain, but it is distinctly at odds with a rival, Anglo-Scottish tradition that depicts him rather differently as a figure of moderation, wise counsel, and courtesy. Indeed, throughout the fourteenth and fifteenth centuries, this version of Gawain was used by a number of romance writers to explore themes of kingship, identity, and regionalism in England and Scotland. This thesis attempts to explain the complexities and contradictions of Gawain’s role in the Middle English and Middle Scots tradition. Chapter one establishes a “northern Gawain type”, drawing on thematic patterns in four northern Gawain romances: The Weddyng of Sir Gawain and Dame Ragnell, The Avowyng of Arthur, Sir Gawain and the Carle of Carlisle, and The Knightly Tale of Golagros and Gawain. Gawain’s popularity in the north, coupled with similarities in characterization and narrative focus, mark him as an important regional figure. This discussion continues in the second chapter, which examines The Awntyrs off Arthure, a poem specifically concerned with Arthurian kingship and imperialism. In Scotland, Gawain is used in romances to explore pertinent contemporary concerns with the recent loss of Scotland’s kings and attitudes towards English expansion. The third chapter considers Gawain’s role in two Scottish romances, particularly, The Knightly Tale of Golagros and Gawain and Lancelot of the Laik. The final two chapters examine Gawain in Sir Gawain and the Green Knight and Sir Thomas Malory’s Le Morte Darthur. By exploring these narratives in the context of the “northern Gawain type,” these chapters offer new insights into Gawain’s literary significance for late medieval writers. This thesis offers a reconsideration of Gawain’s reputation in late medieval Middle English and Middle Scots literature. It suggests both why he was such a useful figure for the authors of the northern and Scottish romances and why Malory ultimately chose to reject their reading of him and followed instead the more critical and dismissive French tradition. The lasting legacy of Malory’s Gawain has influenced his reputation and representation in post-medieval Arthurian literature. Yet, his popularity in the north of England and Scotland during the late Middle Ages, and his symbolic significance in discussions of governance, make him a character deserving of rehabilitation in the pantheon of Arthurian knighthood.

The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.

Realiza un estudio crítico de la doctrina pesimista de Arturo Schopenhauer para analizar las consecuencias que de ella se deducirían en los tres grandes órdenes del espíritu humano: religioso, artístico y económico. En el orden religioso ejerce una influencia perniciosa pues viendo en la naturaleza una odiada madrastra y juzgando al hombre como producto del destino que lo crea para complacerse en sus desgracias, le quita de la conciencia toda fe, del corazón toda esperanza y del alma toda caridad, es decir, lo principios sobre lo que reposa la religión. En el orden artístico considerando los goces de la belleza como patrimonio de reducido número de hombres y afirmando que es mentira el placer y solo son ciertos el dolor y el hastío, niega al arte su benéfica influencia. Por último, en el orden económico, jurídico y político ejerce una acción devastadora pues matando todo impulso, estableciendo el mal como necesidad, negando la ley del progreso y juzgando pésimas todas las formas de gobierno conduce al quietismo, condena todo esfuerzo y lleva al indiferentismo, que en política es la primera causa de aniquilamiento y ruina de las naciones. / Tesis

Informe de Seminario para optar al grado de Licenciado en Filosofía

Tesis para optar al grado de Magíster en Filosofía, mención en Metafísica / Establecidos los marcos pertinentes de la metáfora del teatro y de las marionetas, presente a lo largo de toda la obra de Schopenhauer, el lector se encuentra en condiciones de entrar al teatro de Milán. El acceso de la puerta principal es la crítica orteguiana hecha al idealismo que permite reconocer el singular aspecto del teatro de Milán, distinguiéndose de cualquier otra instancia filosófica o estética donde representarnos metafóricamente el pensamiento del idealismo. Invitación al teatro de Milán, permite situarnos en una localidad filosófica desde donde el mismísimo Schopenhauer ha desarrollado su filosofía. Con respecto a sus pensamientos y escritos filosóficos nos dice: “Surgieron en mí sin mi colaboración, en momentos en los que todo querer estaba, por así decirlo, profundamente adormecido... Escribí sólo lo que se representaba en mí durante esos momentos de conocimiento, despojados por completo de voluntad, siendo yo mero espectador y testigo, y utilizándolo luego para mi obra”. Bien es sabido que las localidades del teatro de Milán nos muestran el sitio de la negación. Sin embargo, he aquí el misterio inaudito, de que la negación de la voluntad de vivir no es un triunfo sobre “el monstruo” de la voluntad, sino el misterio de su autosupresión. De modo que la acción del fugaz “sedante” metafísico bessere Bewusstsein y su posterior despliegue y evolución filosófica al pensamiento de la negación de la voluntad de vivir, posible gracias al descubrimiento de la dimensión espiritual de la India, termina siendo igualmente un acto libre de voluntad. Por esta razón, las localidades del teatro de Milán no pretende aludir solamente a una instancia filosófica sino también estética sin implicación de esa seriedad seca y segadora. Schopenhauer ama el arte contra la voluntad de vivir, como signo en el que se manifiesta la fatiga y el dolor del mundo, espectáculo nefasto de lucha feroz que sus formas sostienen entre sí. Puesto que en el escenario no hay ningún ser que no busque su realización aunque sea del modo más oscuro. Ese es el espectáculo que vemos en el escenario desde las localidades y que las Übermarionettes saben que no es más que voluntad. Goce estético, transformación de la vida en juego, una broma pesada que ya no se deja sentir como tal. En el arte la voluntad no ha sido negada, sino que sólo ha perdido un rato su potestad sobre nosotros. Contemplada en el arte, la voluntad que ejerce sus dominios arriba del escenario de todos los tiempos, nos ofrece ahora un “espectáculo elocuente” – “libre de tormentos”, como si ya hubiésemos negado toda voluntad, toda acción, todo proyecto ávido de convertirse en hecho, los cuales versan sobre motivos y encuentran todos una razón suficiente digna de esfuerzo serio para ser realizados. “Lo que de manera casi inevitable nos convierte en personas irrisorias es la seriedad con la que cada vez nos tomamos el presente, un presente cuya apariencia de gravedad parece ineludible. Sólo unos cuantos espíritus grandes lograron escapar de esta situación, dejando de ser así personas irrisorias para convertirse en personas reidoras”. Si bien, la seriedad que permitió llevar a cabo esta función al igual que sus correspondientes motivos resultan en su totalidad plenamente irrisorios, una pequeña tregua de la voluntad permite dimensionar las carcajadas de la misma. Un desvío de lo evidente, cuyo presente deja de ser ineludible, nos devuelve una risa serena. En el más diáfano desinterés una experiencia intemporal, es poseedora de esta sonrisa tenue que nos eleva no sólo a reírnos de nosotros mismos como actores, en cuyos papeles nos mantenemos en el escenario de la vida ocupados todo el tiempo, sino muchísimo más que eso, la sabiduría risueña del actor ausente nos hace reidores de nuestros papeles en las localidades del teatro de Milán, paraje metafórico desde donde fue engendrado El mundo como voluntad y representación, desde donde se intenta la comprensión cordial del mismo y desde donde se reconoce el papel de Schopenhauer de “actor y espectador” a la vez dentro de las localidades del teatro de Milán.

Thesis advisor: Solomon Friedberg / We study a new lifting of automorphic representations using the theta representation ϴ on the 4-fold cover of the symplectic group, $\overline{\Sp}_{2r}(\A)$. This lifting produces the first examples of CAP representations on higher degree metaplectic covering groups. Central to our analysis is the identification of the maximal nilpotent orbit associated to ϴ. We conjecture a natural extension of Arthur's parameterization of the discrete spectrum to $\overline{\Sp}_{2r}(\A)$. Assuming this, we compute the effect of our lift on Arthur parameters and show that the parameter of a representation in the image of the lift is non-tempered. We conclude by relating the lifting to the dimension equation of Ginzburg to predict the first non-trivial lift of a generic cuspidal representation of $\overline{\Sp}_{2r}(\A)$. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Mathematics.