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Over the last two centuries, a succession of childhood pursuits has been blamed for deterioration in children's health, morality, education and literacy, as well as increases in juvenile delinquency, yet there has also been a constant voice in opposition to these charges. In Britain this debate reached something of a climax in the 1930s, due to the massive growth of cinema and its huge popularity with young people. This thesis aims to explore all aspects of the controversy surrounding children's cinemagoing in the thirties, with a particular focus on the mechanisms used to try and control or contain children's viewing, together with an assessment of the extent to which these mechanisms were successful. Its main arguments are that while concerns about child viewers motivated the development of film censorship practices in Britain and elsewhere, the debate is too complex and varied to be seen as a straightforward moral panic. In addition, it argues that, despite the attempts of the BBFC and others, children were essentially the regulators of their own viewing, as they frequently subverted or circumvented the largely ineffectual mechanisms of official cinema regulation. Moreover it suggests that, in a period when school, home and even leisure tended to be strong on discipline, the cinema was colonised by children as an alternative site of recreation. Matinees in particular were the birthplace of a new and somewhat subversive children's culture, which only started to be `tamed' with the introduction of more formal children's cinema clubs towards the end of the decade. Finally, the productive nature of the debate surrounding children, cinema and censorship is explored in a cases tudy of the 1930s MGM Tarzan films, which assesses the extent to which issues relating to the child audience may have helped to shape a genre.

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The use of an optical plankton counters in zooplankton ecology requires sampling strategies and hypothesis testing that take into account its ability to collect highresolution size-structured data, as well as its inability to distinguish zooplankton from detritus. Studies in Saanich Inlet and the Strait of Georgia, B.C. were performed to 1) compare the temporal resolution of OPC and net samples and 2) compare seasonal variation in the zooplankton community size structure against the predictions of biomass size distribution theory. The first part of this work found that OPC samples have finer resolution and require fewer replicates to approximate the mean abundance of zooplankton than net samples at time scales between 20 minutes and 48 hours. However, the OPC is subject to measurement error in high productivity waters. The second section of this work shows that the size-spectrum dynamics of zooplankton in the Strait of Georgia follow the predictions of biomass size spectrum theory. The interpretation of thse data using size-distribution theory suggests that variation in the trophic dynamics of the zooplankton community may be at the root of the observed seasonality.

This thesis examines three images associated with the manuscripts and early printed editions of Chaucer’s Troilus and Criseyde which I have dubbed “Prostrate Troilus,” “Pandarus as Messenger,” and “Criseyde in the Garden.” These images are artifacts of contemporary textual interpretation that “read” Chaucer’s text and the tale of Troilus. They each illustrate the way in which Troilus, Pandarus, and Criseyde “read” images, gestures, symbols, and speeches within the narrative, and they show how these characters are constrained and influenced by their individual primary modes of perception. Troilus reads but does not analyze. Pandarus actively reads his own meanings into messages. Criseyde’s reading is reflective. Ultimately, the different interpretive strategies that Chaucer explores in Troilus mirror those of Chaucer’s readers.

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