The “Unreal City” of T. S. Eliot’s The Waste Land looms large over the landscape of critical inquiry into the metropolitan character of Anglo-American modernism. Characterized by the disorienting speed and chaos of modern life, the shock of harsh new environments and bewildering technologies, and the isolating and alienating effects of the inhuman urban mob, the city emerges here, so the story goes, as a site of extreme social disintegration and devastating psychic trauma; as a site that generates a textuality of overwhelming dynamism, phantasmagoric distortion, and subjective retreat. This dissertation complicates such conventional understandings of the city in modernism, proposing in place of the “Unreal City” a habitable one—an urban space and literature marked by the salutary everyday practices of city dwellers, the familiar environs of the metropolitan neighborhood, and the variety of literary modes that register such productive and adaptive dwelling processes. Taking seriously Rita Felski’s consideration of the “multiple worlds” of modernity, and thus diverging from the canonical formulations of modern urban experience put forth by the likes of Charles Baudelaire and Walter Benjamin, my work explores the richly ambivalent and ambiguous modernist response to the spatial complexities of the metropolis, drawing on the work of Michel de Certeau, Luce Giard, and Pierre Mayol in the two volumes of The Practice of Everyday Life to attend to the quotidian valences that signal a healthful engagement with the city. I uncover this metropoetics of habitability in the vexed response to the city’s network of interconnected spaces in T. S. Eliot’s Prufrock and Other Observations and The Waste Land; in the attention to the viable dwelling practices of individual urbanites—in contrast to city itself as dominant and dominating character—in John Dos Passos’s Manhattan Transfer; in the routine daily operations on display in James Joyce’s Ulysses—breakfast, for instance, or running an errand; in the ordinary series of moments that constitute the work of everyday life in the familiar cityscape of Virginia Woolf’s Mrs Dalloway; and finally in the broad-ranging depictions of urban life in Jean Rhys’s The Left Bank and Other Stories and Quartet.

American military plans for a war with the British Empire, first discussed in 1919, have received varied treatment since their declassification. the most common theme among historians in their appraisals of WAR PLAN RED is that of an oddity. Lack of a detailed study of Anglo-American relations in the immediate post-First World War years makes a right understanding of the difficult relationship between the United States and Britain after the War problematic. As a result of divergent aims and policies, the United States and Great Britain did not find the diplomatic and social unity so many on both sides of the Atlantic aspired to during and immediately after the First World War. Instead, United States’ civil and military organizations came to see the British Empire as a fierce and potentially dangerous rival, worthy of suspicion, and planned accordingly. Less than a year after the end of the War, internal debates and notes discussed and circulated between the most influential members of the United States Government, coalesced around a premise that became the rationale for WAR PLAN RED. Ample evidence reveals that contrary to the common narrative of “Anglo-American” and “Atlanticist” historians of the past century, the First World War did not forge a new union of spirit between the English-speaking nations. the experiences of the War, instead, engendered American antipathy for the British Empire. Economic and military advisers feared that the British might use their naval power to check American expansion, as they believed it did during the then recent conflict. the first full year of peace witnessed the beginnings of what became WAR PLAN RED. the foundational elements of America’s war plan against the British Empire emerged in reaction to the events of the day. Planners saw Britain as a potentially hostile nation, which might regard the United States’ rise in strength as a threatening challenge to Britain’s historic economic and maritime supremacy.

This study is concerned with the problem of identifying the nature of and the similarities and differences among the attitudes of three ethnic groups (Mexican-Americans, Blacks, and Anglos) toward vocational education.The purposes of the study were threefold. The first was to determine the attitudes toward vocational education that prevail among Mexican-American, Black, and Anglo students who attend a vocational/technical high school. Secondly, the purpose was to determine the attitudes toward vocational education that prevail among Mexican-American, Black, and Anglo students who attend regular academic schools. The third purpose was to compare the attitudes toward vocational education of students who attend a vocational/technical high school with those of students who attend regular academic high schools.

Negli ultimi anni l’autore americano John Edward Williams (1922-1994) è stato riscoperto grazie all’incredibile successo del suo terzo romanzo, "Stoner" (1965), ripubblicato negli Stati Uniti nel 2006 e apparso in Europa tra il 2009 e il 2013. Per molto tempo Williams era stato uno scrittore poco considerato dal pubblico e dalla critica perché la sua prosa misurata ed elegante era in controtendenza rispetto alle forme dominanti nella letteratura americana della seconda metà del Novecento. Oggi egli è apprezzato soprattutto come maestro di stile, ma l’analisi dei suoi tre romanzi principali ("Butcher’s Crossing", "Stoner", "Augustus") rivela anche altri aspetti originali della sua opera. Innanzitutto, Williams sfida le rappresentazioni egemoniche dell’eroismo americano: i suoi protagonisti sono, infatti, caratterizzati dalla capacità di sopportazione, dalla pazienza e dal senso di responsabilità verso il loro lavoro. Inoltre, egli si distanzia dalle narrazioni trionfalistiche della storia statunitense: tracciando la parabola discente dell’impero americano dalla fine dell’Ottocento fino al secondo dopoguerra, i suoi romanzi mostrano come una nazione fondata sulla conquista, la distruzione e le disuguaglianze sociali sia destinata all’autodistruzione. Nel primo capitolo di questa tesi viene tratteggiata la carriera di Williams come romanziere, accademico, critico e poeta, esaminando le sue posizioni letterarie nel contesto culturale degli anni Sessanta e Settanta. I tre capitolo successivi sono invece dedicati a "Butcher’s Crossing" (1960), "Stoner" e "Augustus" (1972), analizzati in relazione ai loro sottogeneri (western, "academic novel" e romanzo storico) e ad alcuni temi che emergono nell’opera di Williams (la relazione tra l’uomo e la natura, l’eredità puritana, la raffigurazione dei personaggi femminili). / In recent years, the American author John Edward Williams (1922–1994) has been rediscovered, thanks to the incredible success of his third novel, "Stoner" (1965), which was republished in the United States in 2006 and appeared in Europe between 2009 and 2013. For a long time, Williams had been neglected as a writer because his restrained and elegant prose was antithetical to the dominant forms of late-twentieth-century American literature. Today he is considered a master of style, but an analysis of his three major novels ("Butcher’s Crossing", "Stoner", and "Augustus") reveals other original elements in his fiction. First, Williams challenges hegemonic representations of American heroism: his protagonists are characterized by endurance, patience, and a sense of responsibility to their jobs. Moreover, Williams distances himself from triumphalist narrations of American history: tracing the descending parable of the American empire from the end of the nineteenth century to the second half of the twentieth century, his novels show that a nation founded on violence, conquest, and social contradictions is bound to destroy itself. In the first chapter of this thesis, I trace Williams’s career as a novelist, academic, critic, and poet, examining his literary positions in the cultural context of the sixties and seventies. The study then proceeds by analyzing "Butcher’s Crossing" (1960), "Stoner", and "Augustus" (1972) in relation to their subgenres (Western, academic novel, and historical novel) and some themes that emerge in Williams’s writing (the relationship between man and nature, the American Puritan heritage, and the representation of female characters).

This thesis explores the continuous British interest in the American Civil War from the war’s end to the late twentieth century and the British utilisation of the conflict at home and in the Atlantic arena. Contributing to the limited, yet burgeoning literature on the subject, this study emphasises the independent agency of both the Civil War and its British interpreters. It thus rejects a simplistic depiction of British adoption of American culture and applies a more sophisticated methodology that accounts for the active, versatile and autonomous British use of complex foreign images. This enables a meaningful analysis of the Civil War’s place and role in modern British culture. The thesis examines the British fascination with the conflict as reflected in four facets: politics, military thought, academe and popular culture. Additionally, it takes a transatlantic perspective and explores how Britons’ view of the United States has influenced their understanding of the Civil War. This study thus provides a first comprehensive and coherent overview as well as a nuanced picture of the American conflict as it travelled across the Atlantic from a historically distanced perspective. The thesis reveals that the Civil War achieved unique prominence in British culture and that this British fascination with the war was part of a greater transatlantic encounter between an epic American affair and sophisticated British interpreters. Accordingly, the two main questions underpinning this study are ‘why were the British particularly interested in the Civil War?’ and, following directly on that path, ‘how did Britons use the war both at home and in the transatlantic sphere?’ Answering these questions further establishes the war’s prominence in British culture and explores the character of the British encounter with the conflict. In so doing, it contributes to our understanding of the Civil War’s global impact and casts another light on Anglo-American relations.

Thesis in partial fulfillment of the requirement for the degree of Master for Philosophy in Community and Development at the University of Stellenbosch / Thesis (MPhil (Sociology and Social Anthropology))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Mining industries significantly influence the societies within which they operate. They have been responsible for causing a wide range of negative environmental and social impacts at local, regional and global levels. Disruption of river flows, degradation of land and forest resources, negative impacts on the livelihoods of local communities near mines and disturbance of traditional lifestyles of indigenous people are some examples. Historically, the mining industry has taken a ‘devil may care’ attitude toward the impacts of its operations, inter alia by operating in areas without social legitimacy, by causing local devastation, and by leaving when an area has been exhausted of its economically valuable resources. Cost benefit language has often been used to justify damage caused in one place by arguing that it is outweighed by overall financial benefits. In recent years however the global mining industry has started to address its social and environmental responsibilities, visible in current debates about social and environmental sustainability. As a result, various mining companies have launched corporate social responsibility (CSR) programmes that tend to focus on local community initiatives as their impact in economic, social and environmental terms, they believe, is felt most at local level. Yet the question remains, can CSR on its own make a substantial contribution to local sustainable community development? The World Business Council for Sustainable Development (WBCSD) defined CSR as “…the continuing commitment by business to behave ethically and contribute to economic development while improving the quality of life of the workforce and their families as well as the local community and society at large...” (WBCSD, 2003). Despite this clear definition, there is still great diversity within the mining sector in perceptions of what CSR constitutes and what its key tenets should be. Without a consistent definition or understanding of CSR and sustainable community development, planned efforts and programmes will do little to contribute to the overall improvement and well-being of the intended beneficiaries. The research focuses on defining sustainable community development and how it relates CSR. It identifies three characteristics of sustainable community development and uses these to assess the CSR programmes of Anglo American Plc, as case study company, to determine whether the company’s programmes have the potential to contribute to the sustainability of the communities associated with its operations. The research results in three main conclusions drawn from the case study – in a phrase that CSR is able under certain conditions to contribute positively to community sustainability. The conclusion also offers a few suggestions regarding ways companies can increase the contribution their CSR programmes make to local sustainable development. / AFRIKAANSE OPSOMMING: Mynbou industrieë het ‘n definitiewe en sigbare impak op die gemeenskappe waar mynbou aktiwiteite bedryf word. Hierdie industieë is verantwoordelik vir ’n groot hoeveelheid negatiewe omgewings- en sosiale impakte op plaaslike, distriks en provinsiale vlak. Die versteuring van tradisionele lewenswyses van inheemse bevolkingsgroepe, natuurlike vloei van riviere, grond en water besoedeling, asook tradisionele bestaans praktyke is almal areas wat negatief deur mynbou industrieë beïvloed is. Die mynbou industrie het deur die geskiedenis nie baie aandag gegee aan die negatiewe impakte wat mynbou aktiwiteite op gemeenskappe het nie. Die positiewe ekonomiese impak is afgespeel en as belangriker en van meer waarde beskou, as die negatiewe sosiale en omgewingsimpakte wat dit veroorsaak. Dit is maar onlangs dat die mynbou industrie begin het om die negatiewe impakte wat mynbou aktiwiteite op gemeenskappe en die omgewing het aan te spreek. Dit is ook ’n onderwerp wat meer prominent geraak het in huidige internasionale debatte rakende volhoubare ontwikkeling en die impak wat mynbou op die volhoubaarheid van die omgewing en sy mense het. Verskeie mynbou maatskappye het korporatiewe sosiale investerings (KSI) programme in plaaslike gemeenskappe begin om as mitigerende aksie vir die negatiewe impakte dien. Die vraag is egter of hierdie programme enigsins sal kan bydrae to die langtermyn volhoubare ontwikkeling in hierdie geaffekteerde gemeenskappe? Die Wêreld Besigheids Forum vir Volhoubare Ontwikkeling beskryf KSI as die voortgesette onderneming deur die besigheidsektor om te alle tye besigheidaktiwiteite op ’n etiese wyse te bedryf om ‘n daadwerklike bydrae tot die ekonomie te lewer en daar deur nie net ’n positiewe impak te hê op die lewens kwaliteit van hul werknemers nie, maar ook die van die plaaslike en ander gemeenskappe. Alhoewel die definisie baie eenvoudig en self-verduidelikend is, is daar nog baie verskillende interpretasies binne die mynbou industrie oor wat presies korporatiewe sosiale investering is en wat die kern aktiwiteite binne die veld moet wees. Sonder ’n konstante definisie en die eenvormige interpretasie daarvan, wat ook die begrip volhoubare gemeenskapsonwikkeling (VGO) insluit, sal initiatiewe en programme wat ten doel het om die lewenskwaliteit van geïdentifiseerde begunstigdes te verbeter, weinig effek hê. Die navorsing fokus op daarop om VGO beter te definieer, asook die verwantskap daarvan met KSI. Dit identifiseer drie kern eienskappe van VGO en gebruik dit as basis om die KSI programme van Anglo American Plc, as gevalle studie maatskappy, te evalueer om te bepaal of die betrokke programme wel ’n bydrae lewer to VGO in die gemeeskappe in en om die maatskappy se myne wat deur die mynbou aktiwiteite beïnvloed word. Die navorsing lewer drie kern gevolgtrekkings vanuit die gevalle studie – KSI onder seker omstandighede kan wel ’n positiewe bydra lewer tot VGO. Die gevolgtrekking word verder toegelig met ’n paar aanbevelings aan maatskappy rakende moontlike aksies om die impak van KSI programme op VGO te vergroot.

Cette thèse défend l’idée que plusieurs auteurs modernistes ont utilisé des concepts centraux à la croyance religieuse traditionnelle afin de préconiser le changement social. Au lieu de soutenir l'hypothèse de la sécularisation, qui prétend que les modernistes ont rejeté la religion en faveur d'une laïcité non contestée, j'argumente en faveur de ce que j'appelle « la spiritualité moderniste, » qui décrie une continuité intégrale des concepts spirituels dans l'agitation de la période moderniste qui a déstabilisée les institutions qui avait auparavant jeté les bases de la société Occidentale. En me basant sur les écrit de Sigmund Freud, William James et Émile Durkheim concernant les fins poursuivis par la religion, je développe cinq concepts centraux de la croyance religieuse que les modernistes ont cherché à resignifier, à savoir la rédemption, la communauté, la sacralité, le spectre, et la liturgie, et, dans chaque cas, j'ai montré comment ces catégories ont été réinterprétées pour traiter des questions considérées comme essentielles au début du vingtième siècle, à savoir ce que l’on identifie aujourd’hui comme le féminisme, l'écologie, la biopolitique, les crises, et le rôle du poète. Le chapitre I se concentre sur la rédemption par le féminin telle qu’on la trouve dans le recueil de vers de H.D. portant sur la Seconde Guerre mondiale, Trilogy (1944-1946), qui projette un certain espoir grâce à un mélange synchrétique de Christianisme, de mythes anciens, d’astrologie, et de psychologie. Mon deuxième chapitre discute de The Grapes of Wrath (1939) de John Steinbeck, qui élargit le rôle de la communauté en avançant une écologie universelle qui concevoit tous les gens comme étant intimement liés entre eux et avec le monde. Le chapitre III traite de la notion du sacré dans The Light in August (1932) de Willam Faulkner et Nightwood (1936) de Djuna Barnes, qui préconisent une foi privatisée qui accentue l'illégitimité des concepts de sacralité et de pollution en élevant des individus qui sont marginalisés biopolitiquement. Le chapitre IV cherche à comprendre le retour des morts, et je soutiens que le topos a été utilisé par les modernistes comme un symbole de crises sociales; le chapitre enquête d'abord sur “The Jolly Corner” (1908) de Henry James, que j'ai lu comme la séquence rêvée d'un homme faisant face à son propre spectre, Ulysses (1922) de James Joyce, où Stephen Dedalus est hanté de façon répétée par le spectre de sa mère, et Mrs. Dalloway (1925) de Virginia Woolf, qui se concentre sur le motif caché de la Fête des Morts. Ma cinquième section traite de la liturgie, la langue poétique utilisée pour les rites religieux, dans la première poésie de Wallace Stevens, qui conçoit le rôle du poète comme une vocation de l'imagination. / This dissertation argues that many modernist writers used concepts central to traditional religious belief in order to urge social change. Against the secularization hypothesis, which posits that the modernists fully jettisoned religion in favour of an unquestioned secularism, I argue for what I term “modernist spirituality,” which identifies an integral continuance of spiritual concepts within the dire turmoil of the modernist period that destabilized the institutions such as an established organized religion that had previously formed the foundations of Western society. Hence, in each of my dissertation chapters, I have looked outside of organized religion to literature to find that spiritual impulse. Building upon the purposes of religion as defined by Sigmund Freud, William James, and Émile Durkheim, I name five concepts central to religious belief that the modernists sought to resignify, namely redemption, community, sacredness, the spectre, and liturgy, and, in each case, I have shown how these categories were reinterpreted to treat issues considered vital in the early twentieth century that would now be identified under the categories of feminism, ecology, biopolitics, crisis, and the role of the poet. The first function of spiritual belief addresses the intertwining of redemption and humanity’s actions within history, and for this reason, Chapter I focuses on redemption through the feminine as seen in H.D.’s book of World War II verse, Trilogy (1944-1946), which offers hope through a syncretistic blend of Christianity, ancient myths, goddess traditions, astrology, and psychology. My second chapter discusses John Steinbeck's The Grapes of Wrath (1939), which enlarges the role of community by positing a universal ecology of holiness that sees all people as connected with one another and with the land. Chapter III treats the notion of the sacred in William Faulkner’s Light in August (1932) and Djuna Barnes’ Nightwood (1936), both of which urge a privatized faith that emphasizes the illegitimacy of concepts of sacredness and pollution by elevating individuals who are marginalized biopolitically. Chapter IV seeks to comprehend the return of the dead in dreams or in visions, and I argue that the topos was used by modernists as a symbol of social crisis; the chapter first investigates Henry James’ “The Jolly Corner” (1908), which I read as a dream sequence of a man facing his own ghost, James Joyce’s Ulysses (1922), wherein Stephen Dedalus is haunted repeatedly by the ghost of his mother, and Virginia Woolf’s Mrs. Dalloway (1925), which is textually ordered by the hidden motif of the Day of the Dead. My fifth section is an epilogue that treats liturgy, the poetic language used for religious rituals, in the early poetry of Wallace Stevens, who revisions the role of the poet as a vocation of the imagination.

Kamil Vystavěl: T. C. Oden's Concept of Pneumatology. Its Presentation and its Comparison with Pneumatologies in Four Dogmatics of the Contemporary Anglo- american Theologians. Summary The thesis deals with five pneumatologies written by angloameric systematic teologians. The aim of the thesis is to present and evaluate T. C. Oden's concept of pneumatology. In the first chapter, there are basic information about Oden and characterization of his theologic approach, called postmodern paleo-orthodoxy. The second chapter introduces to the content of his pneumatology. The following four chapters deal with the pneumatologies written by: James L. Garrett, Shirley C. Guthrie, Robert W. Jenson and Geoffrey Wainwright. The purpose of the chapters is to find specific features of these alternative concepts of pneumatology and to evaluate them by comparison with the Oden's concept. In the end of the thesis, Oden's concept of pneumatology is discussed and evaluated. Keywords Protestant theology of 20th/21th century, anglo-american theology, systematic theology, dogmatics, pneumatology, Holy Spirit, Thomas C. Oden.

This thesis explores the origin and expression of dialectical thought in the life and writings of the American modernist Laura Riding. Within a biographical framework, I trace the steps by which it became the defining characteristic of her poetic, literary and critical works. A few have noted Riding's dialectical manner; none have appreciated its centrality. This is the first detailed study. An introductory outline of the origin and definition of dialectic provides a working theoretical context for the study that follows. Riding was born Laura Reichenthal in New York City, 1901. Her father, a Jewish émigré, was a committed activist for the left and included Riding in his campaigning at a very young age, immersing and educating her in the political and philosophical radicalism thriving in New York's Jewish communities of the era. There she internalised the revolutionary dialectics that would inform her aesthetic practice. Breaking with her father in her teens, she abandoned politics for literature. As Laura Riding - the name she adopted in 1927 and with which her literary writings continue to be associated - she moved to London and began collaborating with Robert Graves, relocating with him to Majorca in 1929. Producing poetry, fiction, criticism and experimental philosophico-literary works, she became a formidable presence within European literary modernism. Many aspects of her work are dialectical. Paradox, inversion and negation are perennial textual features. Key events in her life were also experienced as dialectical. Her insistence upon 'death' as an inverted sigil of unmediated vitality points toward a negatively dialectical mode of thought. In this regard, the theories of Theodor W. Adorno prove invaluable. Adorno provides a unique lexicon of terms - 'constitutive subjectivity', 'administered world', 'true object' - with which to draw out Riding's dialectical subtleties. Reading them alongside Adorno's negatively dialectical theory of modernist art and aesthetic praxis, certain aspects of Riding's writings are illuminated and, in some respects, they correspond. After a suicide attempt in 1929, Riding's perspective changed. Before it, her point of view was positioned within institutionally determined 'reality', and 'truth' beyond it was adumbrated by dialectical means. Afterwards, she believed herself transfigured: the embodiment of immediate, consciously apprehended noumenal objectivity. But the written word remained recalcitrant toward her attempts to inscribe this newfound positive 'truth'. This frustration contributed to her abandonment of poetry at the end of the 1930s. Re-emerging in the 1960s as Laura (Riding) Jackson, her disavowal of poetry and exploration of 'truth-potential' in language utilised dialectical approaches derived from her earlier experiences and writings.

Magister Library and Information Studies - MLIS / Although Resource Description and Access (RDA) has been discussed extensively amongst the ranks of cataloguers internationally, no research on the perceptions of South African cataloguers was available at the time of this research. The aim of this study was to determine how well RDA was faring during the study's timeframe, to give a detailed description regarding cataloguer perceptions within a higher education setting in South Africa. Furthermore, to determine whether the implementation of RDA has overcome most of the limitations that AACR2 had within a digital environment, to identify advantages and/or perceived limitations of RDA as well as to assist cataloguers to adopt and implement the new standard effectively. The study employed a qualitative research design assisted by a phenomenological philosophy to gain insight into how cataloguers experienced the implementation and adoption of RDA by means of two concurrent web-based questionnaires. The study concluded that higher education cataloguing professionals residing in the Western Cape were decidedly positive towards the new cataloguing standard. Although there were some initial reservations, they were overcome to such an extent that ultimately no real limitations were identified, and that RDA has indeed overcome most of the limitations displayed by AACR2. Many advantages of RDA were identified, and participants expressed excitement about the future capabilities of RDA as it continues toward a link-data milieu, making library metadata more easily available.