Thesis (doctoral)--Universität, Hannover, 2004. / Includes bibliographical references (p. 263-275).

Thesis (doctoral)--Universität, Hannover, 2004. / Includes bibliographical references (p. 263-275).

Thesis (M.S.)--Northwestern University, 1934. / Includes bibliographical references (leaves [68-71]).

The theme of this dissertation Anna Sedlmayer's Language and Style is the language and stylistic analysis of some of her chosen works. I tried to cover all her work, so I compare her individual works that were published in the 40th, 60th and 90th years of the 20th century. The dissertation contains the theoretical and practical part. I dedicate the author's life and a short presentation of her works in the theoretical part. The theoretical findings about the functional style of the art literature follow. I focus on the analysis of the individual texts from the view of the phonetic, morphologic, syntactical and lexical linguistic level. I add some concrete examples from the chosen works for image. I tried to summarize Anna Sedlmayer's characteristics of the language and style at the end of my dissertation.

The linking short narratives explored in this study-- Anna Jameson's Winter Studies and Summer Rambles in Canada, Sara Jeannette Duncan's The Pool In the Desert and Mavis Gallant's Home Truths— employ first-person narrators to both comply with and subvert dominant ideas of the gendered female subject. In addition, these representative linking narrative texts demonstrate that choices to do with form, as well as subject and theme, may both support and subvert the discourses of the time and place in which they are written. My exploration of these three representative texts draws from W.H. New's fragmentation theory of short narratives, Gérard Genette's narrative theory of voice and mood, Paul de Man's problematization of generic distinctions between autobiography and fiction, and Julia Kristeva's theory of the speaking subject as text in process and vice versa. Jameson's Romantic "I" uses the miscellany's flexible form of linking short narratives autobiographically to both reify and recuse nineteenth-century genre conventions of travel narrative and the gendered position of women in Europe and Canada. As the Recusant "I," first person narration in Duncan's quartet of stories figures splits not only between female desire and gender codes, but also between creative imagination and conditions of exile. With a psychopoetics of the unsaid, the Remembering "I" of Gallant's linking narratives figures female subjectivity as a process of both psychology and history. These women-authored linking narratives challenge assumptions that first-person narration is univocal, and therefore problematize distinctions between autobiography and fiction. In their uses of the linking narrative form, they also challenge aesthetic criteria that privilege wholeness and unity— of the novel, for example— in concepts of mimesis dominating representations of reality in their respective periods. These first-person linking narratives use the voice of the "I" subversively, telling the doubled position of the female subject in the discourses of genre and gender. / Graduate

Feminism and emancipation at the threshold of the 20th century Anna Řeháková, Vlasta Pittnerová, two case studies This PhD thesis deals with feminism and women's emancipation in Prague at the threshold of the 20th century. This work is a case study, based mainly on the biographical method. It is a concrete contribution to the history of emancipation and women's issues. The aim is to contribute to understanding the development of the women's movement in the Czech region on the border of the 19th and 20th century in a particular situation. Matter of this thesis is conceived as two case studies of two little-known personalities of the women's movement, their life and work today: a teacher and writer Anna Rehakova and writer and publicist Vlasta Pittnerová. The author conducted an analysis of the archival materials, memoirs, and inhe- ritances, the sources of contemporary women's own literary press and publications of both protagonists examined, as well as specialized books on the matter. On the basis of their work author demonstrates the development process in the women's movement, views the women and their fate. All of this, based on an example of life circumstances, attitudes and beliefs, as well as the formation of these two personalities not quite typical, active and taking part in the stream of...

Anna Riwkin fotograferade Elise Ottesen-Jensen i över tre decennier. Uppsatsens syftar till att reda på vad Riwkins fotografier av Ottesen-Jensen visar, hur de använts och hur Ottesen-Jensen tagit form som politisk aktör och subjekt genom dessa fotografier. Genom att undersöka ett material utvalt efter omfattande arkivsök, tidningssök och genomgång av litteratur har en bild av – och berättelse om – Ottesen-Jensen tagit form. Samarbetet med Riwkin har samtidigt synliggjorts och ett dubbelt aktörsskap trätt fram. Berättelsen om Ottesen-Jensen har strukturerats genom ett antal motivtyper som jag benämner talaren, lyssnaren, resenären, pedagogen och ordföranden. Uppsatsen synliggör hur den berättelsen tog form, mottogs i sin samtid, reproduceras och förändras idag. / Anna Riwkin photographed Elise Ottesen-Jensen over three consecutive decades. The aim of the thesis is to examine what Riwkin’s photographs of Ottesen-Jensen portray, how they have been used, and how Ottesen-Jensen is visually produced as a political subject through the same photographs. By examining a material selected through extensive research in personal-, magazine- and newspaper archives, exhibition catalogues and research, an image of – and story about – Ottesen-Jensen has taken shape. In the process, a collaboration and joint agency with Riwkin have materialized. The story about Ottesen-Jensen is presented through the suggested concepts of the talker, the listener, the traveler, the teacher, and the president. The thesis makes visible how that story was shaped and received, as well as how it is reproduced and evolving today.

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No description available.

The purpose of this research was to explore the potential of using LANDSAT MSS data in the study of land use/cover patterns and turbidity relationships within the Lake Anna watershed. Two premises of this research are that a relationship exists between land use/cover patterns and turbidity levels, and that LANDSAT MSS data can be used to study this relationship. Turbidity levels within Lake Anna were estimated by the chromaticity technique used by Munday et al and were correlated to two groups of ground-based data -- surface turbidity levels and the product of the Universal Soil Loss Equation (USLE). Estimated turbidity levels correlated moderately well with surface data, but only a slight relationship could be established between land use/cover patterns and estimated turbidity. Possible explanations for these results were grouped into two categories, practical and conceptual problems. Practical problems were defined as data collection problems and included LANDSAT system and data accuracy problems. Conceptual problems were problems based on theoretical issues of using LANDSAT MSS data to study relationships between land use/cover patterns and turbidity levels. Conceptual problems remained even after the practical problems were solved. The accomplishments of this research included the application of chromaticity analysis to small man-made reservoirs, further exploration of the relationship between land use/cover patterns, and turbidity levels, and extension of LANDSAT MSS data in watershed management. Most importantly, this research exposed some of the limitations in using LANDSAT MSS data to study relationships between land use/cover patterns and turbidity levels. / Master of Science