Thesis (Ph. D.)--Uppsala University, 1998. / Includes bibliographical references (p. 178-183) and index.

This paper will demonstrate how Bennett’s “circumstantial” history of his age, as it streams by the reader, is controlled, analyzed, and interpreted. The framework of characters and events stand firm, their foundations solid in the systematic working-out, through symbolism and irony, of Bennett’s conviction that there is a “cause and effect” relationship between the physical environment and the character and sociological evolution and the character. Bennett writes that “the spirit of literature… enforces a moral wisdom by tracing everywhere of cause and effect.” The structures of characters and events are raised, reinforced, illuminated, inspected, and photographed through the use of symbolism, irony, and multiple points of view. Organized detail bricks in the framework.

This critical assessment is a study of B.K.M. Mtombeni's literary achievements in the Tsonga literature. The literary trend which persists throughout his novels Mibya ya nyekanyeka and Ndzi tshikeni, his volumes of short stories Ndzhaka ya vusiwana and Mavala ya yingwe and his plays Malangavi ya mbilu, Vuhlangi bya vuhlangi and Mihizo ya kayivela, was identified. Mtombeni has been a successful writer, who through his thematic patterns, plot, characterization, language and style, was able to bring out his ideas and thoughts to his readers effectively. Each chapter of this study dealt with special literary issues which contributed to the accomplishment of the research. The first chapter is a general introduction setting out the aim of the research: a biographical sketch; definitions of key terms of the topic and the literary approaches; the motivation behind the selection of the topic; the method of research; and the scope and composition of subsequent chapters. The thematic patterns of Mtombeni's works and his attitude to life are handled in chapter two, whilst the focus of the third chapter is on conflict, which is a major element of plot. Reference is also made to the other elements of plot such as climax and denouement. Chapter four addresses characterization with the aim of determining the lifelikeness, plausibility and. credibility of characters in Mtombeni's works. Chapter five analyses Mtombeni's language and style, the focus being on diction, whilst syntactic patterns, preambles or introductory paragraphs, imagery, proverbs and idioms, tone and dialogue form chapter six. Mtombeni's use of patterned language in his plays is treated in the seventh chapter, whilst the last chapter is the general conclusion of the study, with recommendations for future research. / African Languages / D. Litt. et Phil. (African Languages)

The final chapter of Spinoza’s Ethics has elicited numerous interpretations, and in this work, I discuss Jonathan Bennett’s and Harry Wolfson’s. Bennett claims that the doctrine of blessedness is unintelligible, while Wolfson claims that Spinoza’s account of blessedness actually defends traditional, medieval views of the immortality of the soul. I find neither of these acceptable accounts for the reasons presented below, and I have a simple alternative explanation for this doctrine. Essentially, I argue that by ‘blessedness’ Spinoza means being happy with being virtuous. In my reading of the Ethics, Spinoza first offers the account that we should help others in order to help ourselves, and then he explains that we should enjoy doing so, and he writes that being happy with this is called ‘blessedness.’

The final chapter of Spinoza’s Ethics has elicited numerous interpretations, and in this work, I discuss Jonathan Bennett’s and Harry Wolfson’s. Bennett claims that the doctrine of blessedness is unintelligible, while Wolfson claims that Spinoza’s account of blessedness actually defends traditional, medieval views of the immortality of the soul. I find neither of these acceptable accounts for the reasons presented below, and I have a simple alternative explanation for this doctrine. Essentially, I argue that by ‘blessedness’ Spinoza means being happy with being virtuous. In my reading of the Ethics, Spinoza first offers the account that we should help others in order to help ourselves, and then he explains that we should enjoy doing so, and he writes that being happy with this is called ‘blessedness.’

In this dissertation, we explore the possibilities of systematically constructing large structural mechanisms using existing spatial overconstrained linkages with only revolute joints as basic elements. The first part of the dissertation is devoted to structural mechanisms (networks) based on the Bennett linkage, a well-known spatial 4R linkage. This special linkage has been used as the basic element. A particular layout of the structures has been identified allowing unlimited extension of the network by repeating elements. As a result, a family of structural mechanisms has been found which form single-layer structural mechanisms. In general, these structures deploy into profiles of cylindrical surface. Meanwhile, two special cases of the single-layer structures have been extended to form multi-layer structures. In addition, according to the mathematical derivation, the problem of connecting two similar Bennett linkages into a mobile structure, which other researchers were unable to solve, has also been solved. A study into the existence of alternative forms of the Bennett linkage has also been done. The condition for the alternative forms to achieve the compact folding and maximum expansion has been derived. This work has resulted in the creation of the most effective deployable element based on the Bennett linkage. A simple method to build the Bennett linkage in its alternative form has been introduced and verified. The corresponding networks have been obtained following the similar layout of the original Bennett linkage. The second effort has been made to construct large overconstrained structural mechanisms using hybrid Bricard linkages as basic elements. The hybrid Bricard linkage is a special case of the Bricard linkage, which is overconstrained and with a single degree of mobility. Starting with the derivation of the compatibility condition and the study of its deployment behaviour, it has been found that for some particular twists, the hybrid Bricard linkage can be folded completely into a bundle and deployed to a flat triangular profile. Based on this linkage, a network of hybrid Bricard linkages has been produced. Furthermore, in-depth research into the deployment characteristics, including kinematic bifurcation and the alternative forms of the hybrid Bricard linkage, has also been conducted. The final part of the dissertation is a study into tiling techniques in order to develop a systematic approach for determining the layout of mobile assemblies. A general approach to constructing large structural mechanisms has been proposed, which can be divided into three steps: selection of suitable tilings, construction of overconstrained units and validation of compatibility. This approach has been successfully applied to the construction of the structural mechanisms based on Bennett linkages and hybrid Bricard linkages. Several possible configurations are discussed including those described previously. All of the novel structural mechanisms presented in this dissertation contain only revolute joints, have a single degree of mobility and are geometrically overconstrained. Research work reported in this dissertation could lead to substantial advancement in building large spatial deployable structures.

This critical assessment is a study of B.K.M. Mtombeni's literary achievements in the Tsonga literature. The literary trend which persists throughout his novels Mibya ya nyekanyeka and Ndzi tshikeni, his volumes of short stories Ndzhaka ya vusiwana and Mavala ya yingwe and his plays Malangavi ya mbilu, Vuhlangi bya vuhlangi and Mihizo ya kayivela, was identified. Mtombeni has been a successful writer, who through his thematic patterns, plot, characterization, language and style, was able to bring out his ideas and thoughts to his readers effectively. Each chapter of this study dealt with special literary issues which contributed to the accomplishment of the research. The first chapter is a general introduction setting out the aim of the research: a biographical sketch; definitions of key terms of the topic and the literary approaches; the motivation behind the selection of the topic; the method of research; and the scope and composition of subsequent chapters. The thematic patterns of Mtombeni's works and his attitude to life are handled in chapter two, whilst the focus of the third chapter is on conflict, which is a major element of plot. Reference is also made to the other elements of plot such as climax and denouement. Chapter four addresses characterization with the aim of determining the lifelikeness, plausibility and. credibility of characters in Mtombeni's works. Chapter five analyses Mtombeni's language and style, the focus being on diction, whilst syntactic patterns, preambles or introductory paragraphs, imagery, proverbs and idioms, tone and dialogue form chapter six. Mtombeni's use of patterned language in his plays is treated in the seventh chapter, whilst the last chapter is the general conclusion of the study, with recommendations for future research. / African Languages / D. Litt. et Phil. (African Languages)

In the domain of music education philosophy there are, at present, two foundational systems that purport to be self-contained philosophies of music education. These are music education as aesthetic education, often referred to as MEAE, espoused by Bennett Reimer, and the praxial philosophy of music education posited by David Elliott. The debate between these two philosophies has been contentious and has had the effect of fracturing the philosophical underpinning of the music profession in an irreconcilable way. It is the purpose of this dissertation to introduce a third voice, that of the Danish philosopher Knut Løgstrup, to serve as a synergy between the philosophies of Reimer and Elliott and lead toward a framework of thinking for music education philosophy. I assert that the philosophies of Reimer and Elliott represent a modern articulation of an ancient dialectic between Platonic and Aristotelian ideals. Thus, the Reimer philosophy has its foundation in Platonic thought and Elliott has embraced an Aristotelian philosophical perspective. Løgstrup's position provides a third fundamental viewpoint that includes both Platonic and Aristotelian thinking and can therefore provide a synergy for these two music education philosophies. He refers to his philosophy as an ontological ethics. As a methodological approach, I utilize a metaphilosophical analysis in which I examine the Platonic tendencies of Reimer and the Aristotelian foundation of Elliott by examining both the content and the methodology of their prospective philosophies. I then make an application of Løgstrup's philosophical system, which is an ethical system, to music education philosophy and bring the most important aspects of Reimer's and Elliott's philosophies into a synergy using Løgstrup's ideas.

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This study came forth from a rereading of Ariel (2015) by Sylvia Plath and "The Laugh of the Medusa" by Hélène Cixous. Medusa was there, in the title, in the unsaid, but not so much directly in the text, she is only mentioned a few times in Cixous' works. You could still read Medusa in the works, but take away the title and you probably wouldn't to the extent that you do. That's how the questions arose, what do people do when they use Medusa in their works? Why do they decide to revive her?  The purpose of this study is to analyse, from a feministic perspective, what poets invoke when using Medusa in their works. The poems analysed are ”Medusa” by Sylvia Plath, ”Medusa” by Carol Ann Duffy, and ”Medusa with the Head of Perseus” by Torrin A. Greathouse.  Medusa, the Gorgon, used and abused, is a symbol for the silenced women. A woman is usually seen as an object by the patriarchal society, something they can do whatever they want with, Medusa included. This study is to show that women can take back their own bodies from the men, however many years it takes, however many people it takes.  Medusa is not a monster; she is just another victim of men’s oppression.