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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 41 to 50 of 51 (0.031 seconds)Spelling suggestions: "subject:"bradley"" "subject:"radley""
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Disempowered women? : a feminist response to female characters in Malory, Tennyson and BradleyReid, Zofia Tatiana 01 January 2002 (has links)
Disempowered Women? A Feminist Response to female Characters in Malory,
Tennyson and Bradley takes an in-depth look at Elayne, Gwenyvere and Morgan of
the Arthurian legend. The characters are examined within their contemporary context
and from our modem perspective as portrayed in Malory, Tennyson, and Marion
Zimmer Bradley. Patriarchy, closely connected with the Christian doctrines, is
singled out as the main means of propagating women's disempowerment. The
inquiry considers different ways in which fictional texts have contributed to creating
false perceptions amongst our contemporary audience, about the reality of women's
lives in the Middle Ages. It further examines the validity of the assumption that
literary women are not real, but mere representations of male ideals about women's
role and place in society. Issues of gender equality are raised and the author
concludes that the literature studied assigns definite, gender-specific roles to men and
women. The work also debates the perceived misogyny of the male authors: is it a
conscious act or a reflection of their contemporary society's concerns? / English Studies / M. A. (English)
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| 42 |
Perspective vol. 38 no. 1 (Apr 2004)Fernhout, Harry, DeMoor, Michael, Postma, Jason, Luymes, Jennifer Neufeld, Krabbe, Jenny 30 April 2004 (has links)
No description available.
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| 43 |
Perspective vol. 5 no. 2 (Apr 1971)Carvill, Robert Lee 15 April 1971 (has links)
No description available.
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| 44 |
Perspective vol. 38 no. 1 (Apr 2004) / Perspective (Institute for Christian Studies)Fernhout, Harry, DeMoor, Michael, Postma, Jason, Luymes, Jennifer Neyfeld, Krabbe, Jenny 26 March 2013 (has links)
No description available.
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| 45 |
Perspective vol. 5 no. 2 (Apr 1971) / Perspective: Newsletter of the Association for the Advancement of Christian ScholarshipCarvill, Robert Lee 26 March 2013 (has links)
No description available.
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| 46 |
Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the PlaysKhan, Amir 10 July 2013 (has links)
This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror.
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| 47 |
Disempowered women? : a feminist response to female characters in Malory, Tennyson and BradleyReid, Zofia Tatiana 01 January 2002 (has links)
Disempowered Women? A Feminist Response to female Characters in Malory,
Tennyson and Bradley takes an in-depth look at Elayne, Gwenyvere and Morgan of
the Arthurian legend. The characters are examined within their contemporary context
and from our modem perspective as portrayed in Malory, Tennyson, and Marion
Zimmer Bradley. Patriarchy, closely connected with the Christian doctrines, is
singled out as the main means of propagating women's disempowerment. The
inquiry considers different ways in which fictional texts have contributed to creating
false perceptions amongst our contemporary audience, about the reality of women's
lives in the Middle Ages. It further examines the validity of the assumption that
literary women are not real, but mere representations of male ideals about women's
role and place in society. Issues of gender equality are raised and the author
concludes that the literature studied assigns definite, gender-specific roles to men and
women. The work also debates the perceived misogyny of the male authors: is it a
conscious act or a reflection of their contemporary society's concerns? / English Studies / M. A. (English)
|
| 48 |
Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the PlaysKhan, Amir January 2013 (has links)
This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror.
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| 49 |
Total Coverage: How the Media Shaped Command Decisions During World War IILovelace, Alexander G. 23 September 2020 (has links)
No description available.
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| 50 |
'The Marshall System' in World War II, Myth and Reality: Six American Commanders Who FailedCarlson, Cody King 08 1900 (has links)
This is an analysis of the U.S. Army's personnel decisions in the Second World War. Specifically, it considers the U.S. Army Chief of Staff George C. Marshall's appointment of generals to combat command, and his reasons for relieving some generals while leaving others in place after underperformance. Many historians and contemporaries of Marshall, including General Omar N. Bradley, have commented on Marshall's ability to select brilliant, capable general officers for combat command in the war. However, in addition to solid performers like J. Lawton Collins, Lucian Truscott, and George S. Patton, Marshall, together with Dwight D. Eisenhower and Lesley J. McNair, often selected sub-par commanders who significantly underperformed on the battlefield. These generals' tactical and operational decisions frequently led to unnecessary casualties, and ultimately prolonged the war. The work considers six case studies: Lloyd Fredendall at Kasserine Pass, Mark Clark during the Italian campaign, John Lucas at Anzio, Omar Bradley at the Falaise Gap, Courtney Hodges at the Hürtgen Forest, and Simon Bolivar Buckner, Jr. at Okinawa. Personal connections and patronage played strong roles in these generals' command appointments, and often trumped practical considerations like command experience. While their superiors ultimately relieved corps commanders Fredendall and Lucas, field army and army group commanders Clark, Hodges, and Bradley retained command of their units, (Buckner died from combat wounds on Okinawa). Personal connections also strongly influenced the decision to retain the field army and army group commanders in their commands.
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