<p>The Irish immigrants have been an important part of London throughout the centuries. Their presence can be found from the 17^th century and onwards. Initially occupied as seasonal workers in agrarian fields the Irish later found alternative ways of supporting themselves as the Industrial Revolution transformed the whole of England. Despite their vital importance to the construction of what was to be known as "the modern Babylon" the Irish have been victims of both social prejudice and maltreatment. Some historians have imposed a comparison between the Irish in England and the African slaves in the United States. They have viewed the Irish with the spectacles of modern racism and in their presumptions created an unfair image of the relationship of the British and the Irish as the European equivalent of that of the African slaves and the American slave owners. Not content with superimposing the image of "the racist Englishman" solely on the 19^th century, scholars such as L. P Curtis and R. N. Lebow have sought to explain any questionable act committed by the British as a sign of xenophobia towards their Celtic neighbours, whether it be Cromwell’s Irish Campaign in 1649 or the lack of British aid during the Great Famine in Ireland in the 1840s.</p><p>This essay sets out to examine how Irish <em>women</em> were perceived at the Old Bailey Session House in London. Women have always received verdicts of a more lenient character than their male counterparts. It is therefore plausible to suppose that, if Cutis and Lebow are correct in their assumptions, Irish women should receive harsher verdicts and a higher frequency of those committed than those acquitted of crimes in comparison with their British counterparts, which simply is not the case.</p>

The Irish immigrants have been an important part of London throughout the centuries. Their presence can be found from the 17th century and onwards. Initially occupied as seasonal workers in agrarian fields the Irish later found alternative ways of supporting themselves as the Industrial Revolution transformed the whole of England. Despite their vital importance to the construction of what was to be known as "the modern Babylon" the Irish have been victims of both social prejudice and maltreatment. Some historians have imposed a comparison between the Irish in England and the African slaves in the United States. They have viewed the Irish with the spectacles of modern racism and in their presumptions created an unfair image of the relationship of the British and the Irish as the European equivalent of that of the African slaves and the American slave owners. Not content with superimposing the image of "the racist Englishman" solely on the 19th century, scholars such as L. P Curtis and R. N. Lebow have sought to explain any questionable act committed by the British as a sign of xenophobia towards their Celtic neighbours, whether it be Cromwell’s Irish Campaign in 1649 or the lack of British aid during the Great Famine in Ireland in the 1840s. This essay sets out to examine how Irish women were perceived at the Old Bailey Session House in London. Women have always received verdicts of a more lenient character than their male counterparts. It is therefore plausible to suppose that, if Cutis and Lebow are correct in their assumptions, Irish women should receive harsher verdicts and a higher frequency of those committed than those acquitted of crimes in comparison with their British counterparts, which simply is not the case.

A presente dissertação teve por objetivo analisar o comportamento de misturas asfálticas modificadas, pelo processo seco, com o copolímero etileno acetato de vinila (EVA), resíduo sólido descartado pela indústria calçadista. Em razão das características do EVA, acredita-se que ele possa melhorar as características mecânicas de misturas asfálticas e a resistência ao desgaste. A maioria dos pesquisadores tem direcionado seus esforços em estudos de misturas asfálticas modificadas pelo processo úmido, porém, devido à natureza do resíduo analisado neste trabalho, optou-se pelo processo seco, que demanda menos energia por não necessitar de moagem do material. A pesquisa compreendeu o estudo de amostras de misturas asfálticas não envelhecidas e com envelhecimento de duas e quatro horas em estufa, com moldagem de corpos-de-prova para realização dos ensaios de resistência à tração por compressão diametral estática, módulo de resiliência por compressão diametral, fluência por compressão uniaxial estática e dinâmica, vida de fadiga e desgaste por abrasão (ensaio Cantabro). Os resultados mostram que a utilização deste resíduo aumentou a resistência das misturas à fadiga e ao desgaste de forma significativa, porém as misturas tornaram-se mais susceptíveis à deformação permanente. O tempo de envelhecimento de curto prazo se mostrou importante, pois aumentou a resistência das misturas à fadiga e à deformação permanente. / The main purpose of the present master thesis was to analyze the behavior of modified hot-mix asphalt, through the dry process, with the copolymer ethylene vinyl acetate (EVA) discarded by the footwear industry. Since the EVA characteristics, it is believed that it can improve hot-mix asphalt mechanic characteristics and the wear and tear resistance. Most of the researchers have been addressing efforts in studies on modified hot-mix asphalt by the wet process, however, due to the nature of the solid residue analyzed in this work, the dry process will demand less energy for not needing of grinding. The research evolved the study of samples of asphalt mixtures not aged and with aging of two and four hours in oven, submitted to indirect tension test, resilient modulus, static and dynamic creep, fatigue life and loss due to abrasion (Cantabro test). The results show that the use of this residue increased the resistance of the mixtures to the fatigue and loss of mass due to abrasion, however the mixtures became more susceptible to the permanent deformation. The short-time aging was shown important, because it increased the resistance of the mixtures to the fatigue and the permanent deformation.

Previous studies of Bank Note forgery in England during the Bank Restriction Period have adopted a highly institutional focus. Thus, much is known about the role played by both the Bank of England and the workings of the criminal justice system in combating both forgers and forged note utterers. The question of how the new system of small denomination Bank Notes impacted upon the day to day lives and understandings of the people that used them has received far less attention. The actual means by which Bank Notes were themselves forged has also been overlooked. This has led to a somewhat two-dimensional view of these notes as material objects. This thesis will engage with common mentalities and perceptions, seeking to write a 'new history from below' of both Bank Notes and their forgery in this period. Its primary aims will be to explore the question of why the English people were so easily imposed upon by forged Bank Notes; the various means by which forged notes could be constructed; and what an analysis of both of these points can tell us about economic and social understandings of non-elite people at this time. It will be argued that by studying instances in which small denomination Bank Notes were routinely exchanged, we can highlight a significant dichotomy of understanding in a society that was starting to engage with a new culture of promise based fiduciary paper money, yet was still deeply rooted in early-modern notions of paper instruments as objects of personal credit and debt. The thesis will show that heavy exposure to Bank Notes at this time clearly equipped some contemporaries with their own personalised sets of aesthetic and material &quot;standards&quot;, against which the &quot;goodness&quot; of any monetary instrument with which they were presented would be compared. Others continued to examine the material aspect of Bank Notes via a direct comparison or consultation with others. Neither approach was always successful and indeed whatever method was adopted, the common occurrence of the materials and technologies required to construct a credible imitation of a Bank Note meant that it was not just illiterate persons that were susceptible to being deceived. Even a reading of the Bank Note's literate text failed to provide sufficient defence against the activities of the forger.

During the eighteen century there was a significant growth in patchwork materially and linguistically. It was the century when patchwork was stitched at all levels of society and has been identified as the time when patchwork moved out from the small domestic world of decorative sewing into the wider public sphere, leaving behind other needlework as it became embedded in the language and writing of the period. This research examines the social and cultural contexts relating to the making of patchwork in the long eighteenth century and in doing so contributes to the story of women and their material lives in the period. Noted for its longevity, surviving as a widespread practice across the century, patchwork was a democratic needlework that was practiced by any woman capable of stitching a variety of fabric pieces together to make a larger whole. A widespread understanding of the term and familiarity with the practice enabled it to be employed successfully in the literal and figurative language of the period. Patchwork was heralded as a fashionable activity in the early eighteenth century, but was later used to represent the ideal of the moral and capable housewife, devoted to her sewing skills and thrifty in her practice. The figurative style of the period allowed the simultaneous use of the word in differing ways so that patchwork was used both positively and negatively in literature, drama, critical review, political debate and theoretical discourse.

Thesis (D. Min.)--Dallas Theological Seminary, 2000. / Includes abstract. Includes bibliographical references (leaves 250-263).

This dissertation examines three plays by South African theatre practitioner Brett Bailey as / Thesis (M.A.)-University of KwaZulu-Natal, 2006.

This dissertation explores the use of the Black performing body in the works Cards (2002) and Relativity: Township Stories (2006) by Mpumelelo Paul Grootboom and, iMumbo Jumbo (1997) and Big Dada: The Rise and Fall of Idi Amin (2001) by Brett Bailey. With specific reference to the colonial gaze, this dissertation attempts to locate the disruptions (if any) of the colonial gaze in these playwright-director's theatre. The first chapter provides an overview of South African Theatre history. This chapter examines postcolonial performance theory with regards to the past and the present situation in South African theatre. Locating postcolonial performance theory with postcolonial theory discourses and looking specifically at South African theatre history. It looks specifically at the effects of colonialism, not only in terms of economic and political disempowerment but also in terms of the psychological internalisation of subject position and identity. It provides a theoretical basis, through which critical analyses of both Bailey and Grootboom's work will occur. The second chapter examines the colonial gaze and the Black performing body. Jonathan Schroeder (1998: 58) believes that the gaze signifies “a psychological relationship of power, in which the gazer is superior to the object of the gaze.” In postcolonial theatre, through the transient nature of the performance language, one of the foci of this chapter of the dissertation is on how or whether colonial subjectivity can be re-envisioned: the disruption of the colonial gaze. In order to disrupt the colonial gaze, it becomes vital that the performing body on stage (should) become a key site of resistance. Postcolonial performance (and theory) aims to challenge the colonial imposition of identity through the human body in order for there to be a fragmentation of subjectivity. Postcolonial performance theory desires an important and effective meaning, particularly in the notions of representations and identities. The third chapter examines the work of Brett Bailey using the following two particular texts/ case studies and analysing them: iMumbo Jumbo (1997) and Big Dada (2001), in an attempt to locate disruptions of the colonial gaze with regards to the Black performing body or to expose the exoticism within the use of such notions as savage, primitive, strange, violent that are attached to the Black performing body in his works. In iMumbo Jumbo (1997), with an emphasis on the exotic, the sangomas, the ritual (real and performative), Bailey does incorporate indigenous performance forms into his postcolonial and intercultural theatre – however does the integration of these indigenous performance forms into a new theatre aesthetic subvert the colonial gaze? Or, rather, does it feed into a colonial fascination with African exoticism. Big Dada (2001) is a play about the rise and fall of Idi Amin – a ruthless dictator in Uganda who, according to Peter Stearns and William Langer (2001: 1064), caused a genocide which left over 300 000 Ugandans dead . This play has both violence and the exotic as signifiers attached to the black bodies performing. The fourth chapter examines the works of Mpumelelo Paul Grootboom, focusing particularly on Cards (2002) and Relativity: Township Stories (2006). The analyses attempt to locate disruptions of the colonial gaze with regards to the Black performing body; or to expose the extreme violence and carnality that is attached to the Black performing body in his works. With regards to Cards (2002), the question asked is: does the use of the carnal, the raw, the sex, perpetuate a vicious cycle of colonial prejudices within South African audiences within what should be a postcolonial South African theatre arena? The colonised subject's body (in this case, the Black performer's body) has always been an “object of the coloniser's fascination and repulsion (and, in effect, possession) in sexual, pseudo-scientific and political terms” (Gilbert and Tompkins 1996: 203) (my italics). This chapter examines whether or not what is occurring in Grootboom's work/ theatre specifically is that the roles into which he has placed his Black performers are within racist discourses, “with perhaps even more emphasis on their supposed violence and sexuality” (Gilbert and Tompkins 1996: 208). This chapter seeks to interrogate whether or not Grootboom in casting the Other, the Black performing bodies, as corporeal, carnal, instinctual, raw... with his use of full nudity, simulated sex, simulated rapes, violence, explicit language, misogyny, obscenities, murder, drug use and religious rhetoric – has reintroduced colonial ideologies and stereotypes? Is his theatre 'black Black humour'? Reinforcing colonial ideologies of the savage? Or does Grootboom's theatre (unconsciously) aid the location of the (sometimes) nude, sexual, black performing body in the arena/ site of resistance in order to fracture the colonial gaze to further the aims of postcolonial theatre. Relativity: Township Stories (2006) is a brutal exposure of township life and the story revolves around a serial killer, the “G-String Strangler,” who is hunting down young women at night. The play traverses the bleaker and more desperate sides of human nature. As described by Robert Greig in The Sunday Independent (2005), Relativity is a panorama of extreme emotions and violence. However, does this perpetuation of the image of the Black as violent or attaching these signifiers of extreme violence challenge the colonial imposition of identity through the human body? Seeing the Black performing body being attached to notions of extreme violence begs to ask the question: Does this subvert the colonial gaze or does it feed into a stereotype of the violent, savage Black? This dissertation is to be read as an examination of both Brett Bailey and Mpumelelo Paul Grootboom's theatre and the motives for the use of the Back performing body on postcolonial South African theatre stages/ sites. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008.

The text investigates the history of the Canterbury Museum’s collection of Japanese ukiyo-e prints and paintings focusing mainly on four major contributors: Sir Joseph Kinsey (1852-1936), Frances May Bailey (c.1891-1967), Greggory Kane (1921-1978) and Ronald J Scarlett (1911-2002). The images are set in the context of the ‘floating world’ (ukiyo). The introduction examines the early directors of the Museum and how their interests and policies influenced the collections. The method of grading the prints and the process by which the data base was formed are explained. Chapter One examines the way New Zealand was influenced by a growing interest in Japan during the early twentieth century, the effects of Japanese activity in the Pacific and the way the collectors responded. It also looks at the local cultural context in which the collectors acquired and exhibited their works. Exhibitions of Japanese and Chinese art occurred in 1935 and 1952 in Christchurch; such events widened the knowledge and aesthetic appreciation of Asian art. Chapter Two considers the subjects, scope, and range of ukiyo-e art and the artists represented in the Museum’s collection. It looks at the condition of the images, how they were made, the formats used, and whether they were printed from original or recut blocks. Japanese Government censorship and works of particular interest are discussed. Comparisons are made with the Dunedin Public Art Gallery’s and Auckland Art Gallery’s collections. Works by major artists including Hiroshige (1797-1858), Hokusai (1760-1849), Eizan (1787-1867), Eishi (1756-1829), Chikanobu (1838-1912), Toyokuni I (1769-1825), Kunisada (1786-1864) and Kuniyoshi (1798-1861) are evaluated. By reconstructing the collections of Japanese art in the Museum, the chapter reveals the collectors’ diverse interests and individual preferences. The research presented in this discussion stems from an extensive study of the 427 images in the collection and is supported by an illustrated database of all the Museum’s ukiyo-e works.

Thesis (Ph.D.) -- University of Western Sydney, Macarthur, 2000. / A thesis presented to the University of Western Sydney, Macarthur in total fulfilment of the rquirements for the degree of Doctor of Philosophy, October, 2000. Bibliography : leaves 308-320.