This study concerns the contributions of Major Albert Sobey and his educational leadership during the development of the engineering cooperative education program that became the foundation for the General Motors Institute in Flint, Michigan. This study also examines Albert Sobey's contributions to the emergence of industrial cooperative education in America over the past seventy years.

Although the theme of madness has been of concern to writers of all ages, there is a perceptible change in the madness of the dramatic character of the twentieth century from that of the past. This thesis is an attempt to analyse that phenomenon as it is manifested in a number of characters of twentieth century drama. The introduction contains a brief outline of the history of madness in society, and a general discussion as to how it is reflected in literature, from Biblical times to the present. It is found that writers make little attempt to explain the madness of a literary character, other than by attributing to him specific personal reasons for his behaviour; i.e. disappointment in love. The characters of twentieth century drama however, are found to be not "mad" in the same way; their madness is linked to their relationship with the rest of society. Thus, a character who considers the rest of society mad, and acts in a way which counteracts that society, is considered mad by those around him. However, to the audience or reader, who are made to recognize the motives for his behaviour, the character is not necessarily mad, and in fact it may be, the playwright implies, that the people who accept the values of the society as absolute who are "mad." By discussing principally "madmen" of four recent dramas: Romulus der Große (1956) and Die Physiker (I962) by Friedrich Düirrenmatt, Graf Öderland (final version 196l) by Max Frisch, and Albert Camus' Caligula (1944), as well as making peripheral references to other dramas in the Conclusion, definite patterns of behaviour emerge. The "madman" is judged in ways which are not understood by his contemporaries. He is generally more intelligent, more perceptive than the other members of his society, and has perceived a truth which is hidden from others. In revolting against a society whose values he cannot accept, he is making what he considers a positive step towards improving in some way the quality of life. (In this respect he is perhaps different from "madmen" of previous literature who are presented as having chosen to opt out.) In each case the revolt fails, leading to chaos or a reimposition of the old system. Despite the failure of the revolt to achieve permanent change, each hero is found to be an idealist oblivious to the reality around him rather than a "madman." The breakdown of traditionally accepted norms such as religion, has meant that in the twentieth century there are no absolute standards of behaviour. Sanity thus becomes a relative concept. This thesis attempts to explore that nebulous and shifting area between madness and sanity as it is reflected in modern drama. / Arts, Faculty of / English, Department of / Graduate

Rooted in his painfully fractured identity as an Arab-speaking Jew in the (then) French colonial Tunisia, Albert Memmi' s novels and essays evolve in a single autobiographical space. The author will explore and remodel this space from different angles in an attempt to resolve a double predicament through his writing, leading to a progressive (re )construction of the self, which we have called "autography". Memmi's double predicament - his shattered identity and his problematic relation to the Other - is revealed in the analysis of his first two novels (or auto fictions ), La Statue de sel and Agar, where an agonising deconstruction of the self first emerges. The autobiographical and chronological plot of these works is subverted in the third novel, Le Scorpion, where the reconstruction of the self through writing is downplayed and the Other is afforded some measure of alterity, while the writing, both symbolic and playful, becomes therapeutic. The fourth novel, Le Désert, pursues the reconstruction, reasserting the North-African roots of the author's triple identity, but hardly at all its Jewishness. In the last novel, Le Pharaon, the second dimension of the predicament - the relation to the Other - stalls and leaves Memmi' s novel writing in an impasse. This is the subject of the first part of this study. No further novels will be written. However, the essays - examined in the second part ¬starting with Portrait du colonisé, will proliferate, progressively asserting Jewish identity with Portrait d'un Juij and La Liberation du Juij. From the conflictive duo, the work evolves towards the pacific triad of the concept of dependence, where the relation to the Other progresses from oppression to mutual exchange. Henceforth, the dependence relationship will characterise the later essays, including Le Racisme. Through the essays, the omnipresent "I" gradually gives way to the humanist "we", enveloping the reader, who coincides with the Other and becomes the centre of the author's concern. This space granted to the Other is consolidated in writing of an increasingly fragmented nature. The discourse becomes sparse, in an apparent deconstruction of the writing, which, paradoxically, far from signalling a drying up, consummates the autographic project. / Thesis (DLitt (French))--University of Pretoria, 2007. / Modern European Languages / unrestricted

This essay explores how the fictional portrayals of man-before-death in Albert Camus’ The Plague can convey insights related to studies in world views. Its thesis argues that the relationship between the author, the text and the reader provides a dialogue where the author can transmit his or her ideas to the reader whom is given a possibility of interpreting the text in accordance with his or her context. The thesis was conducted by organising a close-reading of three scenes from The Plague by an allegorical type of interpretation (Quadriga) in order to create a dialogue between the novel and contemporary studies of world views and the works of Albert Camus. Altogether, this thesis contributes to show how The Plague’s depictions of death can be used as a world-view document as well as demonstrating how its reader can use it to cope with scenarios in modern society.

Wendt's accomplishments as an artist of Polynesia and positions he held at different universities are presented in Chapter I. This marks the significant contributions he has made in different genres in which he has written, like novels, short stories, and poetry, that make him a major influence in the Pacific. Chapter II analyzes the theoretical framework within the fa'a-Samoa in which a matai (chief) is presented, a revered office filled by respectable individuals. To make this point clear, I present the theoretical groundwork in Appendix A of how an individual becomes a matai. Chapter III explores how Faleasa Osovae, the protagonist of Pouliuli, mirrors Mersault of The Stranger. This points out Camus's influence on Wendt. Chapter IV investigates similarities of behaviors found among Faleasa Osovae, Mersault, and Bazarov of Turgenev's Father's and Sons. It connects Wendt and Camus to nihilism. This philosophical orientation, however, is toned down when a historical figure, Tupua Tamasese, III (Appendix B), is presented in contrast to remind readers about the historical role of a matai in the fa'a-Samoa. Chapter V explores the cognition theory that looks into behaviors of protagonists. Chapter VI is a discussion of the irony of Faleasa Osovae's behavior. Though I offer some explanation for Faleasa's behavior when I draw parallels between him and Mersault of The Stranger and Bazarov of Father's and Sons, which almost gives him justification for behaving like King Lear, it would be improper in Samoan thought to consider Faleasa a cultural artifact of the fa'a-Samoa.

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Syftet med denna undersökning är dels att undersöka existentialistiska och absurdistiska drag i Albert Camus romaner Främlingen och Pesten, dels undersöka hur Camus väljer att beskriva och framställa huvudkaraktärerna i respektive roman, dels analysera existentialismen och absurdismen i anslutning till de båda verken och hur dessa kan användas som redskap för att belysa problematiken kring psykisk ohälsa bland unga. En textanalys tillämpades på två romaner av Albert Camus Främlingen och Pesten. Resultaten visar att romanerna innehåller tankemotiv/drag av existentialismen och absurdismen och att dessa ismer återspeglas i relation till karaktärerna i romanerna. I Pesten skapas i existentialistiska termer en subjektiv och kollektiv mening i meningslösheten, vilket saknas i Främlingen. I Pesten skildras ett positivt exempel på hur man kan hantera livets meningslöshet medan i Främlingen revolterar människan mot det absurda, vilket i sin tur blir en revolt mot samhället, världen och skildras således som något negativt. Därav visar resultatet sammantaget att Pesten i större utsträckning lutar åt existentialismen och att existentialismen i Främlingen hamnar i skuggan av absurdismen. Resultatet visar även att Camus romaner i anslutning till den teoretiska utgångspunkten och skolans breda uppdrag i form av hälsan kan användas didaktiskt som underlag för samtal om psykisk ohälsa.